MOVIE MUSIC UK

GREATEST SCORES OF THE TWENTIETH CENTURY

Original Review by Craig Lysy

The genesis of the film lay with actress Winona Ryder, who wished to make amends with director Francis Ford Coppola after her late withdrawal from The Godfather Part III. She brought him a script written by James V. Hart, which provided an adaptation of the famous 1897 novel Dracula by Irish author Bram Stoker. Coppola was intrigued by the sensuality and eroticism of Hart’s retelling and immediately moved forward to bring it to the big screen. He would produce the film with Fred Fuchs and Charles Mulvehill using his own production company of American Zoetrope. Coppola had an uncompromising conception of the film and went to great lengths to create his cinematic vision. Indeed, the film shattered the traditional mythos and caricature of the black caped Dracula with a new, stylish, and significantly more erotic rendering. He assembled a fine, but controversial cast with Gary Oldman playing the titular role. Supporting him would be Winona Ryder as Mina, Anthony Hopkins as Professor Abraham Van Helsing, Keanu Reeves as Jonathan Harker, Richard E. Grant as Dr. Jack Seward, Cary Elwes as Lord Arthur Holmwood, Billy Campbell as Quincy Morris, Tom Waits as Renfield, and Sadie Frost as Lucy Westenra.

The story begins in the 15th century where Vlad III, warlord of the kingdom of Wallachia, is leading a campaign to defend Christendom form the invading Muslim Turks. He returns home victorious to find that his beloved wife Elisabeta has committed suicide after receiving false news that he had died in battle. When the court priest refuses her a Christian burial and declares that Elisabeta will burn in Hell for her sins, Vlad becomes enraged. He desecrates the chapel, renounces his Christian faith, and rages that he will rise from the grave empowered by the powers of darkness to avenge this injustice. To consecrate his vow, he stabs the chapel cross with his sword and then drinks from the font of blood pouring from it. We shift to 1897 where a young solicitor, Jonathan Harker, meets with Count Dracula to formalize the purchase of a manor house in England. The discovery of a picture of Harker’s fiancée Mina – who looks exactly like Elisabeta – arouses within Dracula a dark resolve to reclaim that which was taken from him. He leaves Harker to die at the hands of his voracious retinue of wives and travels to England in search of Mina. Eventually his true identity as a vampire is discovered by Professor Van Helsing, which forces him to flee back to his homeland. A final confrontation at his ancestral castle leads to his death, with Mina releasing him from his vow, and in so doing, lifting the curse. Now transformed once more to his human form, Vlad and Elisabeta ascend to Heaven, joined in love for eternity. The film was a massive commercial success earning $214 million, or five times its production cost of $40 million. It was also received critical acclaim, securing four Academy Award nominations, winning three for Best Art Direction, Best Costume, and Best Makeup.

Coppola decided that he wanted a composer with classical eastern European sensibilities. He initially offered the job to Polish composer Witold Lutoslawski, but was rebuffed. After listening to a few pieces from fellow Pole Wojciech Kilar, Coppola was convinced that he had found his man. He called him and offered the assignment, which Kilar gladly accepted as he was very impressed with Coppola’s cinematic success. Things started badly as Kilar suffered a heart attack upon landing in Los Angeles! But he recovered quickly, and was very pleased with Coppola’s scoring instructions: “Do what you want, and don’t worry about whether it’s going to be good or bad.” Later, at a second post filming meeting Coppola related to Kilar: “Listen, I’m the director, I made the film. You’re a composer, you’ve seen the film. Do what you want. If you’ve got a respectable good composer, then you have to give him freedom, and a smart director understands this.” It is a pity that so many modern directors do not understand the essential truth of Coppola’s wisdom.

For his soundscape, Kilar chose to utilize traditional leitmotifs. There are four primary themes; Dracula’s Theme serves as his personal identity, but also by extension, his retinue of brides. It offers a pall of darkness, which is grim, diabolical, abounds with menace, yet there is also a palpable and unabiding sadness. The theme dwells within the lower string register where it pulses with evil purpose, filling us first with dread and later terror as horns orribile join in dark communion. Yet there is a dichotomy to this theme as is can also be mysterious, and seductive, especially when born by strings romantico. The Hunter’s Theme serves as a powerful animating theme for Professor Van Helsing in his role as Dracula’s Nemesis – the hunter. It is empowered by an unrelenting forceful percussive cadence joined with dire low register piano strikes and horns of doom. Religioso chanting joins and creates the perfect musical foil to Dracula. The Love Theme is Barryesque in its sensibilities, emoted by solo flute delicatio replete with harp adornments, which floats over shifting strings. The theme evolves in the film from one of yearning unrequited love to one that is ardent and full of passion. Lastly, we have Lucy’s Theme, which serves as her identity. It emotes with a hypnotic, childlike sensibility, rendered by pizzicato strings, harp and twinkling chimes. It has a mesmerizing effect that is both soothing and disquieting.

