As might be expected, Gregson-Williams uses themes and motifs he established in the first movie to good effect in PC while introducing several new ones. Prince Caspian's theme itself is initially rather gingerly rendered, but as the movie progresses the theme itself becomes stronger each time we hear it, which mirror's the prince's development as a character.

Caspian is, of course, the rightful heir to the magic land's throne, but he's been forced into hiding by his usurping uncle Miraz, who wants his own son to become the ruler of Narnia. The new, darker music herein fits the wider scope and more mature theme of this film. "Prince Caspian Flees" is a stirring opening that is somewhat darker than the music for the first movie and hints at the darker tone of this movie. It's a march with percussive emphases and a choral background.

Cue 2, "The Kings and Queens of Old," is a very sad and gentle piece that underscores the Pevensie siblings' discovery that although they have been gone from Narnia for only a year of their time, more than a thousand years have passed there, and Narnia has changed greatly. The third cue, "Journey to the How," starts quietly while the children are making their way through the changed landscape of Narnia. We hear Aslan's theme for the first time, rendered herein on the electric violin.

Lose yourself in the musical spell

"Arrival at Aslan's How," Cue 4, points up the bittersweet reunion between the siblings and their beloved Aslan. They are happy to see him again, but Narnia has changed so much that they can't hide their dismay. Gregson-Williams' music evokes this quite well, with a very strong rendering of Aslan's theme again.

Cue 5 is "Attack at the Castle," is the most dynamic and up-tempo piece of music found in the score so far, perfectly matched to the battle at Miraz's fortress. My favorite cut is "Sorcery and Sudden Vengeance," Cue 7, with ominous swirls of atonalities and growling, almost snarling vocal passages hinting at the dark curlicues of mystery fitting Miraz's scheming. Very creepy, until the cue whips into a frenzy of controlled passion—which is, after all, what magic is: controlled passion. "The Duel" (7) opens with a hearbeat thump that segues into a metronomic ticking that measures off the time before the combatants meet with a small "sting" or two that points up the hidden anxiety and fear of the antagonists.

In addition to Gregson-Williams' orchestral work there are also four songs performed by Regina Spektor, Oren Lavie, Switchfoot and Hanne Hukkelberg. They're something of a mixed bag, with my faves being Switchfoot's slightly rockish tune and Hukkelberg's "Lucy," an unexpectedly sweet offering. Why this last wasn't included in the film puzzles me.