Overview

1. The Elder Scrolls Iii: Morrowind Soundtrack Release
2. The Elder Scrolls Iii Morrowind Soundtrack
3. The Elder Scrolls Iii: Morrowind Soundtrack Oblivion
4. The Elder Scrolls Iii Morrowind Soundtrack
5. The Elder Scrolls Iii: Morrowind Soundtrack Download

View credits, reviews, tracks and shop for the 2002 CD release of The Elder Scrolls III: Morrowind (Original Soundtrack) on Discogs. ‎The Elder Scrolls III: Morrowind (Original Game Soundtrack) by Jeremy Soule on Apple Music ‎Album 2002 20 Songs. Available with an Apple Music subscription.

Composed by Jeremy Soule and released in 2002 alongside the game itself, the soundtrack to 'Elder Scrolls III: Morrowind' is in my opinion the greatest RPG soundtrack ever, which is convenient since it was composed for the greatest RPG ever. The soundtrack listing goes something like this. Nerevar Rising (1:54) 2. Peaceful Waters (3:06) 3.

There was a time when the Elder Scrolls franchise wasn't one of the biggest names in the RPG genre. That all changed in 2002 with The Elder Scrolls III: Morrowind, the first Elder Scrolls game to be released on both computers and consoles (Xbox). The game continued the franchise's fascination with open-ended gameplay that placed few restrictions on the gamer's actions — you might choose to follow Morrowind's main plot or lose yourself in exploring the game's vast world and its myriad sidequests. One of the consequences of this approach was that, probably involuntarily, Morrowind came to embody the difference between more non-linear Western RPGs and the traditionally story-driven JRPGs. With more than four million copies of the game sold, very strong reviews and a slew of end-of-the-year awards, Morrowind remains one of the cornerstones of Western RPGs.

To score Morrowind's soundtrack, developer Bethesda Softworks called upon the services of one of Western game music's biggest names, Jeremy Soule. Although still a relatively young composer at the time, Soule had already proven himself an expert at writing music for fantasy games with his work on the Harry Potter and Icewind Dale games, as well for Baldur's Gate: Dark Alliance and Dungeon Siege. Morrowind would prove to be another steppingstone for Soule on his way to becoming one of the foremost composers for this genre of games. In a press release, Soule emphasised that the 'stunning epic quality of the Elder Scrolls series is particularly compatible with the grand, orchestral style of music I enjoy composing the most.' At the same time however, Soule was aware that due to Morrowind's free-wheeling nature, gamers might spend hours roaming a particular area in the game, similar to an MMORPG. Soule then chose to create a soft and minimalist soundtrack that wouldn't be too dominant during these long stretches of exploration, so the music wouldn't wear out its welcome.

This approach yielded mixed results, at least according to various game reviewers, who commented on the soundtrack's limited scope and on its overreliance on its main theme. Complaints were also levelled at the ambient, non-adaptive nature of the music, which failed to reflect the gamer's actions and current situation. Despite such criticism, Morrowind's soundtrack was nominated for 'Outstanding Achievement in Original Music Composition' at the Annual Academy of Interactive Arts & Sciences's Interactive Achievement Awards in 2003, where it lost out to Michael Giacchino's Medal of Honor: Frontline.

On album, Morrowind's music was first made available on a 40-minute bonus CD that came with the game's Collector's Edition. Soundtrack collectors eager to find out how well Morrowind's music played outside of the game were later given an easier way to satisfy their curiosity. In 2006, Soule released Morrowind's soundtrack via his online music store DirectSong. This new release presented the music in remastered form and added six minutes to the difficult-to-find physical album, effectively superseding it. This review refers to the original physical release.