The remaining score element was the use of the human voice. Kilar masterfully employs them with great effect across the full spectrum of expression, including; disquieting whispering, ethereal, glorious religioso chants, forlorn wailing, and fierce chorus. Lastly, in the tradition of eastern European film composition, Kilar wrote many set pieces which Coppola and his film editor cut and placed into the film. Kilar did not conduct the orchestra – Anton Coppola did – and had no input into the editing process or final film version. As such much of Kilar’s brilliant score is truncated or missing. Thankfully this album’s production team offers us Kilar’s original unabridged creation, along with the actual score Coppola utilized in the film.

“Dracula – The Beginning” offers a stunning score highlight in which Kilar masterfully writes a cue for the ages, which captures the film’s emotional core. As the Columbia studio logo displays, the Dracula Theme, born by bass dell’oscurita and grave low register piano chords rises ominously from the depths as a grim marcia funebre. Narration informs us of the fall of Constantinople in 1452 and the rising tide of Muslim Turks sweeping northward to destroy Christendom. We see Vlad III of Wallachia kiss his beloved bride Elisabeta goodbye as he sets off to fight a vastly superior Turkish army. The pain of the departure is carried by a horrific crescendo that culminates with wailing horns at 1:33 as Vlad joins his troops. This horrific horn motif is kindred to Dracula’s Theme and carries the battle and aftermath as we see thousands of Turks impaled as trophies of his conquest. A percussive cadence of grim piano strikes and searing strings begins at 2:33 and supports Elisabeta’s suicide after she receives false news of Vlad’s death. The music carries Vlad’s return, culminating in a grievous chorale supported crescendo of pain at 3:03 as he enters the chapel. As he reads her last testament and desire to reunite with him in heaven, a wailing female wordless vocal supports his devastation. The martial snare drum driven Hunter’s Theme enters at 4:22 and achieves a fortissimo crescendo of horror empowered by chorus as Vlad flies into rage when the court priest refuses her a Christian burial and declares that Elisabeta will burn in Hell for her sins, Vlad desecrates the chapel, renounces his Christian faith, and rages that he will rise from the grave empowered by the powers of darkness to avenge this injustice. To consecrate his vow, he stabs the chapel cross with his sword and then drinks from the font of blood pouring from it. The crescendo’s frightening crest supports the display of the film’s title “Bram Stoker’s Dracula”.

In “The Journey” a grim low register string ostinato buttressed by grave horns and shrieking strings carries Jonathan’s progress through the red sky vistas of the Transylvanian countryside. It is a perfect marriage of cinematography and music. A transfer of the ostinato to violins, was intended to carry Jonathan’s final leg of the journey by coach was unfortunately excised from the film. “The Castle” supports Jonathan’s arrival and entry of Castle Dracula. Kilar intended to support the scene with a mysterioso, which ushered in a stylized romantic rendering of the Dracula Theme. This rendering is beautiful and regretfully was edited out of the film. “The Legacy” reveals Jonathan observing a resemblance of the Count with an ancient portrait. This elicits Dracula to reveal his family’s legacy as defenders of this land. A grim rendering of the Dracula Theme supports his storytelling and elicits fear in Jonathan. “Spilled Ink” is a beautiful cue, a score highlight. Kilar captures Dracula’s tearful pathos of loss as he sees Jonathan’s photo of his fiancée Mina, as to his eyes she is Elisabeta reincarnated. He supports the very emotional and painful scene with a full exposition of the Love Theme, rendered as a vocalise carried by solo flute delicato, harp and strings tenero. “Lucy’s Party” reveals the flirtatious Lucy enjoying a party with Mina and gentlemen callers at her estate. We are graced with a full rendering of her twinkling gossamer like theme carried by celesta and harp, but we discern undercurrents of anxiety as images of Dracula appear in her mind.

