Soundtrack Information

S.O.S. TITANIC

S.O.S. TITANIC

Silva Screen (SILCD1387)

Release Date: March 18, 2013

Conducted by Howard Blake

Formats: CD, Digital

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Track Listing

1. S.O.S.Titanic Main Theme

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 2:04
2. Hearts of Oak / Men of Harlech

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 1:53
3. Waltz from Eugene Onegin

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 1:42
4. Rule Britannia

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 1:11
5. Queenstown Harbour (Jig)

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 1:29
6. She Moved Through the Fair

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 1:32
7. Roses from the South

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 3:12
8. Madame Bonaparte (Jig)

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 2:05
9. Mr Moon-Man Turn off the Light

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 1:32
10. Elite Syncopations (Rag)

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 2:30
11. I'm Bidding You a Long Farewell

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 0:52
12. Connemara Waltz

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 0:51
13. Every Little Movement

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 1:06
14. I'm Falling in Love with Someone

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 1:47
15. Isn't it Grand, Boys?

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 1:29
16. Titanic Waltz

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 1:56
17. The Hit

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 1:48
18. S.O.S. to the Carpathia

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 1:57
19. S.O.S. Come Quickly!

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 0:47
20. Abandon Ship

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 2:41
21. Bethena (Rag)

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 2:09
22. Beesley's Jump

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 3:29
23. Day of Judgement

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 2:33
24. God of Mercy (Autumn)

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 1:26
25. The Sinking of the Titanic

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 3:39
26. Survivors

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 2:56
27. Desolation

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 0:51
28. 'There is no God' (Boarding the Carpathia)

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 1:19
29. SOS Titanic End Titles

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 1:23
30. BONUS TRACK: Bethena

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 2:49
  Total Album Time: 56:58

From the Manufacturer

The original TV soundtrack to arguably the most intelligent and authentic version of the Titanic tragedy. The score includes Howard Blake's symphonic score and a tapestry of historically-correct music that was played on the ship in the last hours.

Premiered by ABC on September 23rd 1979, S.O.S. Titanic ran for three hours and was the costliest television film ever made. A huge star cast included David Janssen, Helen Mirren, Ian Holm, David Warner, Harry Andrews and Cloris Leachman. The brilliantly-researched script by James Costigan was based on a first-hand account by passenger-survivor Lawrence Beesley.

US-based producer Roger Gimbel wanted to use an English composer and had been much impressed by Howard Blake's score for Ridley Scott's The Duellists. Apart from the composition of a serious symphonic score there was also the intention to create a tapestry of historically-correct music such as that which would have been heard on the ship. An innovation in the story-telling portrayed the differences between 1st, 2nd and 3rd class passengers and this was also to be reflected in the music–with, for instance, Irish music from the 3rd, songs with piano from the 2nd and a sophisticated orchestra in the 1st.

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