Body

So, are Soule's efforts for Morrowind as difficult to enjoy on album as during the in-game experience? Short answer: no. Fortunately, this is one of those rare cases where the soundtrack actually plays better outside of the game. First case in point: Morrowind's main theme. It's first presented on opening track 'Nerevar Rising' in obvious fashion. The track is effectively a series of presentations of the main theme, increasing in volume and scope as the melody is being passed from harp and flute to the celli, before a climactic finish on violins and full brass caps off the piece's development. It's to Soule's credit that the theme — essentially a simple three-note motif extended by two different secondary phrases — adapts well to all these different instrumental settings. The melody communicates lyricism just as much as an optimistic spirit of adventure once the orchestra cranks up the volume. This mellifluous quality comes to benefit the easily recognisable theme and helps it to adapt to other tracks' atmospheres, instead of blatantly putting its stamp on these compositions. 'Peaceful Waters' quotes the main theme briefly on flute and teases out its reflective character, while 'The Road Most Travelled' incorporates a rendition of the theme on solo cello into its lush textures. The melody plays equally well in the more energetic setting of Morrowind's battle cues, where the theme appears on flowing violins on 'Bright Spears, Dark Blood' and subtly referenced in the background of the second half of 'Dance of Swords.'

All these quotations of the main theme are fashioned intelligently and are inserted seamlessly into the flow of the compositions. It's a shame then that the theme only occurs regularly during the album's first half and then disappears — for good actually on the original physical album. If there's any issue with the main theme and Soule's use of it then, it's that the theme is actually underused and doesn't tie the soundtrack's second half together as well as the first half. Next to the main theme, there's a number of secondary themes which are specific to particular cues as a lightly-sprung but determined melody that's heard in various disguises throughout 'The Road Most Travelled'.

And what about the soundtrack's soft and minimalist nature? Good news here as well: Morrowind's music is anything but background droning. Instead, it's a rich score with pieces that develop formidably within their limited running times — ultimately the title's biggest strength. The album's compositions showcase fluid and expertly layered orchestrations that give every instrument section of the synth orchestra an opportunity to shine. Stylistically, it never goes beyond that classical fantasy sound that's been a mainstay of many games, with its rhapsodic and heroic strains. But on Morrowind, Soule applies this formula with an assured hand and the results are thoroughly convincing.

The album alternates battle tracks with more expansive compositions that seem to describe a scenery rather than actions. Its on these cues that the soundtrack develops a spellbinding pull and occasionally even a sense of grandeur that's most befitting for a world as large at that of Morrowind. Tracks like 'Blessing of Vivec', 'Silt Sunrise' and 'Shed Your Travails' are a well of soulful string melodies that don't fail to tug at the heartstrings, yet never sacrifice their noble air. Soule's talent for creating colourful, ever-changing orchestral layers is in full force on these pieces. The opening string melody of 'Silt Sunrise' is backed by increasingly complex orchestrations before calming down for a serene melodic statement, which in turn leads to a splendid conclusion over busy string ostinati and brass interjections. 'Shed Your Travails' and 'Caprice' calm down in their middle sections to include an ethereal female choir that instils the music with a real sense of wonder. On 'Shed Your Travails', this episode leads into an appropriately otherwordly, peaceful finish over glistening violin tremoli and a dying flute melody. 'Caprice', on the other hand, frames its spiritual interlude with light-hearted string ostinati and effortlessly segues from one musical extreme into the other. 'Blessing of Vivec' is just as beautiful and emotionally gripping as these cues, but remains more austere through its jagged solo cello lead whose cautiously ascending notes are a lot less flowing than most string writing on the album. While none of these tracks run longer than three-and-a-half minutes, they pack more development and symphonic drama into their running times than other compositions twice their length.

