Cre eM LEC AO en Oren Perea RRR IN cer rR LL ER Rca eer Ona chuala mi am Prionnsa, Thighinn do dbithaich Chloinn Raghnaill. Crt ae eee AST Lm ae ce ree Is ann tha an fhior-fbuil gun truailleadh, PM ae L Nae Pan aD) arate ee ec Sem LULL Prieta ee em LL Rerme nr ee men es Dre Oe ot cc Bhiodb Loch Iall mar bu choir dha, Cur an ordugh nan Gaidheal. sero nI Sn La vee ea) A en La Early in the morning as I awaken (Crane ao Mac a LL Since I've heard of the Prince's coming SP re RO taco Sra ae ete ade WCNC LL ta re a pare cad Runs blood that is pure and undefiled. PN RO Reras ean RD ALL Seema eed And if you came again Pree ea ce eee PT eae are lec Ce Boy eT Le ond PY Rye aL Would be drawing up the Gaels for battle. BUC ROCCO N melas (Melee Con) PETROS AE CMS oleh Caen en Mac We Toga eee eee ced Cerrar mest aT: ONO pL dno) the Scots really believed that their uprising could succeed. For this reason, | felt that using it here would make Outlander even more authentic. “Moch Sa Mhadainn” was very likely sung during the uprising by mounted COC enya nl Oe mula Crom aceltloy SST MIT etn oer eo areca Toth that feeling by featuring male vocals in the soundtrack, | found an inspiring Gaelic singer named Griogair Labhruidh. Struck Ae om LM CRN CCM ECM ele een nec nme Te mecl(1s(eir SUS would be perfect for Outlander. He recorded his vocals in a studio less than twenty- five miles from Glenfinnan, where the Bonnie Prince raised his standard on the shores of Loch Shiel all those years ago. “Moch Sa Mhadainn" had the melodic qualities | was looking for—strong inter- vallic leaps and a simple, repetitive structure to make it memorable—but I expanded the harmonic foundation to include more contemporary chords. My goal was to Pee Pomme mn CLM Cele hotawithin the narrative and create a version unique to Outlander. The song is heard in a plaintive setting in “Je Suis Prest" (Track 12), along with Labhruidh's performance of the Creel treat mT an) Cate Recon aa a econ toMe Cr aCe CoCo ST MN eae Co oe ROT - climax in “125 Yards" (Track 13) and then a blistering tempo in “The Uprising Begins” (Track 15). My arrangement of the complete song (Track 17) was featured prominently Erasers Comes Teer APU ORO ea ance oe eT LT he adventurous second season of Outlander allowed me to learn and Pee UM TTS tacmntete im it can Nant tec em TCon eme on =) of French baroque music, performance and history—followed by an in- ee study of lesser-known Jacobite musical history—resulted in one of the most exciting and’ creative experiences of my career. | concluded this season a better composer than when I began, and for that I am grateful. Now, with the series “picked up for two more seasons, | know this musical journey has only just begun. iret certg ee GeertAlbum Produced by Seare aero [eam enn g fener teecty Sera nnd Seo Kener Scoring Assistants Assistant to the Composer vires nirc Tecra cca Ieee ETM tant ts ee eae onto Scottish Music Consultant Choir Contractor Prot med FONT Curuts SRO nar te Cog Sony Pictures Television (SPT) Music Creative Affairs for SPT. Music Business Affairs for SPT ener NECN Renteen cous INORene nro NTE Se te D roca} None RGus eee errr All tracks published by Twenty Fifteen Aven McCreary Peaster aera Veta ere tnaees tered Sth Sera ent Veta Cerin Jessica Rae Huber Olivia Blissett, Kaiyan Wor Jason Akers, Omer Ben-Zyi, Jonathan Chau Sam Ewing, Andrew Harris, David Matics, innit Reenter ANS ey Tetris Cereea a rem Nts Warne rest CRE Ta enekeN ttn eS Cri ROS eS eoen Florie-Anne Virgile Marie-Pierre leancard Coast, Erik Nesse Malachai Komanoft Bandy Adam Knight Gilbert Pontes Orem eR enor Ceres raeT tT Alasdair Currie, J. Decker Forrest Marcel Gurillo, Griogair Labhruidh, TIN RTO et TOMS Ce oN eon Siro tt eae ca int Rod Davis PPO Rrccealt YTS Oa Eno Sen ee ney Music, Ine. (ASCAP), with the exception of Track 06 Track 06 published by Twenty Fitteen Avenue Music, Inc, (ASCAP), and ole TV Avenue Music (ASCAP) Schwarz, Ryan Sanchez, Allan Hessler, Bear McCreary wishes to thank: Ronald D. Moore, Diana Gabaldon, and all the writers, producers, cast and crew for their unwavering creative support. Special thanks are also due to Edward Trybek, Henri Wilkinson, Sally Pane, Perrine Virgile-Pickarski and Ester Zago for French consultation; Elicia Bessette, Toni Graphia, Chris Parnell and Tony Scudellari at Sony; as well as Chris Albrecht, Carmi Zlotnick, Janine Scalise-Boyd and everyone at STARZ; my entire team at Sparks and Shadows, Joe Augustine, Beth Krakower, Pome Cornice MUSE UTR A NOMeLtT ham Cece COM TCE Ue MoM NAR LECT CME TTS tat1. Outlander — The Skye Boat Song (French Version) (feat. Raya Yarbrough) DIB Nas erasure! 