21st Century Cinema

~ Release by Various Artists (see all versions of this release, 1 available)

Annotation

Countries where available (Deezer + Spotify)

(As of 2020-10-25).

  • Northern America: 🇨🇦 Canada (ca) 🇲🇽 Mexico (mx) 🇺🇸 United States (us)
  • Central America: 🇨🇷 Costa Rica (cr) 🇬🇹 Guatemala (gt) 🇭🇳 Honduras (hn) 🇳🇮 Nicaragua (ni) 🇵🇦 Panama (pa) 🇸🇻 El Salvador (sv)
  • Caribbean: 🇩🇴 Dominican Republic (do)
  • South America: 🇦🇷 Argentina (ar) 🇧🇴 Bolivia (bo) 🇧🇷 Brazil (br) 🇨🇱 Chile (cl) 🇨🇴 Colombia (co) 🇪🇨 Ecuador (ec) 🇵🇪 Peru (pe) 🇵🇾 Paraguay (py) 🇺🇾 Uruguay (uy) 🇻🇪 Venezuela (ve)
  • Western Europe: 🇦🇹 Austria (at) 🇧🇪 Belgium (be) 🇨🇭 Switzerland (ch) 🇩🇪 Germany (de) 🇫🇷 France (fr) 🇱🇺 Luxembourg (lu) 🇳🇱 Netherlands (nl)
  • Northern Europe: 🇩🇰 Denmark (dk) 🇪🇪 Estonia (ee) 🇫🇮 Finland (fi) 🇬🇧 United Kingdom (gb) 🇮🇪 Ireland (ie) 🇮🇸 Iceland (is) 🇱🇹 Lithuania (lt) 🇱🇻 Latvia (lv) 🇳🇴 Norway (no) 🇸🇪 Sweden (se)
  • Southern Europe: 🇦🇱 Albania (al) 🇧🇦 Bosnia and Herzegovina (ba) 🇨🇾 Cyprus (cy) 🇪🇸 Spain (es) 🇬🇷 Greece (gr) 🇭🇷 Croatia (hr) 🇮🇹 Italy (it) 🇲🇪 Montenegro (me) 🇲🇰 Macedonia (mk) 🇲🇹 Malta (mt) 🇵🇹 Portugal (pt) 🇷🇸 Serbia (rs) 🇸🇮 Slovenia (si)
  • Eastern Europe: 🇧🇬 Bulgaria (bg) 🇧🇾 Belarus (by) 🇨🇿 Czech Republic (cz) 🇭🇺 Hungary (hu) 🇵🇱 Poland (pl) 🇷🇴 Romania (ro) 🇷🇺 Russian Federation (ru) 🇸🇰 Slovakia (sk) 🇺🇦 Ukraine (ua) 🇽🇰 Kosovo (xk)
  • Northern Africa: 🇩🇿 Algeria (dz) 🇪🇬 Egypt (eg) 🇲🇦 Morocco (ma) 🇹🇳 Tunisia (tn)
  • Western Africa: 🇨🇮 Cote D’Ivoire (ci) 🇬🇭 Ghana (gh) 🇳🇬 Nigeria (ng) 🇸🇳 Senegal (sn)
  • Eastern Africa: 🇰🇪 Kenya (ke)
  • Middle Africa: 🇨🇲 Cameroon (cm)
  • Southern Africa: 🇿🇦 South Africa (za)
  • Western Asia: 🇦🇪 United Arab Emirates (ae) 🇧🇭 Bahrain (bh) 🇮🇱 Israel (il) 🇰🇼 Kuwait (kw) 🇱🇧 Lebanon (lb) 🇴🇲 Oman (om) 🇶🇦 Qatar (qa) 🇸🇦 Saudi Arabia (sa) 🇹🇷 Turkey (tr)
  • Southern Asia: 🇮🇳 India (in) 🇱🇰 Sri Lanka (lk)
  • Eastern Asia: 🇭🇰 Hong Kong (hk) 🇯🇵 Japan (jp) 🇰🇷 Korea (kr) 🇹🇼 Taiwan (tw)
  • South-Eastern Asia: 🇮🇩 Indonesia (id) 🇰🇭 Cambodia (kh) 🇲🇾 Malaysia (my) 🇵🇭 Philippines (ph) 🇸🇬 Singapore (sg) 🇹🇭 Thailand (th) 🇻🇳 Viet‐Nam (vn)
  • Oceania: 🇦🇺 Australia (au) 🇳🇿 New Zealand (nz)
Annotation last modified on 2020-11-01 12:00 UTC.

Tracklist

1▼Digital Media
#TitleArtistRatingLength
1Drives to Roscrea
recording engineer and mixer:
Peter Cobbin (recording engineer at Abbey Road Studios)
assistant engineer:
Lewis Jones (engineer)
producer:
Dominique Lemonnier
editor:
Gerard McCann (producer, editor)
orchestra:
London Symphony Orchestra
conductor:
Alexandre Desplat (French score composer)
phonographic copyright (℗) by:
Pathé Productions Limited, Philomena Lee Limited and The Weinstein Company LLC (do not use as a release label!)
recorded at and mixed at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
recording of:
Drives to Roscrea
orchestrator and composer:
Alexandre Desplat (French score composer)
Alexandre Desplat1:15
2Muirfield (original motion picture soundtrack “The Aviator”)
recording engineer:
John Kurlander (engineer)
assistant engineer:
Richard Hale (recording engineer), Roland Heap, Richard Lancaster and Jay Spears
producer:
Howard Shore (Canadian score composer)
mixer:
Mark Willsher (Grammy®-winning engineer & producer delivering high-end film score mixing, classical recording, and Dolby Atmos/immersive music production)
assistant editor:
Ben Pederson and Marie Ebbing
editor:
Jennifer Dunnington, Jonathan Schultz (mastering), Tim Starnes (engineer) and Mark Willsher (Grammy®-winning engineer & producer delivering high-end film score mixing, classical recording, and Dolby Atmos/immersive music production)
orchestra:
The Flemish Radio Orchestra (Brussels Philharmonic)
conductor:
Howard Shore (Canadian score composer)
orchestrator:
Howard Shore (Canadian score composer)
recording of:
Muirfield
The Flemish Radio Orchestra & Howard Shore2:22
3A Fateful Meeting
additional recording engineer:
James T. Hill
recording engineer:
Joel Iwataki and Alan Meyerson
producer:
James Newton Howard (American score composer) and Jim Weidman (music editor, producer)
mixer:
Alan Meyerson
editor:
Marie Ebbing, Malcolm Fife, Peter Myles (editing Engineer), David Olson (engineer, producer), Jonathon Stevens (engineer) and Jim Weidman (music editor, producer)
orchestra:
Hollywood Studio Symphony
conductor:
Pete Anthony (American conductor and orchestrator.), Bruce Babcock and Mike Nowak (violin / viola player and conductor)
orchestrator:
Jeff Atmajian
concertmaster:
Endre Granat (Hungarian violinist)
phonographic copyright (℗) by:
Universal Classics Group (not for release label use, a division of UMG Recordings, Inc.)
mixed at:
Todd-AO Scoring Stage in Studio City, Los Angeles, California, United States
recording of:
A Fateful Meeting
composer:
James Newton Howard (American score composer)
James Newton Howard4:16
4Dawn (from “Pride & Prejudice” soundtrack)
assistant engineer:
Olga FitzRoy, Jake Jackson (recording engineer) and Nick Taylor (UK recording engineer)
engineer:
Nick Wollage
producer:
Dario Marianelli (Italian score composer)
editor:
James Bellamy (editor)
piano:
Jean‐Yves Thibaudet (pianist)
orchestra:
English Chamber Orchestra
conductor:
Benjamin Wallfisch (English score composer)
orchestrator:
Benjamin Wallfisch (English score composer)
phonographic copyright (℗) by:
Universal Classics & Jazz (Japanese label division - read the annotation before using!)