Morrowind's action material doesn't quite reach the same lofty heights, but it's convincing enough in its own right. Again, it's standard fantasy stuff: bold brass, driving strings and dramatic percussion. But Soule uses these familiar ingredients skilfully and presents them in well-composed shape. And his ear for details ensures these tracks merit repeat listens to tease out their intricacies, such as the rapidly descending violin ostinato figures on 'Dance of Swords' and 'Ambush!' Instead of using them to simply increase the tracks' rhythmic power, Soule places the cascading motifs between beats to create ear-catching, syncopated counterrhythms. Soule's penchant for constantly changing textures benefits the action tracks as well, even though their instrumentations are less colourful than those of Morrowind's slower tracks. Frequently, Soule casts his battle cues in an ABA structure that sees these compositions calming down in their middle section after a dynamic start, before ramping up the volume again towards the end. This change in tempo and texture is quite transparent, but helps to pace these cues and avoid monotony. And Soule makes sure that tension never sags during these quieter passages through the inclusion of lighter rhythmic elements such string pizzicati, hand percussion and tinkling piano notes.

All these positive qualities help to overcome the biggest criticism one could level at the battle cues: that their sound isn't powerful enough to allow them make their full impact. To a degree, this ties in with Soule's declared approach of not trying to overwhelm the listener with his music in-game. And make no mistake, the majority of Morrowind's action tracks are energy-laden enough to satisfy, even though you sometimes wish the percussion elements would have greater presence. But it's only once Soule's strips back the many layers of his compositions and focuses on the primal qualities of repetitive rhythms that things start to sound less promising, for example on 'Drumbeat of the Dunmer' and 'Stormclouds on the Battlefield'. The only thing that the minimalist rhythms of 'Drumbeat of the Dunmer' could have going for them is a resonant, forceful sound, and Morrowind fails to provide this. In general, the album sounds somewhat dull and compressed, with the effect that the detailed orchestral textures, particularly on the colourful slower tracks, aren't always rendered with a desirable level of clarity. Orchestral climaxes that should soar occasionally have their wings clipped, and the sustained double bass chords on 'Over the Next Hill' have way too much presence and muddy the soundscape. Sure, this is a synthesised soundtrack from 2002, but there are enough better-sounding albums around from the same time to suggest that Morrowind's acoustic appearance is hardly reference quality.

Summary

With The Elder Scrolls III -Morrowind- Special Edition Soundtrack, Soule further cemented his elevated standing among Western game music composers. The album impressively displays why Soule would come to be regarded as a specialist for scoring fantasy games. Particularly the more measured tracks on Morrowind are beautifully orchestrated and splendidly developed, to the degree that they sometimes feel like mini-epics convincingly compressed into three minutes. To a slightly lesser degree goes for the soundtrack's battle tunes, which are nicely varied in their textures and filled with intricacies, particularly when it comes to their rhythms. All the way through, Morrowind exudes that wondrous, yet bold feeling of high adventure that's so indispensable for a fantasy score of this character, captured in the score's strong but slightly under-used main theme.

Unless you insist on listening to your scores in a lossless format, the physical release of Morrowind's score is superseded by the digital version. The disc lacks the remastering and bonus tracks of the digital version, and ends particularly underwhelmingly with 'Drumbeat of the Dunmer'. That all said, fantasy score enthusiasts should not hesitate to purchase a version of this soundtrack.

The Elder Scrolls Iii: Morrowind Soundtrack Release

Simon Elchlepp

The Elder Scrolls Online: Morrowind soundtrack is now available on digital platforms. Check out the full soundtrack below and read an interview with its composer and Audio Director, Brad Derrick.

( Click here for Spotify web player)

ESO: Morrowind's entire soundtrack is now available on Spotify, iTunes, Google, and Amazon!

The Elder Scrolls Iii Morrowind Soundtrack

Brad Derrick is studio Audio Director and composer for the ESO: Morrowind soundtrack. In celebration of the soundtrack's release, we asked him a few questions about his process and the challenges associated with making the music for an Elder Scrolls game.

The Elder Scrolls series (and The Elder Scrolls III: Morrowind in particular) has a lot of history behind it. How do you go about creating something new and fresh while retaining the series' iconic elements?

Meeting that challenge for ESO: Morrowind was essentially a heightened version of meeting that challenge for the game as a whole. For TheElder Scrolls Online, the music has to bridge the gap between the familiar and the new, satisfying player expectations while still having a unique identity. This means making sure the music is 'Elder Scrolls-y' enough to sound like it's from the same universe as the other games, but at the same time different enough so that it's clearly ESO music, belonging to the time and spaces of our game.