3. Wrath of the Comte Cee oeru ly re cmc 6. Honey Pot Va Ue rece 8. Baroque Chess Match 9. The Duel Teme seri 11. Outlander — The Skye Boat Song (Jacobite Version) (feat. Raya Yarbrough) 12. Je Suis Prest (feat. Griogair Labhruidh) 13. 125 Yards 14, Vengeance at Your Feet Tee Re enemies 16. Prestonpans 17. Moch Sa Mhadainn (feat. Griogair Labhruidh) PEMA AN Coeerrone metee lected 19. Tales of Brianna 20. Running Out of Time PEPE ITD mem Om Clee POP Warm elem Tad iisstA Note from the Composer: corporating Scottish folk music and Teton elton mcm Mel ait eels OU ome cce Mee Kon LT Tana hae ic rae aT a Co Our protagonists move from the rolling hills of the Scottish highlands to the gilded halls of Parisian courts during the opulent reign of King Louis XV, and then back to a Scotland ravaged by revolution. | enthusiastically embraced this dramatic journey by reinventing Tere Rel maak SYA tes aon Vo Cm CI Cod ad H imagine the main title, “The =f Skye Boat Song,” with French influences. I started by producing a completely new recording of the theme. I stripped the group down Poa Wor Lee WOE Tom on Coe viola da gamba, harpsichord and ONT mm Sree tT an Zeer Raya Yarbrough recorded the song in French. Showrunner Ron Moore and I were intrigued by this new take on the material. After discussions with the studio and network, however, we felt that this direction might sacrifice the audience's familiarity and nostalgic connection with the lyrics established in the first season. We also had concerns when we looked to the future. Our characters would. not spend the entire season in Paris, which meant that our main title would have to change again before the season concluded. Upon reflection, | feared that so many drastic changes in the main title might be too jarring to the audience. Ron and | decided instead to create a hybrid of the French and Scottish arrangements, a version ideal for broadcast. For the album experience, however, | am excited to present my initial, fully French recording of Biase ace SECU O Ey ae aC) Pitan Cen CL CO Bee was just the beginning of CU Keen Mee into the history of French Pert ctane Vsamee Perens ena n ert ol OMe CILCen TMS Ted PN ame Cs (on CO) 1 Petal EV CopmCEoeT PO Mec eee] the music of the French error ta tortor mentees PORT seen TSO and historical information. CCC Cayo Samo) Vers i am CCaCo an sel aedETT ETC TCeaT Oe a ColaT TK Bec Lalande, Jean-Philippe Rameau, ieee nem tare etree cern Ca Charpentier and Jean-Baptiste Lully. Armed with new knowledge of the period, and inspired by Pee er nin aes testo design of Jon Gary Steele and the luscious costumes created by Terry Dresbach, I set out to score Are eres ee aos stern) of the French baroque musical world with “Ver- aire a ame etn PET oe the Prelude (Marche en Rondeau) to Marc-Antoine Charpentier's Te Deum. Historically speaking, orchestras and operas at Versailles could reach massive proportions, featuring hundreds of performers playing in grand halls and vast gardens for thousands of spectators. While our orchestra was not quite that big, I did attempt to cram in as much sound as possible for our transition to the mighty PLE com Renee Ree eke Ren onle) Come Teele ce RUT) ECRe Wert lor Mac aes Cea Te Ke baroque lute, baroque trumpets, timpani and percussion. If this cue sounds immediately distinct, it may be because it marks the first time I have ever used brass instruments on the OT amcee itd There are many other historical music quotations woven into the score. “Into Paris” (Track 05) is built from the famous Passacaille from Jean-Baptiste Lully’s Armide. | found myself returning to Lully again and again throughout the course of these episodes, because his melodies were so evocative. "Honey Pot" (Track 06) contains a tune from the Overture to Marin Marais’ opera Alcide. CULT econ Ome le ce aM ome nome ratte music of Marin Marais has been used to underscore female waxing!) “The Apothecary" (Track 