recorded at:
AIR Studios (Lyndhurst Hall 1991–present) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, United Kingdom
mixed at:
Air-Edel Recording Studios in London (Greater London), England, United Kingdom
recording of:
Dawn (Pride and Prejudice, 2005)
composer:
Dario Marianelli (Italian score composer)
part of:
Pride and Prejudice
Jean-Yves Thibaudet52:35
5St. Clair’s Blues (from “Florence Foster Jenkins” soundtrack)
assistant engineer:
John Barrett (engineer) and Lewis Jones (engineer)
engineer:
Peter Cobbin (recording engineer at Abbey Road Studios)
mixer:
Peter Cobbin (recording engineer at Abbey Road Studios), Alexandre Desplat (French score composer) and Kirsty Whalley (engineer and keyboardist)
editor:
Kirsty Whalley (engineer and keyboardist)
orchestra:
John Kirby & His Orchestra
conductor:
Alexandre Desplat (French score composer)
recorded at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
recording of:
St. Clair’s Blues (From “florence Foster Jenkins” Soundtrack)
orchestrator and composer:
Alexandre Desplat (French score composer)
Alexandre Desplat1:19
6The Pop‐up Book (from “Paddington 2” original motion picture soundtrack)
recording engineer:
Fiona Cruickshank and Nick Wollage
producer:
Maggie Rodford
mixer:
Nick Wollage
assistant editor:
Nathan Klein (editor)
editor:
Mark Willsher (Grammy®-winning engineer & producer delivering high-end film score mixing, classical recording, and Dolby Atmos/immersive music production)
conductor:
Dario Marianelli (Italian score composer)
recorded at and mixed at:
Air Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, United Kingdom
recording of:
The Pop‐Up Book
orchestrator:
Geoff Alexander and Dario Marianelli (Italian score composer)
composer:
Dario Marianelli (Italian score composer)
Dario Marianelli1:30
7Lbj Orders Strikes (from “All the Way” original soundtrack)
James Newton Howard1:33
8A Lord of the Rings Suite
producer:
Craig Leon (musician, arranger, composer and producer)
flute:
James Galway (flautist) (in 2004-06)
orchestra:
London Symphony Orchestra (in 2004-06)
conductor:
Klauspeter Seibel (conductor) (in 2004-06)
balance engineer:
Jonathan Allen (engineer)
recorded at:
Abbey Road Studios: Studio 1 in St John's Wood, Westminster, London (Greater London), England, United Kingdom (in 2004-06)
recording of:
A Lord of the Rings Suite (for flute and orchestra) (in 2004-06)
composer:
Howard Shore (Canadian score composer)
James Galway, London Symphony Orchestra & Klauspeter Seibel6:45
9Georgiana (from “Pride & Prejudice” soundtrack)
English Chamber Orchestra & Benjamin Wallfisch1:35
10Time for Bed
recording engineer and mixer:
Nick Wollage
assistant engineer:
Laurence Anslow (UK engineer AIR Studios) and Fiona Cruickshank
producer:
Dario Marianelli (Italian score composer)
editor:
James Bellamy (editor)
conductor:
Benjamin Wallfisch (English score composer)
orchestrator:
Dario Marianelli (Italian score composer) and Benjamin Wallfisch (English score composer)
phonographic copyright (℗) by:
Focus Features LLC
recorded at and mixed at:
AIR Studios (Lyndhurst Hall 1991–present) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, United Kingdom
recording of:
Time for Bed
orchestrator:
Dario Marianelli (Italian score composer) and Benjamin Wallfisch (English score composer)
composer:
Dario Marianelli (Italian score composer)
Dario Marianelli1:05
11Innocence (from „Free the Mind” soundtrack)
keyboard:
Jóhann Jóhannsson (Icelandic musician and score composer)
percussion:
Ólafur Björn Ólafsson
piano:
Jóhann Jóhannsson (Icelandic musician and score composer) and Ólafur Björn Ólafsson
conductor:
Péter Pejtsik
orchestrator:
Peter Due and Jóhann Jóhannsson (Icelandic musician and score composer)
concertmaster:
Zsófia Környei (Hungarian classical violinist)
recording of:
Innocence (From „free the Mind” Soundtrack)
composer:
Jóhann Jóhannsson (Icelandic musician and score composer)
Johann Johannsson1:10
12Crown Heights
engineer:
François Goupil and John Kurlander (engineer)
producer:
Howard Shore (Canadian score composer) and James Sizemore (Composer and producer)
mixer:
François Goupil
editor:
James Sizemore (Composer and producer)
orchestra:
Orchestre Métropolitain
conductor:
Howard Shore (Canadian score composer)
orchestrator:
Howard Shore (Canadian score composer)
phonographic copyright (℗) by:
Impression Music LLC
recording of:
Crown Heights
composer:
Howard Shore (Canadian score composer)
Ray Chen & Howard Shore1:14
13Virign Mary (from “Road to Perdition” soundtrack)
recording engineer:
Armin Steiner and Tommy Vicari
producer:
Bill Bernstein
mixer:
Tommy Vicari
editor:
Bill Bernstein and Mike Zainer
conductor:
Thomas Newman (American score composer)
phonographic copyright (℗) by:
Universal Classics Group (not for release label use, a division of UMG Recordings, Inc.)
recording of:
Virign Mary
orchestrator:
Thomas Pasatieri
composer:
Thomas Newman (American score composer)
Thomas Newman1:34
14Dance With Me
recording engineer and mixer:
Nick Wollage
assistant engineer:
Laurence Anslow (UK engineer AIR Studios) and Fiona Cruickshank
producer:
Dario Marianelli (Italian score composer)
editor:
James Bellamy (editor)
conductor:
Benjamin Wallfisch (English score composer)
orchestrator:
Dario Marianelli (Italian score composer) and Benjamin Wallfisch (English score composer)
phonographic copyright (℗) by:
Focus Features LLC
recorded at and mixed at:
AIR Studios (Lyndhurst Hall 1991–present) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, United Kingdom
recording of:
Dance With Me
orchestrator:
Dario Marianelli (Italian score composer) and Benjamin Wallfisch (English score composer)
composer:
Dario Marianelli (Italian score composer)
Dario Marianelli4:23
15Boating for Beginners (from “The Mercy” soundtrack)
recording engineer:
Geoff Foster (sound engineer)
programming:
Rutger Hoedemaekers and Jóhann Jóhannsson (Icelandic musician and score composer)
producer:
Jóhann Jóhannsson (Icelandic musician and score composer)
mixer:
Peter Cobbin (recording engineer at Abbey Road Studios) and Kirsty Whalley (engineer and keyboardist)
celesta and piano:
Jóhann Jóhannsson (Icelandic musician and score composer)
electronic instruments:
Rutger Hoedemaekers
keyboard:
Rutger Hoedemaekers, Jóhann Jóhannsson (Icelandic musician and score composer), Ólafur Björn Ólafsson and Alex Somers
percussion:
Ólafur Björn Ólafsson
synthesizer:
Rutger Hoedemaekers and Jóhann Jóhannsson (Icelandic musician and score composer)
orchestra:
Budapest Art Orchestra
conductor:
Anthony Weeden (Conductor and orchestrator)
orchestrator:
Jóhann Jóhannsson (Icelandic musician and score composer) and Anthony Weeden (Conductor and orchestrator)
recorded at:
Studio 22 (Magyar Rádió) in Budapest, Hungary
Johann Johannsson & Rutger Hoedemaekers1:34
16It’s in the Subtext
additional recording engineer:
James T. Hill
recording engineer:
Joel Iwataki and Alan Meyerson
producer:
James Newton Howard (American score composer) and Jim Weidman (music editor, producer)
mixer:
Alan Meyerson
editor:
Marie Ebbing, Malcolm Fife, Peter Myles (editing Engineer), David Olson (engineer, producer), Jonathon Stevens (engineer) and Jim Weidman (music editor, producer)
orchestra:
Hollywood Studio Symphony
conductor:
Pete Anthony (American conductor and orchestrator.), Bruce Babcock and Mike Nowak (violin / viola player and conductor)
orchestrator:
Jeff Atmajian
concertmaster:
Endre Granat (Hungarian violinist)
phonographic copyright (℗) by:
Universal Classics Group (not for release label use, a division of UMG Recordings, Inc.)