“The Book” supports a tension scene of Dracula discovering that Jonathan has cut his neck shaving. Jonathan realizes that he is a prisoner and becomes unnerved when Dracula relates of his love for the music born by the children of the night – howling ravenous wolves. Kilar supports the tension with passionate, thirsting variant of Dracula’s Theme. Sadly, the cue was excised from the film. “To the Brides” offers an incredible score highlight, and I believe the most erotic scene of the film. It reveals Jonathan exploring the castle and stumbling into what appears to be a woman’s bedroom. He is beset my ghostly seductive feminine whispers, which lure him to lay down on the bed. A sensuous rendering of Dracula’s Theme supports his helplessness with a romance of lust as Dracula’s three brides ascend erotically up through the sheets. They are naked and, as the sexual seduction intensifies, so too does the music. We flow seamlessly into “The Brides” where the brides reveal their true frightful, ravenous nature and begin to feed on Jonathan. As they feed and he experiences both pain and erotic pleasure a romantic crescendo intensifies the feeding and love-making, cresting as a furious Dracula enters and stops them. Kilar demonstrates mastery of his craft as his music brilliantly intensifies both the carnal and ravenous feeding pleasures unfolding on the screen.

“The Storm” supports a storm montage involving three different settings: the slaughter of the vessel Demeter crew, which is carrying Dracula to England; Mina chasing a sleep walking Lucy; and the madness of Dracula’s acolyte Renfield as he and others run amok in the insane asylum. This is a ferocious score highlight where Kilar’s conception for scoring using a choral empowered Dracula’s Theme is genius. The storm, which links the various scenes serves as a metaphor for the evil pall of Dracula descending. To ensure unity and plot continuity, Kilar scores the storm, not the various settings. The music is truly horrific, empowered with sinister purpose by deafening low register piano strikes, blaring horns of doom, orchestral blasts and a male chorus full of malice, chanting in Latin. What unfolds is a relentless slow building crescendo bellicoso, which crests in a horrific torrent of woodwinds and strings. “The Letter I” is attached to an excised scene and features a wonderful rendering of the Love Theme by violin with harp adornment. “Love Remembered” offers a beautiful cue and score highlight, which supports a now youthful Prince Vlad introducing himself to Mina on a London Street. Although initially dismissive, Mina gradually succumbs to Dracula’s hypnotic Eastern European charm. Kilar supports the encounter with the Love Theme rendered by flute delicato, strings tenero with harp adornment, which is joined by a tender contrapuntal Dracula’s Theme.

“Lucy’s Neck” was excised from the film. The scene reveals Lucy’s fiancée Dr. Holmwood examining her and perplexed by her bizarre behavior. Kilar reprised his sinister chanting for “The Storm” cue to support the encounter. “The Cinema” reveals Dracula and Mina taking in the cinema. We are graced by the flute born Love Theme, which speaks to her growing attraction to him. The transfer of the melodic line to violin with harp adornment informs us of her succumbing to him. Yet the moment is shattered in “Lucy’s Window” when Dracula forcefully takes her to the back room as he succumbs to his blood lust. His theme, in all its horrific glory empowers his actions and builds to a monstrous climax as he prepares to bite her neck, yet when she tenderly grasps his hand, his love for her returns and he relents as his theme dissipates into nothingness. “Rules Café Waltz” offers an upbeat classic waltz, which was not utilized in the film for this scene. “Rules Café” offers a wondrous score highlight and perhaps the most sumptuous and evocative rendering of the Love Theme for the score. It supports Dracula taking Mina to dinner where after imbibing absinth she has a revelation where she recalls a former life as Elisabeta. Kilar supports the epiphany with a full, extended rendering of the Love Theme where we bear witness to a stirring journey from trepidation and sadness to rapture. This remarkable and sumptuous transformation, speaks to Dracula’s desire to regain his lost love, and Mina’s surrender to him.

