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"Die Glocken Notre Dames" ("Bells of Notre Dame")
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"Zuflucht" ("Sanctuary")
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"Draussen" ("Out There")
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All of the Latin chanting
is still here. Hurrah! This haunting, gothic melody is largely
unchanged from the original, except for a shorter musical interlude
as Quasimodo's mother is being chased by Frollo. There are a
few minor lyrical alteraltions, and Clopin no longer talks to
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Although this was in the movie,
it was just recognised as the first part of "Out There." Now
the lyrics have been extended, and some new melody added. Apart
from the fact that I'm note sure Norbert Lamla's voice really
suits Frollo, it's not bad. Frollo is basically telling Quasimodo
how important it is that he treat his refuge (ie. the bell tower)
as a Sanctuary, as it protects him from the outside world.
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Largely unchanged from the
original movie score. Hardly any difference here.
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"Tanz Auf Dem Siel" ("Balancing Act")
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"Ein Bisschen Freude" ("Rest & Recreation")
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"Drunter Druber" ("Topsy Turvy")
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This has gone through a few
minor changes since its movie version. There is a nice interlude
where Quasimodo sings a new bit of "Out There," but the huge
halt in the song where the hunchback is revealed as not wearing
a mask, is shortened. The big "hey!" at the end of the song
was something I always thought the movie score should have had.
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"Helf Den Verstoss'nen" ("God Help The Outcasts")
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"Hoch Über Der Welt" ("Top Of The World")
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"Das Licht Des Himmels" ("Heaven's Light")
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This title is not a direct
translation of "God Help The Outcasts," but the song does end
on "Kinder von Gott," which obviously means "Children of God."
One of the world's most beautiful songs just got more beautiful.
In a really nice addition, Quasimodo joins in the song, watching
Esmeralda from the background. The two voices combine marvelously
at the song's conclusion. One of the best improvements on an
original song. |
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Practically identical to the
movie version. |
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"Das Feuer Des Hölle" ("Hellfire")
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"Esmeralda" ("Esmeralda")
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There are a few minor differences
to the movie version here. One is that it takes a more dramatic
key change half-way through, and the interruption by the guard
is gone. The resulting climax though, is one of the highlights
of the soundtrack. It really must be heard to be believed.
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