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Children of Dune
Album Cover Art
Composed, Co-Orchestrated, Lyrics, World Percussion, and Produced by:

Conducted by:
Adam Klemens

Orchestrated by:
Robert Elhai
Dana Niu

Performed by:
The Czech Philharmonic
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Varèse Sarabande
(March 18th, 2003)
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Regular U.S. release. The album sold out immediately upon its release, causing some initial difficulty finding it at online or street stores.
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Decorative Nonsense
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   Availability | Viewer Ratings | Comments | Audio & Track Listings | Notes
Buy it... if you seek music that stands amongst the best that the television medium has ever inspired, an excellent, charged, ethnic, and vocal score of immense size and thematic beauty.

Avoid it... if you are a curmudgeon with a stick up your rear about scores that don't employ an original foundation, no matter how well executed those ideas may be.
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WRITTEN 3/17/03, REVISED 3/10/09
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Frank Herbert's Children of Dune: (Brian Tyler) Until 2003, only the first of Frank Herbert's six "Dune" novels had been translated onto the big or small screen. In 1984, David Lynch's deranged, epic portrayal of the first novel was met with confusion and negative criticism, though its quirky special effects, rock-style score, and fantastic international cast catapulted it to eternal cult status. In 2000, the Sci-Fi Channel in America offered its own adaptation of the first "Dune" novel and was wildly successful due to its spectacular cinematography and art direction, though it suffered from widespread criticism over the plastic expressions of its two main actors. When the Sci-Fi Channel, in association with three studios (including Hallmark Entertainment), decided to continue the "Dune" adaptations using much of the same cast as its 2000 film (or mini-series, as they're typically called), they decided to tackle the next two "Dune" books at once, taking the name of the third for the entire 2003 production. It is no secret that the stories of these two books retain the same melodramatic scope as the first, but with a considerably higher amount of death and other tragic maladies. With only three hours to cover the events of two books that could probably occupy 20 hours of screen time if adapted in full, the "Frank Herbert's Children of Dune" story seen on the Sci-Fi Channel basically hits all of the most dramatic plot notes and neglects some of the subtle, finer moments of the books. One could argue with Herbert's sense of parallelism, leading to the repeating question, "why does so-and-so have to die?" but that's another debate for another time. With an even more accomplished supporting cast and improved visual effects, "Children of Dune" was an even greater extravaganza for the Sci-Fi Channel. Popular as well through the years has been the music from previous "Dune" productions. The unconventional 1984 score by Toto remains a "love it or hate" form of cult classic, much like the film itself, succeeding well in multiple album forms. Graeme Revell's underachieving 2000 entry for the previous television production was not particularly memorable, but it did serve as a souvenir for the widespread fan base for the concept.

Generally speaking, the broad reach of all of these stories meant that the music for them would have to consist of significantly expansive scope and a certain dose of orchestral force. More than most other concepts, "Dune" snugly fits the mould of science fiction in its most operatic form, demanding music that must contend with the cliches of the grandest fantasy soundtracks without becoming too cozy with them. The 1984 Toto score struck all the right chords (usually on electric guitars) with fans of the more epic and bizarre aspects of the Herbert novels. Revell's 2000 score for the first Sci-Fi picture concentrated solely on the ethnicity of Arrakis (the famed desert planet), which is something that Toto had completely overlooked. On the other hand, Revell's music was totally ineffective at conveying the massive scope of the galactic events that Herbert had in mind. Relative newcomer Brian Tyler received the job of scoring "Children of Dune" because of a previous collaboration with the film's director, Greg Yaitanes. The composer's young career had already consisted of several smaller scale, mostly horror-related projects, and the immense popularity of his work for "Children of Dune" would help catapult him on to a major film scoring career that, throughout the remainder of the decade, included many high profile productions. For the 2003 mini-series, Tyler was given instructions regarding the basic structure of the music that the producers had in mind: orchestral, ancient, vocal, and a distinct departure from Revell's previous approach. He was allowed only six weeks to accomplish this task, and he did this by recording parts of the score in the Czech Republic and others back in Seattle. While he did not personally conduct the sessions with the 95-member Czech Philharmonic, he did so remotely through a video monitor. He later added several Middle-Eastern elements and instruments uniquely of his own creation, as well as female and male vocals (the latter performed himself). Tyler's ability to handle many worldly instruments on his own is not only impressive, but it also a cost-cutting and time saving ability. His final production included 174 cues, and many of these featuring vocals or ethnic string instruments that he contributed with his own talents.