mixed at:
Todd-AO Scoring Stage in Studio City, Los Angeles, California, United States
recording of:
It's in the Subtext
composer:
James Newton Howard (American score composer)
James Newton Howard3:20
17The Asylum
engineer:
François Goupil and John Kurlander (engineer)
producer:
Howard Shore (Canadian score composer) and James Sizemore (Composer and producer)
mixer:
François Goupil
editor:
James Sizemore (Composer and producer)
orchestra:
Orchestre Métropolitain
conductor:
Howard Shore (Canadian score composer)
orchestrator:
Howard Shore (Canadian score composer)
phonographic copyright (℗) by:
Impression Music LLC
recording of:
The Asylum
composer:
Howard Shore (Canadian score composer)
Howard Shore0:39
18To Belong (from “Werk ohne Autor” soundtrack)
sound engineer:
Rupert Coulson (sound engineer)
engineer:
John Prestage (engineer)
producer:
Max Richter (German pianist and score composer)
orchestra:
Air Lyndhurst Orchestra
phonographic copyright (℗) by:
Studio Richter Mahr
recorded at:
Air Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, United Kingdom
recording of:
To Belong
composer:
Max Richter (German pianist and score composer)
Max Richter1:32
19The Venture Departs
additional recording engineer:
James T. Hill
recording engineer:
Joel Iwataki and Alan Meyerson
producer:
James Newton Howard (American score composer) and Jim Weidman (music editor, producer)
mixer:
Alan Meyerson
editor:
Marie Ebbing, Malcolm Fife, Peter Myles (editing Engineer), David Olson (engineer, producer), Jonathon Stevens (engineer) and Jim Weidman (music editor, producer)
orchestra:
Hollywood Studio Symphony
conductor:
Pete Anthony (American conductor and orchestrator.), Bruce Babcock and Mike Nowak (violin / viola player and conductor)
orchestrator:
Jeff Atmajian
concertmaster:
Endre Granat (Hungarian violinist)
phonographic copyright (℗) by:
Universal Classics Group (not for release label use, a division of UMG Recordings, Inc.)
mixed at:
Todd-AO Scoring Stage in Studio City, Los Angeles, California, United States
recording of:
The Venture Departs
composer:
James Newton Howard (American score composer)
James Newton Howard4:03
20One of Them (from “Darkest Hour” soundtrack)
recording engineer and mixer:
Nick Wollage
assistant engineer:
Ashley Andrew-Jones, Fiona Cruickshank and John Prestage (engineer)
producer:
Dario Marianelli (Italian score composer)
editor:
Mark Willsher (Grammy®-winning engineer & producer delivering high-end film score mixing, classical recording, and Dolby Atmos/immersive music production)
horn:
Nicholas Korth (horn player)
piano:
Víkingur Ólafsson (pianist)
conductor:
Dario Marianelli (Italian score composer)
orchestrator:
Geoff Alexander and Dario Marianelli (Italian score composer)
concertmaster:
Rolf Wilson (violinist)
recorded at:
AIR Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, United Kingdom
recording of:
One of Them (From “darkest Hour” Soundtrack)
orchestrator and composer:
Dario Marianelli (Italian score composer)
Dario Marianelli & Víkingur Ólafsson1:33
21Liz on Top of the World (from “Pride & Prejudice” soundtrack)
Jean-Yves Thibaudet1:23
22Spy Meeting (from “The Shape of Water” soundtrack)
recording engineer:
Peter Cobbin (recording engineer at Abbey Road Studios)
producer:
Dominique "Solrey" Lemonnier
mixer:
Peter Cobbin (recording engineer at Abbey Road Studios) and Kirsty Whalley (engineer and keyboardist)
accordion:
Myriam Lafargue
flute [jazz flute] and whistle:
Alexandre Desplat (French score composer)
percussion [percussions]:
Paul Clarvis (percussionist)
piano:
Dave Arch (pianist, conductor, arranger and composer)
orchestra:
The London Symphony Orchestra (London Symphony Orchestra)
conductor:
Alexandre Desplat (French score composer)
concertmaster:
Carmine Lauri (violinist)
recorded at and mixed at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
Alexandre Desplat1:43
23Catharina’s Pearls (Girl with a Pearl Earring O.S.T.)
recording engineer:
John Timperley (from 2003-07-19 until 2003-07-23)
producer:
Alexandre Desplat (French score composer)
assistant mixer:
Sam Okell (engineer, Abbey Road Studios)
mixer:
John Timperley
orchestra:
Pro Arte Orchestra of London (founded 1985) (from 2003-07-19 until 2003-07-23)
conductor:
Alexandre Desplat (French score composer) (from 2003-07-19 until 2003-07-23)
phonographic copyright (℗) by:
Archer Street (Girl) Limited and Decca Music Group Limited (not for release label use, for ℗ & © rights holder use only)
recorded at:
Sony Music Studios (Whitfield Street studio, operating under this name from 1994–2004) in London (Greater London), England, United Kingdom (from 2003-07-19 until 2003-07-23)
recording of:
Catharina’s Pearls (Girl with a Pearl Earring O.S.T.)
composer:
Alexandre Desplat (French score composer)
Pro Arte Orchestra of London, Michael Davis & Alexandre Desplat1:23
24Art School (from “Werk ohne Autor” soundtrack)
sound engineer:
Rupert Coulson (sound engineer)
engineer:
John Prestage (engineer)
producer:
Max Richter (German pianist and score composer)
orchestra:
Air Lyndhurst Orchestra
phonographic copyright (℗) by:
Studio Richter Mahr
recorded at:
Air Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, United Kingdom
recording of:
Art School
composer:
Max Richter (German pianist and score composer)
Max Richter1:24
25Central Park
additional recording engineer:
James T. Hill
recording engineer:
Joel Iwataki and Alan Meyerson
producer:
James Newton Howard (American score composer) and Jim Weidman (music editor, producer)
mixer:
Alan Meyerson
editor:
Marie Ebbing, Malcolm Fife, Peter Myles (editing Engineer), David Olson (engineer, producer), Jonathon Stevens (engineer) and Jim Weidman (music editor, producer)
orchestra:
Hollywood Studio Symphony
conductor:
Pete Anthony (American conductor and orchestrator.), Bruce Babcock and Mike Nowak (violin / viola player and conductor)
orchestrator:
Jeff Atmajian
concertmaster:
Endre Granat (Hungarian violinist)
phonographic copyright (℗) by:
Universal Classics Group (not for release label use, a division of UMG Recordings, Inc.)
mixed at:
Todd-AO Scoring Stage in Studio City, Los Angeles, California, United States
recording of:
Central Park (King Kong)
composer:
James Newton Howard (American score composer)
James Newton Howard54:36
26Memories
recording engineer and mixer:
Peter Cobbin (recording engineer at Abbey Road Studios)
assistant engineer:
Lewis Jones (engineer)
producer:
Dominique Lemonnier
editor:
Gerard McCann (producer, editor)
orchestra:
London Symphony Orchestra
conductor:
Alexandre Desplat (French score composer)
phonographic copyright (℗) by:
Pathé Productions Limited, Philomena Lee Limited and The Weinstein Company LLC (do not use as a release label!)
recorded at and mixed at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
recording of:
Memories
orchestrator and composer:
Alexandre Desplat (French score composer)
Alexandre Desplat1:16
27Icarus (original motion picture soundtrack “The Aviator”)
recording engineer:
John Kurlander (engineer)
assistant engineer:
Richard Hale (recording engineer), Roland Heap, Richard Lancaster and Jay Spears
producer:
Howard Shore (Canadian score composer)
mixer:
Mark Willsher (Grammy®-winning engineer & producer delivering high-end film score mixing, classical recording, and Dolby Atmos/immersive music production)
assistant editor:
Ben Pederson and Marie Ebbing
editor:
Jennifer Dunnington, Jonathan Schultz (mastering), Tim Starnes (engineer) and Mark Willsher (Grammy®-winning engineer & producer delivering high-end film score mixing, classical recording, and Dolby Atmos/immersive music production)
orchestra:
The Flemish Radio Orchestra (Brussels Philharmonic)
conductor:
Howard Shore (Canadian score composer)
orchestrator:
Howard Shore (Canadian score composer)
recording of:
Icarus
The Flemish Radio Orchestra, Alexandre Desplat & Howard Shore3:58
28Mr. Rance (from “Road to Perdition” soundtrack)
recording engineer:
Armin Steiner and Tommy Vicari
producer:
Bill Bernstein
mixer:
Tommy Vicari
editor:
Bill Bernstein and Mike Zainer
conductor:
Thomas Newman (American score composer)
phonographic copyright (℗) by:
Universal Classics Group (not for release label use, a division of UMG Recordings, Inc.)