“Lucy Squirms” reveals Dr. Van Helsing treating Lucy with an emergency transfusion for acute blood loss. A malevolent rendering of Dracula’s Theme informs us of his deadly assault. “The Letter II” reveals Jonathan finally escaping the three brides who had been feeding on him to find sanctuary in a convent. The nuns write a letter for him for Mina begging her to come to him. She pens a letter to Dracula that she is leaving him to marry Jonathan. We see that Mina has regrets and that Dracula is devastated. Kilar supports her departure with a plaintive rendering of the Love Theme by strings doloroso and his receipt of the letter with a fleeting rendering by celesta. “The Hunt Builds” is a multi-scenic cue, which supports Jack’s, Arthur’s and Quincy’s futile attempt to protect Lucy from Dracula, and Jonathan’s and Mina’s wedding in Transylvania. One is a scene of death, the other one of new life as Dracula declares that none can escape his power. Kilar supports both scenes with a dark, bass propelled Hunter’s Theme, which is joined by vocal chanting in a slow, yet unrelenting intensifying crescendo of death as he slaughter’s the hired guards one by one as we cut away and see Mina and Jonathan are married. We climax grotesquely with his vicious murder of Lucy. “Dracula Revealed” was excised from the film. It was intended to support Van Helsing’s deduction that the killer is the ancient warlord Vlad the Impaler. A dark rendering of Dracula’s Theme supports the revelation.

“Lucy’s Lullaby” was excised from the film and was originally attached to her casket scene where she lies in sweet repose in a glass casket. Kilar supports the sad moment with her theme rendered as a lullaby by a solo female vocal. In “The Stake” Van Helsing and the men have removed the sarcophagus lid so as to drive a stake into Lucy’s heart and then cut off her head so she may rest in peace. The casket is empty, but Lucy returns with a young child, which they save. She is then driven with a crucifix into the casket where a stake is driven into her heart by her fiancée as Van Helsing cuts off her head. Kilar supports the gruesome scene with harsh metallic strikes and timpani propelling the Hunter’s Theme. The next three cues are kindred in that they showcase dynamic and different renderings of Van Helsing’s Theme. “Vampire Hunters” reveals Van Helsing commencing the hunt for Dracula at his estate where he must return to restore his strength by sleeping in a casket filled with dirt from his homeland. The hunt is supported with grim determination by Van Helsing’s Theme, which is rendered as a marcia della morte. A grim ostinato by low register strings is joined by tuba, timpani and kindred horns. “The Hunter’s Prelude” reveals the men destroying the caskets to which Dracula must return to restore himself. Their efforts are propelled by the Van Helsing’s Theme, which is now rendered by an upper register string ostinato, timpani, dire horn declarations and woodwinds tutti. In “The Green Mist” Dracula flows into the asylum as a green mist and murders Renfield for betraying him. He then goes to Mina in her bed where she welcomes him back to her. Eerie tremolo strings emoting his theme carry his progress.

“Mina/Dracula” offers a stirring, breath-taking score highlight of impassioned beauty where the score achieves its emotional apogee. It is a crucial revelatory scene, but also one of consummation where Vlad reveals to Mina that he is of the undead, lifeless, soulless and reviled by men, that he is Dracula. Kilar supports the revelatory moment grimly with low register strings affanato emoting his theme as Mina strikes him repeatedly for killing Lucy. Yet she cannot bear to be without him and her fury is transmuted into love as she begs him to make her as he is. The Love Theme joins in a stirring soliloquy as its melodic line is transferred from woodwind to woodwind in a stirring exposition, before gaining ardor top sumptuous strings as they embrace and kiss. He agrees to her request and bites her neck, then slices his chest so she may drink and become immortal. The Love Theme ascends with ardor yet wavers and becomes beleaguered at 3:05 as he relents to condemning Mina to his horrible existence. Yet at 3:32 she will not relent and drinks his blood, thus consummating their love. The Love Theme blossoms to affirm their eternal union with its most stirring expression of the score, culminating with celebratory horns, which usher in a solemn diminuendo.

In “The Fire” Van Helsing informs Mina that Dracula must be destroyed and hypnotizes her so she can tell him his location. A plaintive rendering of the Love Theme carried by violins with harp adornment carries the moment as she betrays Dracula by revealing he has set sail to return to his homeland. At 0:48 the relentless march of Van Helsing’s Theme reemerges as him team take the train so as to reach the port of Varna to intercept and kill Dracula. “So Cold” was excised from the film. It reveals Mina slowly transforming into a vampire and Jonathan’s unyielding devotion to her. Kilar had intended to support the scene with a continuation of the relentless driving rhythms of the Hunter’s Theme as the train traveled east. In “Mina Possessed” she loses herself, now possessed by her vampire nature. She tries to seduce Van Helsing yet he breaks the possession by searing her forehead with a consecrated communion host. Kilar supports the scene with dreadful and unnerving whispering female voices, which slowly build to a horrific crescendo of terror as he sears her with the host. “Ring of Fire” of the original album represents the cue, which ended up in the film. We see Van Helsing surrounded by Dracula’s retinue of brides. He creates a ring of fire around him and Lucy from them. Kilar creates a truly monstrous, grotesque and dissonant piece as shrieking string clusters join in unholy communion with dire choral whispers (featuring the unique talents of vocalist Diamanda Galas), wolf howls and malevolent laughter by female vampires.