07) concludes with another Lully composition, the second Intermede from Le Bourgeois gentilbomme. “Baroque Chess Match" (Track 08) opens with my own odd arrangement of the Chaconne from Dardanus Lae ect ees Rameau. And “The Duel’ (Track RU pulse-pounding setting of a Muzette et Double from Marais’ fourth book of Pitces de violes. he score for season two of Outlander is built Tear a Moms first season, most notably the Claire and Jamie Theme (Track 21, “Destiny on Culloden Moor’), the Frank Theme (Track 02, “Leave the Past Behind"), and the Stones Theme (Track 22, “A Fraser Officer Survived"). However, | also composed and Ele te Rea Ce RUC Colm orc 1 CM ONMOC TeCCard Shortly after arriving in France, Claire crosses Pree Cela ae Tae Te Meola om Comte St. Germain. The Comte's frilly, extravagantcostume is at odds with his menacing, hawk-like gaze. The true Comte St. Germain was a prominent figure in European high society during the mid-1700's, and was known to dabble in the arts, sciences and music. In fact, he composed many sonatas and arias. | SCs leant ate M Comore CaCO Re MEN MAC Cole (eR ele M UCM TOM aN ee lea COMIC fictional counterpart. Historian Adam Knight Gilbert pulled several St. Germain compositions from a music library. | was struck by a melody drawn from one composition called “Se mai riviene." I oymmantcm ttn erro Me MGR ogt aoe Melt emt atc Fr rae MR Oo Cc a RSC CCT is that the real Comte St. Germain composed PONY CUaCe Cm ao (OFT mreeo tn cee le ltaamece nT tee a mm AT) oat e MeO AIMS N ane Ome CANO e Usually performed on a solo accordion, Raymond's Theme (Track 07, “The Apothe- Probe et ekec tt ence Perea need PVT ete ogee CEE as well (Track 10, “Faith"). I strove to give this character a timeless quality by featuring a plaintive melody on piano, one so simple it Forte Moron NAas Rates ena Lares Mac are CUS rant Mane el co Coos Mae) LCS PR no ReOCce ear aemacct lec are too brief, Faith Fraser required her own theme | n the eighth episode of Outlander's second season, the series takes a major Pose CC Ronin acct a einicene ker teneaccen enc rate a of the Jacobite rising. The ensuing five episodes focus on the couple's efforts to secure victory for a cause they know deep down to be lost. To be true to the story, my score needed to shift once again, back to the haunting Scottish sounds of the first season, with an added emphasis on military percussion and pipes. | felt this story arc Sells Merc okeren ccs AUTRE Noe ea ke Cel eu ee RM Ceol Coa rich with famous folk songs, with the main title theme's “The Skye Boat Song” being oneoan aie OCC arm oe PROSE eS Me menor RCC Etc) after the Scots’ tragic defeat, lyrically PSM caRT CO mRTSCuTe tN aeC Penta CHR eas octenemeer rec) PY Re ar Con COM Coenen @LETIK erro aS Coma: Centar Menke Reto s optimism. To properly underscore these episodes, | needed a song that was written Creme ee Tn Cn Re SCC no comment about loss, only promises of Sian I turned to famed Scottish composer and PCs CoeCM OM MUR omm Canonical ey (cel a collection of historically accurate songs. 1 was immediately drawn to the soaring melody in “Moch Sa Mhadainn" (Track 17), a song composed by Alasdair mac BOTT eT CSC eS eG Tce CO TNC tee aCe MC Ss CTO Cones MU Renate Cea a Teac Charles Edward Stuart had landed at Glenfinnan. That was perfect! In Episode 208, when Jamie opens the letter and learns that he has been drawn into the revolution, this song was being composed somewhere in Scotland at the very same moment in history.=| S| SI ES z cocovess6ss T NOSVAS ‘NOVULGNNOS NOISIATTAL TWNIDRIO ee patitennd eet eens \= filter tect pepe aes ana re eer reRS ee ose cemmnetone iret Coren eee ge ere ORIGINAL TELEVISION SOUNDTRACK: SEASON 2 OUTLANDER UY 1. Outlander - The Skye Boat Song (French Version | feat. Raya Yarbrough) baa a aca oir 3. Wrath of the Comte Peasy Bra ed wi 6. Honey Pot Pa Leese lod Cece rece tel) 9. The Duel tee Sr Pre nt eae nS sek ets (eae Cee ca eh aunt 12. Je Suis Prest (feat. Griogair Labhruidh) 13. 125 Yards 14. Vengeance at Your Feet Peer eng om ero TA eR OME U (feat. Griogair Labhruidh) A Lee rumees nites 19. Tales of Brianna Ble ee Ome mS 21. Destiny on Culloden Moor PeR Wer come ecm ayia $8688 T NOSVHS ‘NOVA.LGNNOS NOISIASTSL TVNIDIO AaAGNVLLNO- XELLER leyley4 EASON NDTRACK: S ae) VISION SC