recording of:
Mr. Rance
orchestrator:
Thomas Pasatieri
composer:
Thomas Newman (American score composer)
Thomas Newman1:39
29The Funeral
recording engineer:
John Timperley (from 2006-07 until 2006-08)
assistant engineer:
Cenda Kotzmann and Ivan Zbíral
producer:
Alexandre Desplat (French score composer)
mixer:
John Timperley
editor:
Peter Clarke (music editor)
orchestra:
Prague Symphony Orchestra (from 2006-07 until 2006-08)
conductor:
Alexandre Desplat (French score composer) (from 2006-07 until 2006-08)
additional orchestrator:
Jean-Pascal Beintus (composer)
orchestrator:
Alexandre Desplat (French score composer)
recorded at:
Rudolfinum (House of Artists) in Praha (Prague), Czechia (from 2006-07 until 2006-08)
mixed at:
Studio Guillaume Tell in Suresnes, Hauts-de-Seine, Île-de-France, France
recording of:
The Funeral (The Painted Veil) (from 2006-07 until 2006-08)
composer:
Alexandre Desplat (French score composer)
Symfonický orchestr hlavního města Prahy FOK & Alexandre Desplat0:51
30He’s Coming for You (from “The Shape of Water” soundtrack)
recording engineer:
Peter Cobbin (recording engineer at Abbey Road Studios)
producer:
Dominique "Solrey" Lemonnier
mixer:
Peter Cobbin (recording engineer at Abbey Road Studios) and Kirsty Whalley (engineer and keyboardist)
accordion:
Myriam Lafargue
flute [jazz flute] and whistle:
Alexandre Desplat (French score composer)
percussion [percussions]:
Paul Clarvis (percussionist)
piano:
Dave Arch (pianist, conductor, arranger and composer)
orchestra:
The London Symphony Orchestra (London Symphony Orchestra)
conductor:
Alexandre Desplat (French score composer)
concertmaster:
Carmine Lauri (violinist)
recorded at and mixed at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
Alexandre Desplat1:39
31On the Lake (from “All the Way” original soundtrack)
James Newton Howard2:33
32Flares (from “The Mercy” soundtrack)
recording engineer:
Geoff Foster (sound engineer)
programming:
Rutger Hoedemaekers and Jóhann Jóhannsson (Icelandic musician and score composer)
producer:
Jóhann Jóhannsson (Icelandic musician and score composer)
mixer:
Peter Cobbin (recording engineer at Abbey Road Studios) and Kirsty Whalley (engineer and keyboardist)
celesta and piano:
Jóhann Jóhannsson (Icelandic musician and score composer)
electronic instruments:
Rutger Hoedemaekers
keyboard and synthesizer:
Rutger Hoedemaekers and Jóhann Jóhannsson (Icelandic musician and score composer)
recorded at:
Studio 22 (Magyar Rádió) in Budapest, Hungary
Johann Johannsson1:11
33I Think I Am Going to Read (from “Florence Foster Jenkins” soundtrack)
assistant engineer:
John Barrett (engineer) and Lewis Jones (engineer)
engineer:
Peter Cobbin (recording engineer at Abbey Road Studios)
mixer:
Peter Cobbin (recording engineer at Abbey Road Studios), Alexandre Desplat (French score composer) and Kirsty Whalley (engineer and keyboardist)
editor:
Kirsty Whalley (engineer and keyboardist)
orchestra:
John Kirby & His Orchestra
conductor:
Alexandre Desplat (French score composer)
recorded at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
recording of:
I Think I Am Going to Read (From “florence Foster Jenkins” Soundtrack)
orchestrator and composer:
Alexandre Desplat (French score composer)
Alexandre Desplat1:00
34Meditation (from „Free the Mind” soundtrack)
keyboard:
Jóhann Jóhannsson (Icelandic musician and score composer)
percussion:
Ólafur Björn Ólafsson
piano:
Jóhann Jóhannsson (Icelandic musician and score composer) and Ólafur Björn Ólafsson
conductor:
Péter Pejtsik
orchestrator:
Peter Due and Jóhann Jóhannsson (Icelandic musician and score composer)
concertmaster:
Zsófia Környei (Hungarian classical violinist)
recording of:
Meditation (From „free the Mind” Soundtrack)
composer:
Jóhann Jóhannsson (Icelandic musician and score composer)
Johann Johannsson1:29
35Bedtime (from “Florence Foster Jenkins” soundtrack)
assistant engineer:
John Barrett (engineer) and Lewis Jones (engineer)
engineer:
Peter Cobbin (recording engineer at Abbey Road Studios)
mixer:
Peter Cobbin (recording engineer at Abbey Road Studios), Alexandre Desplat (French score composer) and Kirsty Whalley (engineer and keyboardist)
editor:
Kirsty Whalley (engineer and keyboardist)
orchestra:
John Kirby & His Orchestra
conductor:
Alexandre Desplat (French score composer)
recorded at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
recording of:
Bedtime (From “florence Foster Jenkins” Soundtrack)
orchestrator and composer:
Alexandre Desplat (French score composer)
Alexandre Desplat1:00
36Farewell Anna
engineer:
François Goupil and John Kurlander (engineer)
producer:
Howard Shore (Canadian score composer) and James Sizemore (Composer and producer)
mixer:
François Goupil
editor:
James Sizemore (Composer and producer)
orchestra:
Orchestre Métropolitain
conductor:
Howard Shore (Canadian score composer)
orchestrator:
Howard Shore (Canadian score composer)
phonographic copyright (℗) by:
Impression Music LLC
recording of:
Farewell Anna
composer:
Howard Shore (Canadian score composer)
Howard Shore0:45
37The Empire State Building
additional recording engineer:
James T. Hill
recording engineer:
Joel Iwataki and Alan Meyerson
producer:
James Newton Howard (American score composer) and Jim Weidman (music editor, producer)
mixer:
Alan Meyerson
editor:
Marie Ebbing, Malcolm Fife, Peter Myles (editing Engineer), David Olson (engineer, producer), Jonathon Stevens (engineer) and Jim Weidman (music editor, producer)
orchestra:
Hollywood Studio Symphony
conductor:
Pete Anthony (American conductor and orchestrator.), Bruce Babcock and Mike Nowak (violin / viola player and conductor)
orchestrator:
Jeff Atmajian
concertmaster:
Endre Granat (Hungarian violinist)
phonographic copyright (℗) by:
Universal Classics Group (not for release label use, a division of UMG Recordings, Inc.)