In “Race Against the Sunset” Jack, Arthur and Quincy pursue on horseback the carriage taking Dracula back to his castle. If they do not intercept and stop him before sunset, all is lost as his powers would be too great. Kilar offers a furious onslaught as he propels with great urgency, their race against time using kinetic strings animato, which evolve into a ferocious ostinato joined with a relentless percussive cadence. One by one they shoot Dracula’s minions and close in on the carriage. At 3:03 horn declarations portend sunset, and the terror it brings. They overtake the carriage in the court yard as the last rays of day begin to fade. Flowing into “Love Remembered/Love Eternal” where we bear witness to the final confrontation with Dracula who explodes out of his casket with a vengeance. Jonathan manages to slice Dracula’s throat and Quincey drives his massive Bowie knife into his heart mortally wounding him. Mina takes Dracula into the castle as an incredulous Jonathan looks on. It is here in the scene, within the repose of the chapel that music enters. Celli dolorosa emote the wounded strains of Dracula’s Theme, which is transmuted into a sorrowful Love Theme as Mina confesses her love for him. As she gazes aloft, she sees the cross he struck centuries ago healing and she realizes that an act of love could liberate him. During this epiphany the Love Theme becomes resplendent, a vocalise with angelic choir, which bathes us with religioso auras as the healing light of God transforms Dracula into his former human self. As he begs her to give him peace solemn strains of the Love Theme support her thrusting the massive dagger fully into his heart. We see that they are both healed and after she kisses him one last time, she pulls out the dagger and severs his head.

We conclude with “The End” we see Mina gazing aloft at the illuminated chapel dome to behold the spirits of Vlad and Elisabeta ascending to heaven reunited in love eternal. Kilar supports their ascension with a profoundly moving, testament. Mixed chorus bath us in religioso auras abounding hope, and the healing power of love, which brings a quiver and a tear. We conclude bathed in the luminous beauty of three solemn major modal chords of light. The “End Credits” proves to be perplexing as the final film version of music does not match either the Original Album presentation, nor the Kilar’s original conception! I will therefore provide you with all three; “Film End Credits” offers a suite comprised of the Hunter’s Theme, the Love Theme, Dracula’s Theme, with a segue into “Love Song for a Vampire” sung by Annie Lennox. The original soundtrack album release “End Credits” also features a suite comprised of the score’s primary themes, opening with Dracula’s Theme, the Hunter’s Theme, Lucy’s Theme, Dracula’s Theme, the Love Theme, and concluding as we began, with Dracula’s Theme. Kilar’s original “End Credits” conception offered a three-and-a-half-minute extended rendering of Dracula’s Theme. In closing, I would encourage an exploration of the album’s extensive alternative cues as many offer excellent listening experiences.

I would like to offer my sincere thanks to Dan Goldwasser, and MV Gerhard and Matt Verboys of La La Land Records for this magnificent and long overdue reissue of Wojciech Kilar’s masterpiece, “Dracula”. The digital remastering is pristine and offers an exceptional listening experience. Kilar wrote a score for the ages, which I believe fully realized, if not exceeded Francis Ford Coppola’s vision. Regretfully, I believe too much of Kilar’s handiwork was excised from the score, or truncated. Why I am so thankful is that this album offers Kilar’s original conception where I could perceive its intent and magnificence. Kilar was tasked with speaking to powerful and often conflicting emotions of Coppola’s erotic vision where we bear witness to the intersection of horror, love, despair, vengeance, lust and redemption. I believe Kilar succeeded on all counts. His theme for Dracula captured the horror of his twisted and malignant psyche, of a pathetic soul mortally wounded and consumed by a terrible vengeance. His Love Theme offers the score’s most brilliant and sublime moments, often achieving rapture, which leaves one breathless, and lastly the Hunter’s Theme fully embodied the relentless predatory aggression of Dracula’s hunters, and their leader Professor Van Helsing, his nemesis. I consider this score one of the masterworks of his canon, one of the finest efforts of the Bronze Age, and an essential album for your collection. I highly recommend you purchase this exceptional three CD set as you will not be disappointed.

