Based on Rosemary Sutcliff’s classic novel The Eagle of the Ninth, the story is set in 2nd-Century Britain and follows two men on their dangerous and obsessive quest to solve the unexplained disappearance of the entire Ninth Legion in Scotland. Starring Channing Tatum, Jamie Bell and Donald Sutherland.

Atli Örvarsson is rapidly joining the ranks of Hollywood’s most dynamic young film composers. His recent film scores include Season of the Witch, The Code, Vantage Point and Babylon A.D.

In 2006, Örvarsson joined Hans Zimmer’s state-of-the-art musical “think tank” Remote Control Productions where he collaborated with Zimmer on several scores, including Pirates of the Caribbean: At World’s End, Angels & Demons, The Simpsons Movie, and The Holiday.

As winner of the renowned Pete Carpenter Fellowship for young composers, Atli moved to Los Angeles in 1998 to join Mr. Post’s team as composer and orchestrator on all three Law and Order series and NYPD Blue.

Atli Örvarsson talks about his work with director Kevin Macdonald:
“Handmade and authentic. These became the key words in my conversations with director Kevin Macdonald as we started working on the music for The Eagle. With a background in documentary film making, he had a deep desire for the music to feel “real and true” to the period and geography of the film. Which leads to the question, where does one start writing music that is real and true to a film about a Roman soldier and his slave who venture into Scotland in the year 140 AD?! I must admit, it seemed like a daunting task at first but in Kevin I had the perfect collaborator who constantly encouraged me to seek out the unknown and challenged my “musical comfort zone.” From recording ramʼs horns, carnyx and stone whistles in an Edinburgh church, to finding the deeply talented Neff brothers on Myspace, to discovering the hauntingly beautiful Persian Kamancheh, no stone was left unturned looking for instruments and musicians that could support this vision. In a digital world, it was a revelation to discover all these brilliant musicians who uphold ancient traditions with such skill and dedication. In the end I had the privilege to weave all these elements, along with my themes and an orchestra, into the tapestry that is this score. I hope youʼll enjoy!”

Throughout the United Kingdom this will be a day of celebration with a national holiday declared to allow for street parties and the chance to watch the glittering ceremony.

This release celebrates much of the wonderful and truly memorable music that has featured at past royal weddings and also includes contemporary sounds that have grown popular in the past few decades.

Highlights include Lesley Garrett’s delicate reading of Lakmé’s The Flower Duet, William Walton’s stirring music for Henry V and Craig Armstrong’s tender Balcony Scene from Romeo & Juliet.

The album also features the stirring hymn I Vow To Thee My Country, Princess Diana’s personal choice for her wedding to Prince Charles and sadly also played at her funeral.

Alex Heffes is one of the UK’s leading film composers. Nominated by BAFTA, Ivor Novello, European Film Academy and ASCAP awards, Alex worked with steel bands, symphony orchestras and artists ranging from Elton John to members of Blur.

Alex Heffes is a versatile composer not confined by musical boundaries. His work is described by Film Music as “simply sublime” while CD Times depicts his musical style as “fusing old-school grandiose film-scoring with the delicate subtlety of more leftfield composers.”

Mikael Håfström director of The Rite comments: “There is much more here than just supporting moments of horror or suspense, so I hope this album shows the range of music Alex composed for The Rite: from the unsettling to the beautiful, and never too far apart. I think that is essential to Alex’s work”

Hailing from the smoky jazz clubs of Marseilles and working with the legendary Edith Piaf at the height of her fame as accompanist and composer, Lai has successfully translated the easy listening sound of the 60s into film scores. His light and lyrical music for films is brimming with romanticism, sombre beauty and charm.

Perhaps best known for his 1970, Oscar Winning score for Love Story and his 1965 breakthrough score for Claude Lelouch’s cult French movie, Un homme et une femme (A Man and A Woman), this immensely talented French accordionist and composer has succeeded in creating an instantly recognisable sound that defines an era.