In the story, the tumultuous family bickering that occupies the entirety of the film is governed by the overarching guidance of the Church in Rome, so even as the members of the Royal Family are on the verge of killing each other, they continuously threaten to go to Rome and seek permission to have the others struck down. Despite the nearly pagan practices of the story's characters (and not excluding the banishment, adultery, and homosexual tensions), there is a faintly angelic feeling to The Lion in Winter. Barry responds by including a few original songs of his own, religious is stature, and using the sounds of Church bells in several cues. While the bells themselves can only be seen in a handful of scenes, the stomping and arguing that continues between the Royal Family in the bowels of their dirty castle is always highlighted by that same sound. Sometimes they toll in the distance, a grim accompaniment to the trumpet solos throughout, and sometimes they chime in with full mass. When the hardened producer of the film first heard Barry's approach to the film, he was reduced to tears of joy. The more memorable half of Barry's work for The Lion in Winter, however, is that which gained him the Oscar for his efforts: his brooding representation of the Middle Ages. This score is often classified as a choral soundtrack, and rightfully so, but there are two distinct uses of the chorus. When The Voices of The Accademia Monteverdiana perform, they are either reciting Latin lyrics written specifically for the film, or they are providing wordless accompaniment to the full orchestra. The songs with Latin lyrics can often become shrill in tone, but putting them aside, Barry's melding of the pounding orchestra, the Latin, and the wordless chants is nothing short of stunning. The overture ("Main Title/The Lion in Winter"), compensating for an unremarkable series of visuals of gargoyles and other nasty stone works, is among the best opening statements of theme in the history of film. The relentless timpani, alternating piano rhythms in the bass, and noble, but disturbing brass, together with the magnificent chants, perfectly prepares the audience for the pure evil it is about to witness. The chants are so menacingly simplistic that they have been compared favorably to Jerry Goldsmith's The Omen.

Barry continues to use bass-heavy orchestral bombast to accentuate the disgusting depths of the castle in which the story moves around. There are several scenes in which a character has made a major decision, and then decides to stomp around the castle; such moments were a feast for Barry, who used every opportunity to let loose with the brass and the chorus to mirror the emotional response. Finally, the music meant specifically for the banished, wicked queen is superb, with a false major key theme of elegance marking her entrance and exit, interrupted by ominous bursts from the male chorus. Overall, the music for The Lion in Winter, is a timeless and unique entry in Barry's career, as well as an undeniably enjoyable experience in the film. The quality of the original recording is decades beyond its time, allowing Barry's original cues to rival today's digital scores in presence and power. The albums of the original score, released first in 1990 by Varèse Sarabande and then more widely by Sony Legacy/Columbia in 1995, are surprisingly vibrant for the age of the recording. In 2001, Silva Screen released re-recorded performances of several John Barry scores by the City of Prague Philharmonic and Crouch End Festival Chorus, under the masterful conducting of Barry-expert Nic Raine. On their album for The Lion in Winter, they present the complete score, including the additional cues of "Richard's Joust/Geoffrey's Battle" and "Fanfare for Philip/The Great Hall Feast," both of which appear relative early in the film, and the latter of which being a very enjoyable addition to hear on its own. Despite the new HDCD digital recording quality of the Silva album, there is an intangible sense of menace and fright that still exists in only the original London recording. The Silva product has the extra incentive, however, of a handful of re-recorded cues from Mary, Queen of Scots, a comparatively mellow, but elegant score by Barry during the same general period. While missing a few key cues from that score (most notably the "Journey to England" cue), it is refreshing to hear it performed in the digital medium. As for The Lion in Winter, you can't lose. Not only should you watch the film, but if you appreciate Barry's strong music for the picture, then you's be well served by purchasing both albums. The score is an enduring classic.   @Amazon.com: CD or Download