It starts with "The Belstone Fox Theme", a beautiful and sumptuous orchestral
piece that suggests longing, mystery, romance and pastoral tranquililty.
This is a side of Johnson that's relatively new to me. Knowing
him mostly from his action tv music—and glorious it is—I was
surprised by the tenderness, depth and sweep of his writing
for this project.
The theme is developed further in "Early Days", which has the strings
occasionally dropping out to emphasize a few select instruments.
The mood is the same as in the main theme, perhaps with some more
minor chords, a touch more sadness.
Then things get cheery and jaunty for a sprightly section
that uses some blends of instruments that
fans of The Avengers tv show will recognize from
Johnson's work on that series. The latter part of the cue
is a return to the mood and concept of the main theme, however.
"The Friendship" introduces the first note of real heaviness
here, with at first all strings, no horns, and then all horns,
no strings. Then the strings back up some
brisk playing by wind instruments: oboe, clarinet, flute.
"Separation", with its use of harp and layers of orchestral
color almost sounds like a Bernard Herrmann cue. Johnson and Herrmann
were best friends in real life, so I geuss that's not surprising.
It's an eerie, beautiful and stirring piece.
The main theme reappears in a bucolic tone for "Reunion", which quickly
shifts into a rousing, galloping piece, another one similar
from Johnson's Avengers work.
For "The Legend Starting" we get a simpler and more restrained
approach to the main theme, a short and touching cue.
This is followed by two more short ones, "Tag's Escapades",
which reprises the cheerful gallop of "Reunion", and
"Kennel Woods", a total change of pace, still and shadowy.
"The Belstone Hunt" starts out slow and suspenseful, then
explodes into a menacing ostinato with hunting horns
blaring and percussion crashing. At the end it resolves
into a lush and lovely orchestral section.
The sounds of violence and pursuit return in the next cue, "Vendetta".
The use of the propulsive strings and hunting horns might
remind you of some scores yet to come: Star Trek II: The
Wrath of Khan and perhaps The Lord of the Rings: The
Two Towers.
Finally there's "Badger Hill", the longest track on the CD. It
sustains strains of mystery and suspense with quiet, rumbling,
thundery music before returning to a plaintive reiteration
of the main theme.