The result of Tyler's efforts for "Children of Dune" is a score that perfectly fits Frank Herbert's imagery, ethnic locations, religious implications, and space-age technology. Few scores "click" as well as this one, and he finished the work in such quick time that the Sci-Fi channel was even able to use the centerpiece cue in their television previews for the show, heightening expectations in potential audiences. He offers a clean and memorable identity for the concept by establishing several key themes for the major players in the stories: the Fremen, House Atreides, the story's central romance, and the true Messiah. The propulsive theme for the Fremen is frantically paced and whips its brass at speeds worthy of a sandstorm. On the surface, it is a theme that film music fans will find similar to that from Trevor Rabin's much imitated Deep Blue Sea, though its rapid fire brass notes at its climax are more reminiscent of Jerry Goldsmith from the days of Capricorn One. It is performed in full during their scenes of battle and the end credits sequences of the first two parts of the three-part mini-series. On album, it opens the score with gusto in "Summon the Worms" and flourishes in the cue "The Jihad." It is present in several key, less obvious cues as well, including many of the important ethnic moments of conversational material. The duduk performs this theme beautifully in "Dune Messiah" (accompanied by female voice) and the fateful scene during which Chani recognizes that "I Have Only Now." The use of the Armenian flute is as gorgeous in this score as in any you will ever hear, exclaiming its somber tones with an enhanced volume that assists it in transcending into a more accessible realm of beauty. The House Atreides theme opens the first two of the three episodes and is heard during the magnificent aerial shots of the capital, Arrakeen. Introduced on album in "Main Title (House Atreides)," it is a noble and ambitious melody that sees little screen time in its original form because the control of House Atreides is in the process of falling apart not long after the story begins. A good example of this degeneration exists in the "Revolution" cue, which exudes the feeling of Alia's slow loss of reality and thus her loss of control over her empire.

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Average: 4.21 Stars
***** 3,920 5 Stars
**** 1,275 4 Stars
*** 645 3 Stars
** 379 2 Stars
* 368 1 Stars
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Read All Start New Thread Search Comments
The music is great,but I have a problem with the movie itself   Expand >>
sheridan - June 13, 2006, at 3:32 a.m.
2 comments  (4680 views)
Newest: July 3, 2006, at 5:51 a.m. by
Inama Nushif lyrics
Josh - August 14, 2005, at 8:51 a.m.
1 comment  (3773 views)
Used in Another Russell Crowe Movie...
MBowen574 - June 29, 2005, at 9:52 p.m.
1 comment  (2065 views)
Where can I find the Montage to download or at least hear the entire piece?   Expand >>
Danielle - February 23, 2005, at 3:21 p.m.
5 comments  (5895 views)
Newest: August 29, 2005, at 2:11 p.m. by
Children of Dune
Alaina Jager - October 6, 2004, at 3:28 p.m.
1 comment  (1797 views)
Inama Nushif or Farwell
X90 - September 24, 2004, at 12:57 p.m.
1 comment  (2222 views)

Track Listings Icon
Audio Samples   ▼
Total Time: 77:22
• 1. Summon the Worms (3:49)
• 2. Dune Messiah (2:40)
• 3. Main Title (House Atreides) (1:36)
• 4. The Revolution (2:01)
• 5. Fear is the Mind Killer (2:45)
• 6. The Arrival of Lady Jessica (3:09)
• 7. Leto Atreides II (2:44)
• 8. Inama Nushif (Montage) (3:52)
• 9. War Begins (1:08)
• 10. Battle of Naraj (3:15)
• 11. Rya Wolves (1:34)
• 12. I Have Only Now (3:12)
• 13. The Impossible Wager (3:00)
• 14. Face Dancer (1:03)
• 15. The Throne of Alia (1:20)
• 16. Trap the Worm (3:03)
• 17. Salusus Secundus (1:04)
• 18. The Jihad (2:03)
• 19. The Ring of Paul (3:50)
• 20. Exiles (1:28)
• 21. Sins of the Mother (1:24)
• 22. Irulan's Regret* (1:11)
• 23. My Skin is Not My Own** (1:23)
• 24. Reunited (2:28)
• 25. The Golden Path (2:10)
• 26. Child Emperor (1:18)
• 27. Sign of the Bene Gesserit (2:08)
• 28. The Preacher at Arrakeen (2:33)
• 29. The Desert Journey (1:36)
• 30. The Ghola Duncan (1:37)
• 31. Leto and Ghanima (1:16)
• 32. The Fremen Qizarate (1:43)
• 33. Farewell (3:25)
• 34. Children of Dune (1:16)
• 35. Horizon (1:34)
• 36. End Title (1:30)
* typo in title on album's packaging
** incorrect time listed on packaging

Notes Icon
The insert includes a note from the director regarding Tyler's speedy efforts in assembling the score. Otherwise, the packaging is sparse and the credits are only partial.
Copyright © 2003-2021, Filmtracks Publications. All rights reserved.
The reviews and other textual content contained on the site may not be published, broadcast, rewritten
or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. All artwork and sound clips from Children of Dune are Copyright © 2003, Varèse Sarabande and cannot be redistributed without the label's expressed written consent. Page created 3/17/03 and last updated 3/10/09.
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