In order to fully understand the score, I do recommend that people listen to the first MOH score, because most of the main themes that are carried over from that score. We get the return of the Nazis theme in a few places, as well as the central hero theme. The Panzer Attack theme also makes a huge appearance, which is one of my favorite themes.
This time around the various tracks are interconnected and bleed into each other. So, the score is comprised of suites. Each suite does a have main theme that carries over to the other tracks with that certain suite. However, there’s more to the score than merely wonderfully comprised musical suites.
There are stand-alone tracks that are choir-heavy. And, these are some of the prettiest songs you’ll ever hear from a videogame. You can listen to these tracks and force yourself to believe that these songs didn’t come from a videogame. The descending chords feel like they are written for a pipe organ, but he used a choir instead.
Despite the heavy use of both children and adult choirs, this is a brass-centric score. Strings take a backseat to mostly brass solos. (Michael Giacchino would go for a more string-based group when he scores for the show LOST.) And, being a low brass player myself, this pleases me greatly.
As I stated before, Giacchino’s work will remind most people of John Williams’ work from the 70-80s. Many reviewers have stated that there is certainly an Indiana Jones influence in his music in Frontline, and I have to agree with them. Many of the chase cues do have that feel to it.
End of part 2
(Next up, I’ll go through my favorite tracks.)
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