It began as an exercise in reverse-engineering what makes the scores for other Elder Scrolls games tick. Some of that is pretty straightforward - broadly identifying things like instrumentation (large orchestra, live chorus, booming percussion, etc.) and style (late 19th / early 20th century era) to use as a musical framework for future compositions. But some of it is more difficult to nail down, and therefore more difficult to reproduce - the wonderful, memorable melodies of the music in the series for example. It's one thing to say, 'This new Elder Scrolls music must have wonderful, memorable melodies.' It's quite another to actually make that happen. To that end, I have a musical sketchbook in which I'm always squirreling away ideas as they come. Melodies and themes, phrases and fragments, or even just harmonic progressions all get recorded in their crudest form and stockpiled for a later time.

Therefore, when it's time to write new music, my creative space exists at the intersection of three things: the musical framework that defines 'Elder Scrolls' music, the needs of the particular game content at hand, and my collection of half-finished ideas. The first of those three keeps the music faithful to the series, the second keeps it faithful to our game, and the third - if I do my job well - does both.

Of course, the most direct way to serve both of those masters is to quote and reinterpret thematic material from other games in the series. I've done that a few times in various pieces in the past, slipping in melodies here and there and reworking them, giving the players something to perk their ears up as they travel lands from the other Elder Scrolls games. But with the ESO: Morrowind release having such nostalgia associated with it, I wanted to do even more of that, even going so far as to replace the game's title theme with something that hearkened back to the original theme from TES III: Morrowind.

Broadly speaking, what were the major steps involved when planning and composing the music for ESO: Morrowind?

Almost all of the music in ESO is performed live, and the music of ESO: Morrowind is no exception. Like our other soundtracks, we had about six months to take the score from inception to completion. That always feels like plenty of time at first, but given the complex production schedule - not to mention the ongoing duties of my 'real' job as Audio Lead - things invariably get rather hectic towards the end.

Scheduling out a production timeline like this naturally starts at the end and works backwards. Once I know the date the final score has to be integrated into the game, I can finalize what has to be done and when, and what can be done in parallel and what cannot.

Here is the basic roadmap for taking the ESO: Morrowind score from idea to reality:

1. I am told told we're going to do an ESO Chapter with a new title theme.
2. Compose for 6-8 weeks. I break out the idea book and see if there are any gems in there and figure out what Morrowind themes I want to quote.
3. Contact our music contractors to book the orchestra, chorus, and soloists.
4. Complete the composition.
5. Send our music contractors all my scores, temp mixes using fake (not live) instruments, notes, etc. so they can prep for the live sessions. Book the hall, the musicians, the engineers, print the scores out, and much much more.
6. Write bard songs while the contractors are doing the above - 2 weeks.
7. Live orchestra and chorus sessions - 1 week in Budapest.
8. Live soloist sessions (violin, cello, lute parts for bard songs, etc.) - 1 week in Budapest.
9. Begin mixing live orchestra and chorus tracks into my sessions with other production elements (percussion, synths, harp, sound design, etc.) - 4 weeks.
10. Get the bard songs sung by real singers in LA - 1 week. Finally, thankfully, my temporary vocals are replaced.
11. Final mix sessions in LA - 1 week. This is when I find out at long last if this stuff sounds any good.
12. Mastering – a couple of days.
13. Final integration into the game engine of all soundtrack and bard song assets - 1 week.
14. Final playtesting - 1 week.

When creating the music for The Elder Scrolls Online, you had to create pieces for a number of different player activities, whether it be exploring, questing, or combat. How do you approach the game's different experiences when crafting an entire soundtrack?

I think the real answer here lies in the integration, not in the composition. Writing music specifically for those kinds of activities is the easy (well, easier) part. The hard part is getting them to transition in a manner that is meaningful, satisfying, and not jarring or immersion-breaking in any way. We've put a lot of effort into this, and while I won't say we've nailed it 100%, I think we've done a pretty good job.

