The Black Cauldron

The Black Cauldron is the score composed and conducted by Elmer Bernstein for 1985 Disney animated film (based on the second novel in Lloyd Alexander's Chronicles of Prydain fantasy series).

Composition and recording
Unlike most other Disney animated films released prior to The Black Cauldron, the film contained no songs. At the time, Bernstein had just come off the successes of his Academy Award-nominated score for the 1983 film Trading Places and the widely popular score for the 1984 film Ghostbusters. As he had done in the latter, Bernstein made use of the ghostly ondes Martenot—an electronic musical device similar in sound to the theremin—to build upon the dark mood of the land of Prydain for The Black Cauldron.

Because of the film's last minute revisions, much of Bernstein's score went unused in the final cut. A much smaller version of the score was re-recorded by the Utah Symphony Orchestra for the original soundtrack album release by Varèse Sarabande in 1985. The album soon went out of print. Many of the film's tracks did not resurface until a bootleg copy entitled "Taran" was supplied to soundtrack specialty outlets in 1986.

The soundtrack was re-released in 2012 as part of Intrada Records partnership with Walt Disney Records to re-release the soundtracks of several Disney films. The album features an expanded and remastered version of the score.

Themes
Taran, the young protagonist, has an appropriately heroic theme that starts off innocent and carefree, before becoming a true fanfare when he receives his magic sword and begins acting like an actual hero. (Listen to OST track "Second Chase" from 0:35-1:09)

The Magic Sword, which appears to have a mind of its own, will occasionally come to life and slay what is needed to be slain. Its fanfare is somehow even more impressive than Taran's, perhaps to reflect how the sword is what makes Taran a hero in the first place. (Listen to OST track "Escape" from 1:03 to 1:13)

Eilonwy's theme is also the score's love theme. Like Eiloynwy, the theme is cute and innocent, yet it can also be sweeping and romantic. (Listen to OST track "In the Forest" from 0:26 to 0:53)

Gurgi, the comic relief, has a silly, bouncy theme, that is almost western-like at points, perhaps because Bernstein did many westerns in the past. (Listen to OST track "Gurgi Lives" from 0:47 to 1:08)

The Horned King has a theme that begins with a rolling piano piece, followed by a booming three-note melody that announces his evil and foreboding presence. (Listen to OST track "The Horned King" from 0:09 to 0:40)

Creeper, the Horned King's lowly henchman, has a drunken-sounding clarinet theme to represent his comical character. (Listen to OST track "The Horned King" from 0:40 to 1:00)

A sub-motif for Creeper plays both times the Horned King strangles him (his punishment, whether or not Creeper had anything to do with the problem) is a high-pitched, frantic little bit of music. (Listen to OST Track "Second Chase" from 3:27 to 3:39)

The Fairfolk have a delightfully happy little dancing theme that accompanies their brief scene. (Listen to OST Track "End Titles" from 0:20 to 0:45

The Cauldron itself has an appropriately dramatic and ominous theme. (Listen to OST Track "Destruction" from 1:52 to 2:03)

Hen Wen, the oracular pig, has a fittingly mysterious theme. (Listen to OST Track "A Special Pig and a Vision" from 0:00 to 0:45)

Eilonwy's Bauble has an eccentric, techno-sounding theme that plays when it floats around. It is used sparsely, as the Bauble does not appear often in the film. (Listen to OST Track "Rats and Tombs" from 0:00 to 0:16)

The Witches have a strange theme that almost sounds rock 'n roll-ish at some points, and waltz-like at others. (Listen to OST Track "Morva" from 1:55 to 3:55)