Joshua Gizelt (swashbuckler332) wrote,
Joshua Gizelt

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Ave Satani

EDIT: This disc underwent a very minor touch-up September 9, 2007. Most of the disc was completely untouched, but I did make some of the transitions smoother and made the ending much more concise.

Just before I went to Boston I wrote a brief post about Jerry Goldsmith's contribution to The Omen trilogy, with the note that I was preparing to make a mix of the trilogy's music. It was a lot of fun to put this together. There is some obvious overlap with the Goldsmith horror mix I made, but this is very much its own work.

I had heard The Omen first and thought it was a pretty good horror score. Then I saw the film, and it is impossible to overstate how important the score is to the film. On the commentary track of the current DVD, both director Richard Donner and editor Stuart Baird mention Goldsmith's contribution as being one of the primary elements in the success of the film. Heard on its own, The Omen's effect is only slightly dampened by decades of imitation, but in the film it does exactly what it's supposed to do, grab you by the throat and won't let go until the film decides its good and ready to. As a film score, it is one of Goldsmith's most effective, and deserving of its Oscar; it is also interesting to note that Goldsmith's habit of creating hidden relationships between themes (e.g. Ilia and V'ger's themes from Star Trek: The Motion Picture) is heard here with the relentless "Ave Satani" main theme and the lyrical "The Piper Dreams."

Damien is in many ways an extension of the score from The Omen, given its own character through the use of electronics and new settings for "Ave Satani," but The Final Conflict sounds very different from the other two when heard on its own, so I was rather surprised at how easily the excerpts from that score fit next to the other two. Putting this disc together actually made me realize how much of The Final Conflict was built out of elements of the other two, despite its greater scope. There is a great continuity between these scores, and with the ever-changing cast and crews on each picture, Goldsmith's voice is the only one that remained consistent throughout the film series.

Conceptually, a film series outlining the birth and life of an AntiChrist should have been fascinating. It was structured properly; the first film outlines his birth and early childhood, the second his realization of his own identity and the third his rise to power and eventual fall. Unfortunately, the aforementioned lack of consistent personnel from film to film, bizarre timeline (each film was made contemporary to the year of its own release, which means that Damien ages from five year old Harvey Stevens to thirty-five year old Sam Neill in five years), progressively sillier plot machinations (culminating in a Deus Ex Machina... with the Deus taken perhaps just a little too literally) meant that the sequels weren't as effective as the original film. Goldsmith has never had a problem finding inspiration in less-than-stellar films, however, and he scores for the sequels as if they had fulfilled their potential, particularly noticable in his epic material for The Final Conflict, every bit as memorable as anything in The Omen.

In searching for the lyrics to "Ave Satani," I came across this very good essay on The Omen score by W.F.Krasnoborski.

The Face of the AntiChrist

Music from THE OMEN TRILOGY Composed by

Conducted by Lionel NewmanOrchestrated by Arthur Morton
"The Omen" and "The Final Conflict" Performed by the National Philharmonic Orchestra
"The Omen" Engineered by John Richards"Damien" and "The Final Conflict" Engineered by Eric Tomlinson

8 0 : 2 6

Ave Satani (The Omen) 2:30
The Monastery (The Final Conflict) 3:10
Damien and the Thorns (The Omen) 4:55
The Face of the AntiChrist (Damien) 2:17
The Killer Storm (The Omen) 2:48
The Daggers of Meggido (The Final Conflict) 3:23
Thoughtful Night (Damien) 1:03
Broken Vows (The Omen) 1:51
Electric Storm (The Final Conflict) 5:15
Where Is He? (The Omen) 0:49
Snowmobiles (Damien) 1:08
The Ambassador (The Final Conflict) 4:45
Beheaded (The Omen) 1:36
A Ravenous Killing (Damien) 3:05
The Statue (The Final Conflict) 4:07
The Dogs Attack (The Omen) 5:42
Broken Ice (Damien) 2:16
A Sad Message (The Omen) 1:35
The Hunt (The Final Conflict) 3:58
The Demise of Mrs. Baylock (The Omen) 2:39
The Blooding (The Final Conflict) 3:23
Fallen Temple (Damien) 1:30
The Second Coming (The Final Conflict) 3:17
The Birthmark (The Omen) 1:39
The Final Conflict (The Final Conflict) 8:14
All The Power (Damien) 3:15

Ave Satani from The Omen


Sanguis bebimus
corpus edimus
Versus Cristus, Ave, Ave Satani
Versus Cristus -- Tolle Corpus Satani


We have drunk the blood
We have eaten the flesh
O Satan,
Against Christ, Hail, Hail O Satan
Against Christ -- We raise the body, O Satan

Damien's Theme from The Final Conflict


Adversum Dominum
Adversum Christum
Adversum Deo
Adversum Nazarenum

Adversum Dominum
Adversum Christum
Adversum Deo
Adversum Rex Judaeorum
Ave Satani

Mortuorum Nazarenum

Mortuorum ... Mortuorum ... Satani!


The Death of the Nazarene
Enemy of the Lord
Enemy of Christ
Enemy to God
Enemy of the Nazarene

Enemy of the Lord
Enemy of Christ
Enemy to God
Enemy to The King of the Jews
Hail Satan!

The Death of the Nazarene

The Death of ... of ... Satan!

The sound quality on the Varése discs was improved over the original CDs with the exception of the original score from Damien and the additional tracks on The Omen. I decided that despite the audible damage, the original tracks from Damien were more consistent with the music from the other two films than the album re-recording, and so all of the tracks on this disc from Damien are the film versions. I also feel that the electronics on the film recording have a more profane and mischievous sound than the album recording.

"Ave Satani" opens this disc with the end title of The Omen as heard on the original soundtrack album, and closes with the same theme heard in dire form in "All the Power." Arranging the tracks was a bit difficult because even though they fit together rather easily in most cases, I didn't want to make the album too over-the-top, so I paced out the more violent music. I did create two tracks, "Damien and the Thorns," which is a suite consisting of material from "On this Night" and "The New Ambassador" and "The Birthmark," a conflation of "The Bed" and "666." Thematic material from "The Final Conflict" is introduced subtlely with "The Monastery" rather than the bombast of the main title (here retitled "The Daggers of Meggido"), and I find the effect very cool. Were the title not taken already by the album recording of Damien, I'd have called this one A Black Mass.

I also included the hisses and whispering that closed out The Final Conflict at the end of the disc, thus bringing its true playing time to 81:11. But that's a surprise.
Tags: film music, jerry goldsmith, my mixes

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