mixed at:
Todd-AO Scoring Stage in Studio City, Los Angeles, California, United States
recording of:
The Empire State Building
composer:
James Newton Howard (American score composer)
James Newton Howard42:37
38Anna Marches Into a Waltz
recording engineer and mixer:
Nick Wollage
assistant engineer:
Laurence Anslow (UK engineer AIR Studios) and Fiona Cruickshank
producer:
Dario Marianelli (Italian score composer)
editor:
James Bellamy (editor)
conductor:
Benjamin Wallfisch (English score composer)
orchestrator:
Dario Marianelli (Italian score composer) and Benjamin Wallfisch (English score composer)
phonographic copyright (℗) by:
Focus Features LLC
recorded at and mixed at:
AIR Studios (Lyndhurst Hall 1991–present) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, United Kingdom
recording of:
Anna Marches Into a Waltz
orchestrator:
Dario Marianelli (Italian score composer) and Benjamin Wallfisch (English score composer)
composer:
Dario Marianelli (Italian score composer)
Dario Marianelli0:58
39Play for the Ashes
engineer:
François Goupil and John Kurlander (engineer)
producer:
Howard Shore (Canadian score composer) and James Sizemore (Composer and producer)
mixer:
François Goupil
editor:
James Sizemore (Composer and producer)
orchestra:
Orchestre Métropolitain
conductor:
Howard Shore (Canadian score composer)
orchestrator:
Howard Shore (Canadian score composer)
phonographic copyright (℗) by:
Impression Music LLC
recording of:
Play for the Ashes
composer:
Howard Shore (Canadian score composer)
Ray Chen & Howard Shore0:42
40Shimmering Clouds (from “My Brilliant Friend” TV series soundtrack)
producer:
Max Richter (German pianist and score composer)
phonographic copyright (℗) by:
Deutsche Grammophon GmbH (this is the company; for release labels, use “Deutsche Grammophon”)
recording of:
Shimmering Clouds
composer:
Max Richter (German pianist and score composer)
Max Richter1:15
41Farewell
recording engineer and mixer:
Nick Wollage
programming:
Jody Jenkins (production music)
producer:
Dario Marianelli (Italian score composer)
editor:
James Bellamy (editor)
piano:
Jean‐Yves Thibaudet (pianist)
orchestra:
English Chamber Orchestra
conductor:
Benjamin Wallfisch (English score composer)
orchestrator:
Dario Marianelli (Italian score composer) and Benjamin Wallfisch (English score composer)
recorded at and mixed at:
AIR Studios (Lyndhurst Hall 1991–present) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, United Kingdom
recording of:
Farewell
composer:
Dario Marianelli (Italian score composer)
part of:
Atonement, film score
Dario Marianelli3:32
42Prelude (from “Darkest Hour” soundtrack)
recording engineer and mixer:
Nick Wollage
assistant engineer:
Ashley Andrew-Jones, Fiona Cruickshank and John Prestage (engineer)
producer:
Dario Marianelli (Italian score composer)
editor:
Mark Willsher (Grammy®-winning engineer & producer delivering high-end film score mixing, classical recording, and Dolby Atmos/immersive music production)
piano:
Víkingur Ólafsson (pianist)
conductor:
Dario Marianelli (Italian score composer)
orchestrator:
Geoff Alexander and Dario Marianelli (Italian score composer)
concertmaster:
Rolf Wilson (violinist)
recorded at:
AIR Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, United Kingdom
recording of:
Prelude (From “darkest Hour” Soundtrack)
orchestrator and composer:
Dario Marianelli (Italian score composer)
Dario Marianelli & Víkingur Ólafsson2:25
43Begin Again (from “Werk ohne Autor” soundtrack)
sound engineer:
Rupert Coulson (sound engineer)
engineer:
John Prestage (engineer)
producer:
Max Richter (German pianist and score composer)
orchestra:
Air Lyndhurst Orchestra
phonographic copyright (℗) by:
Studio Richter Mahr
recorded at:
Air Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, United Kingdom
recording of:
Begin Again
composer:
Max Richter (German pianist and score composer)
Max Richter1:50
44Wake (from “Road to Perdition” soundtrack)
recording engineer:
Armin Steiner and Tommy Vicari
producer:
Bill Bernstein
mixer:
Tommy Vicari
editor:
Bill Bernstein and Mike Zainer
conductor:
Thomas Newman (American score composer)
phonographic copyright (℗) by:
Universal Classics Group (not for release label use, a division of UMG Recordings, Inc.)
recording of:
Wake
orchestrator:
Thomas Pasatieri
composer:
Thomas Newman (American score composer)
Thomas Newman1:56
45The Creature (from “The Shape of Water” soundtrack)
recording engineer:
Peter Cobbin (recording engineer at Abbey Road Studios)
producer:
Dominique "Solrey" Lemonnier
mixer:
Peter Cobbin (recording engineer at Abbey Road Studios) and Kirsty Whalley (engineer and keyboardist)
accordion:
Myriam Lafargue
flute [jazz flute] and whistle:
Alexandre Desplat (French score composer)
percussion [percussions]:
Paul Clarvis (percussionist)
piano:
Dave Arch (pianist, conductor, arranger and composer)
orchestra:
The London Symphony Orchestra (London Symphony Orchestra)
conductor:
Alexandre Desplat (French score composer)
concertmaster:
Carmine Lauri (violinist)
recorded at and mixed at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
Alexandre Desplat1:47
46Denouement
English Chamber Orchestra & Benjamin Wallfisch2:27
47Stars and Butterflies (from “Pride & Prejudice” soundtrack)
Jean-Yves Thibaudet1:59
48Of All the Amazing Things (from ’The Aeronauts’ soundtrack)
Steven Price2:28
49Out of Bullets (from “spectre” soundtrack)
additional recording engineer:
Shinnosuke Miyazawa (engineer)
assistant engineer:
Gordon Davidson (engineer, Abbey Road Studios), Lewis Jones (engineer) and Matt Jones (production music composer)
producer:
Bill Bernstein and Thomas Newman (American score composer)
mixer:
Simon Rhodes (senior recording engineer at Abbey Road Studios)
editor:
Bill Bernstein, Peter Clarke (music editor) and Yann McCullough (engineer, composer)
conductor:
Thomas Newman (American score composer)
additional arranger:
Simon Franglen (English score composer)
orchestrator:
J.A.C. Redford
concertmaster:
Thomas Bowes (violinist)
recorded at and mixed at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
recording of:
Out of Bullets
composer:
Thomas Newman (American score composer)
publisher:
United Lion Music Inc.
Thomas Newman2.51:51
50Baby Keisha (from “White Boy Rick” soundtrack)
sound engineer:
Rupert Coulson (sound engineer)
engineer:
Tom Bailey (engineer)
producer:
Max Richter (German pianist and score composer)
orchestra:
Air Lyndhurst Orchestra
phonographic copyright (℗) by:
Columbia Pictures Industries, Inc.
recording of:
Baby Keisha
composer:
Max Richter (German pianist and score composer)
Max Richter2:41
51A Letter From Prison (from “Paddington 2” original motion picture soundtrack)
recording engineer:
Fiona Cruickshank and Nick Wollage
producer:
Maggie Rodford
mixer:
Nick Wollage
assistant editor:
Nathan Klein (editor)
editor:
Mark Willsher (Grammy®-winning engineer & producer delivering high-end film score mixing, classical recording, and Dolby Atmos/immersive music production)
conductor:
Dario Marianelli (Italian score composer)
recorded at and mixed at:
Air Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, United Kingdom
recording of:
A Letter from Prison
orchestrator:
Geoff Alexander and Dario Marianelli (Italian score composer)
composer:
Dario Marianelli (Italian score composer)
Dario Marianelli2:21
521951 (from “Werk ohne Autor” soundtrack)
sound engineer:
Rupert Coulson (sound engineer)
engineer:
John Prestage (engineer)
producer:
Max Richter (German pianist and score composer)
orchestra:
Air Lyndhurst Orchestra
phonographic copyright (℗) by:
Studio Richter Mahr
recorded at:
Air Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, United Kingdom
recording of:
1951
composer:
Max Richter (German pianist and score composer)
Max Richter2:27
53Leaving Netherfield (from “Pride & Prejudice” soundtrack)
Jean-Yves Thibaudet1:41
54Leaving Home, Coming Home
recording engineer and mixer:
Nick Wollage
assistant engineer:
Laurence Anslow (UK engineer AIR Studios) and Fiona Cruickshank
producer:
Dario Marianelli (Italian score composer)
editor:
James Bellamy (editor)
conductor:
Benjamin Wallfisch (English score composer)
orchestrator:
Dario Marianelli (Italian score composer) and Benjamin Wallfisch (English score composer)
phonographic copyright (℗) by:
Focus Features LLC
recorded at and mixed at:
AIR Studios (Lyndhurst Hall 1991–present) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, United Kingdom
recording of:
Leaving Home, Coming Home
orchestrator:
Dario Marianelli (Italian score composer) and Benjamin Wallfisch (English score composer)
composer:
Dario Marianelli (Italian score composer)
Dario Marianelli2:04
55Men’s Room Scandal (from “All the Way” original soundtrack)
James Newton Howard2:31
56Stoke Newington
engineer:
François Goupil and John Kurlander (engineer)
producer:
Howard Shore (Canadian score composer) and James Sizemore (Composer and producer)
mixer:
François Goupil
editor:
James Sizemore (Composer and producer)
orchestra:
Orchestre Métropolitain
conductor:
Howard Shore (Canadian score composer)
orchestrator:
Howard Shore (Canadian score composer)
phonographic copyright (℗) by:
Impression Music LLC
recording of:
Stoke Newington
composer:
Howard Shore (Canadian score composer)
Ray Chen & Howard Shore1:43
57The Secret Life of Daydreams (from “Pride & Prejudice” soundtrack)
Jean-Yves Thibaudet1:55
58I Understood Something
recording engineer and mixer:
Nick Wollage
assistant engineer:
Laurence Anslow (UK engineer AIR Studios) and Fiona Cruickshank
producer:
Dario Marianelli (Italian score composer)
editor:
James Bellamy (editor)
conductor:
Benjamin Wallfisch (English score composer)
orchestrator:
Dario Marianelli (Italian score composer) and Benjamin Wallfisch (English score composer)
phonographic copyright (℗) by:
Focus Features LLC
recorded at and mixed at:
AIR Studios (Lyndhurst Hall 1991–present) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, United Kingdom
recording of:
I Understood Something
orchestrator:
Dario Marianelli (Italian score composer) and Benjamin Wallfisch (English score composer)
composer:
Dario Marianelli (Italian score composer)
Dario Marianelli3:19
59The Farm (from “Road to Perdition” soundtrack)
recording engineer:
Armin Steiner and Tommy Vicari
producer:
Bill Bernstein
mixer:
Tommy Vicari
editor:
Bill Bernstein and Mike Zainer
conductor:
Thomas Newman (American score composer)
phonographic copyright (℗) by:
Universal Classics Group (not for release label use, a division of UMG Recordings, Inc.)