For those of you unfamiliar with the score, I have embedded a Youtube link to the magnificent love scene Mina/Dracula: https://www.youtube.com/watch?v=aX_LEBljKAA

Buy the Bram Stoker’s Dracula soundtrack from the Movie Music UK Store

Track Listing:

• ORIGINAL ALBUM
• Dracula – The Beginning (6:41)
• Vampire Hunters (3:06)
• Mina’s Photo (1:25)
• Lucy’s Party (2:57)
• The Brides (4:56)
• The Storm (5:05)
• Love Remembered (4:10)
• The Hunt Builds (3:26)
• The Hunters Prelude (1:30)
• The Green Mist (0:55)
• Mina/Dracula (4:47)
• The Ring of Fire (1:52)
• Love Eternal (2:24)
• Ascension (0:51)
• End Credits (6:43)
• Love Song for a Vampire (written and performed by Annie Lennox) (4:20)

• EXPANDED ALBUM
• Dracula – The Beginning (8:53)
• The Journey (3:28)
• The Castle (1:34)
• The Legacy (1:45)
• Spilled Ink (1:34)
• Lucy’s Party (2:10)
• The Book (1:32)
• To the Brides (1:53)
• The Brides (2:01)
• The Storm (4:38)
• The Letter (1:13)
• Love Remembered (1:08)
• Lucy’s Neck (0:14)
• The Cinema (2:18)
• Lucy’s Window (1:58)
• Rules Café Waltz (1:12)
• Rules Café (4:23)
• Lucy Squirms (1:12)
• The Letter II (2:52)
• The Hunt Builds (3:28)
• Dracula Revealed (1:03)
• Lucy’s Lullaby (vocal) (0:41)
• The Stake (0:32)
• Vampire Hunters (1:40)
• The Hunter’s Prelude (1:30)
• The Green Mist (1:30)
• Mina/Dracula (4:50)
• The Fire (1:48)
• So Cold (2:23)
• Mina Possessed (0:59)
• Ring of Fire (0:48)
• Race Against the Sunset (3:58)
• Love Remembered/Love Eternal (3:33)
• The End (1:30)
• End Credits (3:23)
• Dracula – The Beginning (Alternate) (4:28) – BONUS
• The Journey (Alternate) (2:33) – BONUS
• The Book (Alternate) (1:32) – BONUS
• To the Brides (Alternate) (1:52) – BONUS
• The Storm (Extended No Choir) (4:54) – BONUS
• Love Remembered (Alternate) (1:11) – BONUS
• Lucy Squirms (Alternate) (1:00) – BONUS
• The Letter II (Alternate) (1:19) – BONUS
• The Stake (Alternate) (0:51) – BONUS
• The Green Mist (Alternate No Mutes) (1:30) – BONUS
• The Fire (Alternate Introduction) (1:52) – BONUS
• So Cold (Alternate) (2:16) – BONUS
• Race Against the Sunset (No Brass) (3:58) – BONUS
• Race Against the Sunset (Alternate) (1:05) – BONUS
• Dracula Toolbox D18A (0:50) – BONUS
• Dracula Toolbox D18B (0:49) – BONUS
• Dracula Toolbox D18C (0:48) – BONUS
• Dracula Toolbox: Lucy’s Lullaby (Harp) (0:36) – BONUS
• Dracula Toolbox: Tears to Diamonds (Music Box) (1:23) – BONUS
• Whispered Drac (Choir) (0:24) – BONUS
• Mina/Dracula (Extended Suite) (5:13) – BONUS
• Rules Café (Extended Album Version) (3:13) – BONUS
• The Hunt Builds (Extended Album Version) (3:17) – BONUS
• Mina/Jonathan (Unused Album suite) (2:35) – BONUS
• Dracula Toolbox D21 (Unused Album Suite) (3:35) – BONUS

Running Time: 30 minutes 41 seconds – Original
Running Time: 187 minutes 46 seconds – Expanded

Columbia CK-53165 (1992) – Original
La La Land Records LLLCD-1469 (1992/2018) – Expanded

Music composed by Wojciech Kilar. Conducted by Anton Coppola. Orchestrations by Wojciech Kilar. Special vocal performances by Diamanda Galas. Recorded and mixed by Shawn Murphy. Edited by Katherine Quittner. Score produced by Wojciech Kilar. 2018 album produced by Dan Goldwasser .