It's a real shame when good music suffers at the hands of bad integration. Few things in game audio irk me as much as hearing abrupt cutoffs or an over-reliance on crossfades when transitioning between pieces. It feels lazy, and it takes me out of the moment. To draw comparisons to linear mediums like film and television is probably unfair, but I'll do it anyway: When a movie protagonist enters a cave, kills a bad guy, or does something otherwise dramatic, the film score highlights those moments and moves between them fluidly. The music for the cave scene has a beginning, middle, and end. The fight scene music doesn't fade out...it ends, definitively.

That's been the goal with ESO's music system - to make the underscoring of what the player is doing as fitting and seamless as possible. Ambient underscore will be appropriate to where the player is and what the player is doing. And when that changes, the change in music will feel natural, perhaps even unnoticed. When the player is in combat, the musical intensity will ramp up or down depending on the number of enemies or the presence of a boss, and when the fight is over, the music will reach a musical conclusion rather than just fade away.

Like most things in a MMO, it's a work in progress, subject to constant review (me playing at home) and improvement (me pestering our fantastic audio programmer, David Jorgenson). But it's a solid system, and it's a joy to create new pieces of music to drop into the machine and hear how they all come together in actual gameplay.

Was there any particular piece that you found especially challenging to compose? Why?

Yes. The title theme. Why? Because it's the title theme.

A game's title theme is arguably the most important piece in any soundtrack. It's the musical identity of the game, used for branding and marketing, and heard by players every single time they log on to play (except players that turn off the music...you monsters!). Adding to that is the fact that I was updating the classic TES III: Morrowind theme that was originally penned by Jeremy Soule and featured in Oblivion, Skyrim, and ESO for the last three years. So...no pressure, right?

That said, once the new direction for the theme was decided - a sung version of the classic melody with actual lyrics in an ancient Dark Elf language - everything else kind of fell into place. I spent a good bit of time doing vocal part writing up front, coming up with four-part choral arrangements of that lyric melody, until I arrived at some things that I felt would make good 'tent poles' or high points of the piece. Then it was a matter of mapping out the spaces between them - solo violin interpretation goes here, bombastic reprise goes there - and before I knew it, I had a four-minute exploration of that theme that satisfied the goals (see above) of bridging the gap between the familiar and the new.

There's a lot going on in that piece over those four minutes; it goes in a lot of different directions, to a lot of different places, but they all come from the same basic musical material - that simple, timeless, 15-year-old theme.

The Elder Scrolls Iii: Morrowind Soundtrack Oblivion

How did you get your start composing game music?

About a thousand years ago in game dev time (1995), I was finishing up a Masters in Electronic Composition when a friend sent me something called an 'email' on the 'internet' (seriously, these were things I was barely aware of at that time) asking if I wanted to come make sound effects at a game company called Kesmai. I actually didn't get his email, because - again, 1995 net newb - I don't think I knew how to check my email, but I bumped into him one night and he was like, 'Dude? Did you not get my email? Do you not want to come make sound effects for video games?' I responded, 'Oh, uh, okay, sure, I guess.' I was that close to none of this ever happening.

That's how I ended up working for MMO pioneers Kesmai for six years, over which time I worked my way up from part-time sound designer to full-time sound designer to audio-guy-who-does-everything-cuz-he's-the-only-one-left. I finally got to use my Masters in Electronic Composition degree simply because there was no one else around to write music. I spent eight years after that at Mythic Entertainment working on Dark Age of Camelot and Warhammer Online, and then the next eight at Zenimax Online Studios.

So here I am, still getting to do my favorite things in the whole word: make music and make games!

The Elder Scrolls Iii Morrowind Soundtrack

The Elder Scrolls Iii: Morrowind Soundtrack Download

Enjoy the music of ESO: Morrowind? Let us know what you think of it on Twitter @TESOnline.