recording of:
The Farm
orchestrator:
Thomas Pasatieri
composer:
Thomas Newman (American score composer)
Thomas Newman2:10
60Signing Ceremony (from “All the Way” original soundtrack)
James Newton Howard2:03
61Warsaw 1986
engineer:
François Goupil and John Kurlander (engineer)
producer:
Howard Shore (Canadian score composer) and James Sizemore (Composer and producer)
mixer:
François Goupil
editor:
James Sizemore (Composer and producer)
orchestra:
Orchestre Métropolitain
conductor:
Howard Shore (Canadian score composer)
orchestrator:
Howard Shore (Canadian score composer)
phonographic copyright (℗) by:
Impression Music LLC
recording of:
Warsaw 1986
composer:
Howard Shore (Canadian score composer)
Howard Shore2:15
62Underwater Kiss (from “The Shape of Water” soundtrack)
Alexandre Desplat2:12
63Terra Firma (from “The Mercy” soundtrack)
recording engineer:
Geoff Foster (sound engineer)
programming:
Rutger Hoedemaekers and Jóhann Jóhannsson (Icelandic musician and score composer)
producer:
Jóhann Jóhannsson (Icelandic musician and score composer)
mixer:
Peter Cobbin (recording engineer at Abbey Road Studios) and Kirsty Whalley (engineer and keyboardist)
celesta and piano:
Jóhann Jóhannsson (Icelandic musician and score composer)
Cristal Baschet and ondes Martenot:
Thomas Bloch (composer)
electronic instruments:
Rutger Hoedemaekers
keyboard and synthesizer:
Rutger Hoedemaekers and Jóhann Jóhannsson (Icelandic musician and score composer)
orchestra:
Budapest Art Orchestra
conductor:
Anthony Weeden (Conductor and orchestrator)
orchestrator:
Jóhann Jóhannsson (Icelandic musician and score composer) and Anthony Weeden (Conductor and orchestrator)
recorded at:
Studio 22 (Magyar Rádió) in Budapest, Hungary
Johann Johannsson & Rutger Hoedemaekers2:38
64Lionel and Bertie
assistant recording engineer and assistant mixer:
John Barrett (engineer)
recording engineer and mixer:
Peter Cobbin (recording engineer at Abbey Road Studios)
producer:
Alexandre Desplat (French score composer) and Maggie Rodford
conductor:
Alexandre Desplat (French score composer)
phonographic copyright (℗) by:
Cutting Edge Music (Holdings) Limited
recording of:
Lionel and Bertie
orchestrator:
Jean-Pascal Beintus (composer) and Alexandre Desplat (French score composer)
composer:
Alexandre Desplat (French score composer)
Alexandre Desplat2:11
65The Danish Girl (from “The Danish Girl” soundtrack)
Alexandre Desplat2:11
66She Was Running (from “My Brilliant Friend” TV series soundtrack)
producer:
Max Richter (German pianist and score composer)
phonographic copyright (℗) by:
Deutsche Grammophon GmbH (this is the company; for release labels, use “Deutsche Grammophon”)
recording of:
She Was Running
composer:
Max Richter (German pianist and score composer)
Max Richter2:09
67After the Shooting (from “All the Way” original soundtrack)
James Newton Howard1:57
68The Doldrums (from “The Mercy” soundtrack)
recording engineer:
Geoff Foster (sound engineer)
programming:
Rutger Hoedemaekers and Jóhann Jóhannsson (Icelandic musician and score composer)
producer:
Jóhann Jóhannsson (Icelandic musician and score composer)
mixer:
Peter Cobbin (recording engineer at Abbey Road Studios) and Kirsty Whalley (engineer and keyboardist)
celesta and piano:
Jóhann Jóhannsson (Icelandic musician and score composer)
electronic instruments:
Rutger Hoedemaekers
keyboard:
Rutger Hoedemaekers, Jóhann Jóhannsson (Icelandic musician and score composer) and Ólafur Björn Ólafsson
percussion:
Ólafur Björn Ólafsson
synthesizer:
Rutger Hoedemaekers and Jóhann Jóhannsson (Icelandic musician and score composer)
orchestra:
Budapest Art Orchestra
conductor:
Anthony Weeden (Conductor and orchestrator)
orchestrator:
Jóhann Jóhannsson (Icelandic musician and score composer) and Anthony Weeden (Conductor and orchestrator)
recorded at:
Studio 22 (Magyar Rádió) in Budapest, Hungary
Johann Johannsson & Rutger Hoedemaekers2:12
69She Is of the Heavens
recording engineer and mixer:
Nick Wollage
assistant engineer:
Laurence Anslow (UK engineer AIR Studios) and Fiona Cruickshank
producer:
Dario Marianelli (Italian score composer)
editor:
James Bellamy (editor)
conductor:
Benjamin Wallfisch (English score composer)
orchestrator:
Dario Marianelli (Italian score composer) and Benjamin Wallfisch (English score composer)
phonographic copyright (℗) by:
Focus Features LLC
recorded at and mixed at:
AIR Studios (Lyndhurst Hall 1991–present) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, United Kingdom
recording of:
She Is of the Heavens
orchestrator:
Dario Marianelli (Italian score composer) and Benjamin Wallfisch (English score composer)
composer:
Dario Marianelli (Italian score composer)
Dario Marianelli2:00
70She’s Late (from ’The Aeronauts’ soundtrack)
Steven Price2:24
71We Will Break That Record (from ’The Aeronauts’ soundtrack)
Steven Price2:33
72Fin McGovern (from “Road to Perdition” soundtrack)
recording engineer:
Armin Steiner and Tommy Vicari
producer:
Bill Bernstein
mixer:
Tommy Vicari
editor:
Bill Bernstein and Mike Zainer
conductor:
Thomas Newman (American score composer)
phonographic copyright (℗) by:
Universal Classics Group (not for release label use, a division of UMG Recordings, Inc.)
recording of:
Fin McGovern
orchestrator:
Thomas Pasatieri
composer:
Thomas Newman (American score composer)
Thomas Newman2:12
73The Song of Names Prayer
engineer:
François Goupil and John Kurlander (engineer)
producer:
Howard Shore (Canadian score composer) and James Sizemore (Composer and producer)
mixer:
François Goupil
editor:
James Sizemore (Composer and producer)
orchestra:
Orchestre Métropolitain
conductor:
Howard Shore (Canadian score composer)
orchestrator:
Howard Shore (Canadian score composer)
phonographic copyright (℗) by:
Impression Music LLC
recording of:
The Song of Names Prayer
composer:
Howard Shore (Canadian score composer)
Daniel Mutlu & Howard Shore2:33
74The Book Is Stolen (from “Paddington 2” original motion picture soundtrack)
recording engineer:
Fiona Cruickshank and Nick Wollage
producer:
Maggie Rodford
mixer:
Nick Wollage
assistant editor:
Nathan Klein (editor)
editor:
Mark Willsher (Grammy®-winning engineer & producer delivering high-end film score mixing, classical recording, and Dolby Atmos/immersive music production)
conductor:
Dario Marianelli (Italian score composer)
recorded at and mixed at:
Air Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, United Kingdom
recording of:
The Book Is Stolen
orchestrator:
Geoff Alexander and Dario Marianelli (Italian score composer)
composer:
Dario Marianelli (Italian score composer)
Dario Marianelli2:22
75Cathedral (from “Road to Perdition” soundtrack)
recording engineer:
Armin Steiner and Tommy Vicari
producer:
Bill Bernstein
mixer:
Tommy Vicari
editor:
Bill Bernstein and Mike Zainer
conductor:
Thomas Newman (American score composer)
phonographic copyright (℗) by:
Universal Classics Group (not for release label use, a division of UMG Recordings, Inc.)
