Orchestrated by Mark McKenzie

Conducted by Alan Silvestri

Produced by Alan Silvestri and David Bifano

Release Date: May 4, 2004

                Decca Records

     Given the rousing success of Silvestri’s score to The Mummy Returns (in the absence of Jerry Goldsmith who had scored an equally fun piece of music for the first film), it seems to go without saying that he would have a job for Stephen Sommers’ next outing, in this case taking a turn away from Egpytian mythology and moving more towards the European side of things with Van Helsing. Since Silvestri was unceremoniously kicked off of Pirates of the Caribbean and his score to the second Tomb Raider film was less than what was hoped for by those looking for another work similar to The Mummy Returns, would there be a better opportunity than teaming back up with Stephen Sommers for this score?

     First, let it be known that Van Helsing is nothing else but an intense action score. In case you’re looking for more contemplative, thematic Silvestri (a la Contact or The Abyss) then look somewhere else. Silvestri takes the action romp he started with The Mummy Returns and expounds on it to be darker and more driving, though never losing the eventual sense of fun the whole thing has. The music is dark, but not so dark that it alienates the listener. The style immediately kicks into high gear with the very first track, which introduces the intense percussion and full-blown choral writing that is so instrumental in the sinister gothic feeling that Silvestri permeates the score with. At only a minute and a half, it’s too short to really develop fully, but it introduces what is to come well enough, and the next track, Burn It Down!, launches full force into the meat and potatoes of what this score is all about.

     The first hint of Van Helsing’s theme arrives with Werewolf Trap. Unlike the heroic theme from The Mummy Returns, Silvestri’s use of Van Helsing’s theme is very restrained, which is both good and bad. Part of the fun with The Mummy Returns was the constant performance of the main theme in almost every action cue. Even though it threatened to get old, Silvestri’s expert use of it managed to teeter on the edge and keep things fresh and vibrant for that score. Perhaps, however, the restraint is justified here. Van Helsing’s theme is certainly reminiscent of The Mummy Returns, though it’s different enough to not work as well as that piece of thematic fanfare. The theme here only comes into play in any strong fashion at the latter third of the score, though by that time it is quite welcome.

     Even without an over-the-top theme to carry it, Silvestri’s action writing is delightful and manages to be entertaining throughout the album’s running time (which is a scant forty-three minutes). With all the different sequences running throughout each cue, the music is quite busy and the driving percussion, rousing chorus, and slight electronic uses all work towards making this a unique action score.

     On album, the cues are nothing more than wall-to-wall action. For those of you who enjoyed The Mummy Returns, Van Helsing will be just the shot-in-the-arm (or the blow over the head) that you’ve been waiting for. Otherwise, if you’re headache prone from most action scores, then this is certainly not the album for you.

1 - Transylvania 1887 (1:26)

2 - Burn It Down! (4:46)

3 - Werewolf Trap (1:53)

4 - Journey to Transylvania (1:33)

5 - Attacking Brides (5:02)

6 - Dracula's Nursery (5:46)

7 - Useless Crucifix (2:35)

8 - Transylvanian Horses (3:55)

9 - All Hallow's Eve Ball (3:01)

10 - Who Are They to Judge? (2:00)

11 - Final Battle (6:28)

12 - Reunited (4:25)

Total Running Time: 42:55