samples:
Alma Redemptoris mater (Marian Antiphon) by Choir of King’s College, Cambridge, Stephen Cleobury (organist, conductor)
recording of:
Cathedral
orchestrator:
Thomas Pasatieri
composer:
Thomas Newman (American score composer)
Thomas Newman2:40
76Kurt & Elisabeth (from “Werk ohne Autor” soundtrack)
sound engineer:
Rupert Coulson (sound engineer)
engineer:
John Prestage (engineer)
producer:
Max Richter (German pianist and score composer)
orchestra:
Air Lyndhurst Orchestra
phonographic copyright (℗) by:
Studio Richter Mahr
recorded at:
Air Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, United Kingdom
recording of:
Kurt & Elisabeth
composer:
Max Richter (German pianist and score composer)
Max Richter2:51
77Night Drive (from “White Boy Rick” soundtrack)
sound engineer:
Rupert Coulson (sound engineer)
engineer:
Tom Bailey (engineer)
producer:
Max Richter (German pianist and score composer)
orchestra:
Air Lyndhurst Orchestra
phonographic copyright (℗) by:
Columbia Pictures Industries, Inc.
recording of:
Night Drive
composer:
Max Richter (German pianist and score composer)
Max Richter2:54
78Philomena
recording engineer and mixer:
Peter Cobbin (recording engineer at Abbey Road Studios)
assistant engineer:
Lewis Jones (engineer)
producer:
Dominique Lemonnier
editor:
Gerard McCann (producer, editor)
orchestra:
London Symphony Orchestra
conductor:
Alexandre Desplat (French score composer)
phonographic copyright (℗) by:
Pathé Productions Limited, Philomena Lee Limited and The Weinstein Company LLC (do not use as a release label!)
recorded at and mixed at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
recording of:
Philomena
orchestrator and composer:
Alexandre Desplat (French score composer)
Alexandre Desplat2:54
79Memory Lane (from “Werk ohne Autor” soundtrack)
sound engineer:
Rupert Coulson (sound engineer)
engineer:
John Prestage (engineer)
producer:
Max Richter (German pianist and score composer)
orchestra:
Air Lyndhurst Orchestra
phonographic copyright (℗) by:
Studio Richter Mahr
recorded at:
Air Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, United Kingdom
recording of:
Memory Lane
composer:
Max Richter (German pianist and score composer)
Max Richter2:56
80The Song of Names for Violin and Orchestra
engineer:
François Goupil and John Kurlander (engineer)
producer:
Howard Shore (Canadian score composer) and James Sizemore (Composer and producer)
mixer:
François Goupil
editor:
James Sizemore (Composer and producer)
orchestra:
Orchestre Métropolitain
conductor:
Howard Shore (Canadian score composer)
orchestrator:
Howard Shore (Canadian score composer)
phonographic copyright (℗) by:
Impression Music LLC
recording of:
The Song of Names for Violin and Orchestra
composer:
Howard Shore (Canadian score composer)
Ray Chen & Howard Shore3:01
81One Orange at a Time (from “Paddington 2” original motion picture soundtrack)
recording engineer:
Fiona Cruickshank and Nick Wollage
producer:
Maggie Rodford
mixer:
Nick Wollage
assistant editor:
Nathan Klein (editor)
editor:
Mark Willsher (Grammy®-winning engineer & producer delivering high-end film score mixing, classical recording, and Dolby Atmos/immersive music production)
conductor:
Dario Marianelli (Italian score composer)
recorded at and mixed at:
Air Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, United Kingdom
recording of:
One Orange at a Time
orchestrator:
Geoff Alexander and Dario Marianelli (Italian score composer)
composer:
Dario Marianelli (Italian score composer)
Dario Marianelli3:03
82Farewell
orchestra:
Bucharest Metropolitan Orchestra (George Enescu Philharmonic Orchestra)
conductor:
Radu Popa (Romanian conductor)
phonographic copyright (℗) by:
Deutsche Grammophon GmbH (this is the company; for release labels, use “Deutsche Grammophon”) (in 2007)
recording of:
Farewell
composer:
Osvaldo Golijov (Argentinean composer)
part of:
Youth Without Youth
Bucharest Metropolitan Orchestra & Radu Popa3:04
83American Beauty (Arr. for Violin and Orchestra) (from American Beauty)
violin:
Daniel Hope (violinist)
orchestra:
Royal Stockholm Philharmonic Orchestra
conductor:
Alexander Shelley (conductor)
recorded at:
Stockholms konserthus (Stockholm Concert Hall, Konserthuset Stockholm) in Stockholm, Stockholms län (Stockholm county), Sweden (in 2013-01)
recording of:
American Beauty
orchestrator:
Thomas Pasatieri
composer:
Thomas Newman (American score composer)
part of:
American Beauty (1999)
Daniel Hope, Kungliga Filharmonikerna & Alexander Shelley3:04
84Road to Chicago (from “Road to Perdition” soundtrack)
recording engineer:
Armin Steiner and Tommy Vicari
producer:
Bill Bernstein
mixer:
Tommy Vicari
editor:
Bill Bernstein and Mike Zainer
orchestra:
[anonymous] (special purpose artist)
conductor:
Thomas Newman (American score composer)
phonographic copyright (℗) by:
Universal Classics Group (not for release label use, a division of UMG Recordings, Inc.)
recording of:
Road to Chicago (Road to Perdition)
orchestrator:
Thomas Pasatieri
composer:
Thomas Newman (American score composer)
part of:
Road to Perdition
Thomas Newman3:06
85Lost and Found (from “Paddington 2” original motion picture soundtrack)
recording engineer:
Fiona Cruickshank and Nick Wollage
producer:
Maggie Rodford
mixer:
Nick Wollage
assistant editor:
Nathan Klein (editor)
editor:
Mark Willsher (Grammy®-winning engineer & producer delivering high-end film score mixing, classical recording, and Dolby Atmos/immersive music production)
conductor:
Dario Marianelli (Italian score composer)
recorded at and mixed at:
Air Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, United Kingdom
recording of:
Lost and Found
orchestrator:
Geoff Alexander and Dario Marianelli (Italian score composer)
composer:
Dario Marianelli (Italian score composer)
Dario Marianelli3:09
86King Kong
additional recording engineer:
James T. Hill
recording engineer:
Joel Iwataki and Alan Meyerson
producer:
James Newton Howard (American score composer) and Jim Weidman (music editor, producer)
mixer:
Alan Meyerson
editor:
Marie Ebbing, Malcolm Fife, Peter Myles (editing Engineer), David Olson (engineer, producer), Jonathon Stevens (engineer) and Jim Weidman (music editor, producer)
orchestra:
Hollywood Studio Symphony
conductor:
Pete Anthony (American conductor and orchestrator.), Bruce Babcock and Mike Nowak (violin / viola player and conductor)
orchestrator:
Jeff Atmajian
concertmaster:
Endre Granat (Hungarian violinist)
phonographic copyright (℗) by:
Universal Classics Group (not for release label use, a division of UMG Recordings, Inc.)
mixed at:
Todd-AO Scoring Stage in Studio City, Los Angeles, California, United States
recording of:
King Kong
composer:
James Newton Howard (American score composer)
James Newton Howard1:10
87All Alone (from “White Boy Rick” soundtrack)
sound engineer:
Rupert Coulson (sound engineer)
engineer:
Tom Bailey (engineer)
producer:
Max Richter (German pianist and score composer)
piano:
Andy Massey (pianist)
orchestra:
Air Lyndhurst Orchestra
phonographic copyright (℗) by:
Columbia Pictures Industries, Inc.
recording of:
All Alone
composer:
Max Richter (German pianist and score composer)
Max Richter3:14
88Good Morning, Midnight
producer:
Jóhann Jóhannsson (Icelandic musician and score composer)
mixer:
Francesco Donadello
electronic instruments [programming]:
Jóhann Jóhannsson (Icelandic musician and score composer)
orchestra:
Air Lyndhurst String Orchestra
conductor:
Anthony Weeden (Conductor and orchestrator)
arranger and orchestrator:
Jóhann Jóhannsson (Icelandic musician and score composer)
additional orchestrator:
Owen Roberts and Anthony Weeden (Conductor and orchestrator)
mixed at:
Vox-Ton Recording Studio in Berlin, Germany
recording of:
Good Morning, Midnight
composer:
Jóhann Jóhannsson (Icelandic musician and score composer)
Johann Johannsson, Air Lyndhurst String Orchestra & Anthony Weeden3:17
89The Song of Names for Violin and Cantor
engineer:
François Goupil and John Kurlander (engineer)
producer:
Howard Shore (Canadian score composer) and James Sizemore (Composer and producer)
mixer:
François Goupil
editor:
James Sizemore (Composer and producer)
orchestra:
Orchestre Métropolitain
conductor:
Howard Shore (Canadian score composer)
orchestrator:
Howard Shore (Canadian score composer)
phonographic copyright (℗) by:
Impression Music LLC
recording of:
The Song of Names for Violin and Cantor
composer:
Howard Shore (Canadian score composer)
Ray Chen, Daniel Mutlu & Howard Shore3:18
90Overture
recording engineer and mixer:
Nick Wollage
assistant engineer:
Laurence Anslow (UK engineer AIR Studios) and Fiona Cruickshank
producer:
Dario Marianelli (Italian score composer)
editor:
James Bellamy (editor)
conductor:
Benjamin Wallfisch (English score composer)
orchestrator:
Dario Marianelli (Italian score composer) and Benjamin Wallfisch (English score composer)
phonographic copyright (℗) by:
Focus Features LLC
recorded at and mixed at:
AIR Studios (Lyndhurst Hall 1991–present) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, United Kingdom
recording of:
Overture
orchestrator:
Dario Marianelli (Italian score composer) and Benjamin Wallfisch (English score composer)
composer:
Dario Marianelli (Italian score composer)
Dario Marianelli3:20
91The Professor’s Portrait (from “Werk ohne Autor” soundtrack)
sound engineer:
Rupert Coulson (sound engineer)
engineer:
John Prestage (engineer)
producer:
Max Richter (German pianist and score composer)
orchestra:
Air Lyndhurst Orchestra
phonographic copyright (℗) by:
Studio Richter Mahr
recorded at:
Air Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, United Kingdom
recording of:
The Professor’s Portrait
composer:
Max Richter (German pianist and score composer)
Max Richter3:22
92Rock Island, 1931 (from “Road to Perdition” soundtrack)
recording engineer:
Armin Steiner and Tommy Vicari
producer:
Bill Bernstein
mixer:
Tommy Vicari
editor:
Bill Bernstein and Mike Zainer
conductor:
Thomas Newman (American score composer)
phonographic copyright (℗) by:
Universal Classics Group (not for release label use, a division of UMG Recordings, Inc.)
recording of:
Rock Island, 1931
orchestrator:
Thomas Pasatieri
composer:
Thomas Newman (American score composer)
Thomas Newman3:22
93Anthony’s Story
recording engineer and mixer:
Peter Cobbin (recording engineer at Abbey Road Studios)
assistant engineer:
Lewis Jones (engineer)
producer:
Dominique Lemonnier
editor:
Gerard McCann (producer, editor)
orchestra:
London Symphony Orchestra
conductor:
Alexandre Desplat (French score composer)
phonographic copyright (℗) by:
Pathé Productions Limited, Philomena Lee Limited and The Weinstein Company LLC (do not use as a release label!)
recorded at and mixed at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
recording of:
Anthony’s Story
orchestrator and composer:
Alexandre Desplat (French score composer)
Alexandre Desplat3:25
94Escape Waltz (from “Paddington 2” original motion picture soundtrack)
recording engineer:
Fiona Cruickshank and Nick Wollage
producer:
Maggie Rodford
mixer:
Nick Wollage
assistant editor:
Nathan Klein (editor)
editor:
Mark Willsher (Grammy®-winning engineer & producer delivering high-end film score mixing, classical recording, and Dolby Atmos/immersive music production)
conductor:
Dario Marianelli (Italian score composer)
recorded at and mixed at:
Air Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, United Kingdom
recording of:
Escape Waltz
orchestrator:
Geoff Alexander and Dario Marianelli (Italian score composer)
composer:
Dario Marianelli (Italian score composer)
Dario Marianelli3:27
95Nonviolent Offender (from “White Boy Rick” soundtrack)
sound engineer:
Rupert Coulson (sound engineer)
engineer:
Tom Bailey (engineer)
producer:
Max Richter (German pianist and score composer)
piano:
Andy Massey (pianist)
orchestra:
Air Lyndhurst Orchestra
phonographic copyright (℗) by:
Columbia Pictures Industries, Inc.
recording of:
Nonviolent Offender
composer:
Max Richter (German pianist and score composer)
Max Richter3:32
96Happy Birthday Aunt Lucy (from “Paddington 2” original motion picture soundtrack)
recording engineer:
Fiona Cruickshank and Nick Wollage
producer:
Maggie Rodford
mixer:
Nick Wollage
assistant editor:
Nathan Klein (editor)
editor:
Mark Willsher (Grammy®-winning engineer & producer delivering high-end film score mixing, classical recording, and Dolby Atmos/immersive music production)
conductor:
Dario Marianelli (Italian score composer)
recorded at and mixed at:
Air Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, United Kingdom
recording of:
Happy Birthday Aunt Lucy
orchestrator:
Geoff Alexander and Dario Marianelli (Italian score composer)
composer:
Dario Marianelli (Italian score composer)
Dario Marianelli3:34
97Your Reflection (from “My Brilliant Friend” TV series soundtrack)
producer:
Max Richter (German pianist and score composer)
phonographic copyright (℗) by:
Deutsche Grammophon GmbH (this is the company; for release labels, use “Deutsche Grammophon”)
recording of:
Your Reflection
composer:
Max Richter (German pianist and score composer)
Max Richter3:36
98The Shape of Water (from “The Shape of Water” soundtrack)
recording engineer:
Peter Cobbin (recording engineer at Abbey Road Studios)
producer:
Dominique "Solrey" Lemonnier
mixer:
Peter Cobbin (recording engineer at Abbey Road Studios) and Kirsty Whalley (engineer and keyboardist)
accordion:
Myriam Lafargue
flute [jazz flute] and whistle:
Alexandre Desplat (French score composer)
percussion [percussions]:
Paul Clarvis (percussionist)
piano:
Dave Arch (pianist, conductor, arranger and composer)
orchestra:
The London Symphony Orchestra (London Symphony Orchestra)
conductor:
Alexandre Desplat (French score composer)
concertmaster:
Carmine Lauri (violinist)
recorded at and mixed at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
Alexandre Desplat3:43
99May It Be (Arr. M. Sheeran)
recording engineer:
David Hinitt (UK recording engineer, early 21c) (from 2018-05-03 until 2018-06-08)
mixer:
David Hinitt (UK recording engineer, early 21c)
bass vocals:
Robert Clark (Baritone) (from 2018-05-03 until 2018-06-08)
arranger:
Matthew Sheeran
recorded at:
St George’s Church (Chesterton) in Cambridge, Cambridgeshire, England, United Kingdom (from 2018-05-03 until 2018-06-08)
recording of:
May It Be (Enya song for Lord of the Rings soundtrack) (from 2018-05-03 until 2018-06-08)
orchestrator:
Howard Shore (Canadian score composer)
lyricist:
Roma Ryan
composer:
Enya (Irish singer-songwriter) and Nicky Ryan
publisher:
EMI Blackwood Music Inc., EMI Music Publishing Ltd. (PRS‐affiliated) and EMI Songs Ltd.
part of:
The 74th Academy Award for Best Original Song (number: 2)
part of:
The Lord of the Rings: The Fellowship of the Ring (film soundtrack)
Voces83:45
100Windsor Gardens (from “Paddington 2” original motion picture soundtrack)
recording engineer:
Fiona Cruickshank and Nick Wollage
producer:
Maggie Rodford
mixer:
Nick Wollage
assistant editor:
Nathan Klein (editor)
editor:
Mark Willsher (Grammy®-winning engineer & producer delivering high-end film score mixing, classical recording, and Dolby Atmos/immersive music production)
conductor:
Dario Marianelli (Italian score composer)
recorded at and mixed at:
Air Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, United Kingdom
recording of:
Windsor Gardens
orchestrator:
Geoff Alexander and Dario Marianelli (Italian score composer)
composer:
Dario Marianelli (Italian score composer)
Dario Marianelli4:04
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Credits

Release

copyrighted (©) by and phonographic copyright (℗) by:UMG Recordings, Inc. (operational headquarters of Universal Music Group, based in Santa Monica, USA; read annotations) (in 2020)
stream for free:https://open.spotify.com/album/7rgVitzFjRW9C4nxIiWya5 [info]
https://www.deezer.com/album/171998872 [info]