Ah, #Droughtlander. You sap my strength every day when there is not some new tidbit or piece of Outlander news to sink my teeth into. I search for Outlander joy in the little things like Sam Heughan giving sweet love to Outlander fans on the BAFTA Red Carpet and Caitriona Balfe’s BAFTA Scotland win (read all about Naomi’s experience from the red carpet!). Or the recent Critics Choice Awards nominations for both Sam and Cait. Even a Barbour video featuring Sam can carry me through multiple days but just as surely, I fall into despair soon again. I get some satisfaction cheating on Outlander with Poldark every Sunday night, but as with most affairs, the momentary high inevitably leads to guilt and deep feelings of regret.
It’s daunting to think about how far we may actually be from the Season 3 premiere. Four episodes filmed but still 9 more to go and Scottish winter is nigh. But, when I am feeling shades of Outlander blue, I now have a sure-fire remedy.
Thank God for Bear McCreary and the Season 2 Outlander Soundtrack! Bear does it again with a compilation of hauntingly melodic tunes that take us on a glamorous journey from the palaces and salons of Parisian aristocrats back to the blood, mud and dreary moors and mountains of Scotland and our doomed Highlanders. McCreary’s talent shines to a high gloss in this latest release of the music of Outlander – as integral to the production as the actors themselves. The mark of a good composer is that the music enhances the storytelling but doesn’t distract from it. McCreary is a master of this. The music of Outlander Season 2 punctuates many scenes and provides for highs and lows that add to the glorious emotions we witness as Jamie and Claire navigate their final year together before the tragedy at Culloden force them to part. So, working my way up from #10 to my #1 favorite, I give you the Top Ten Musical Moments of Outlander Season 2…
Click on the title headings to hear the tracks in their entirety on YouTube or Spotify
I love a drum. And, so does Bear McCreary. There were so many heart pounding tunes that prominently featured drums on his Outlander Season 1 soundtrack, including one I chose as my Favorite Musical Moment of Season 1, “Charge of the Highland Cattle.” In Episode 2.10, “Prestonpans,” however, Bear deftly uses drums in a very different way. Track #16, also titled “Prestonpans,” accompanies Jamie as he leads his rag-tag army on a sneak attack across the far side of the moor that separate the two armies. We hear at first the low, ominous pulsing from the bodhrán frame drum. In fact, it sounds like hundreds of collective heartbeats as the Highlanders make their way in dense fog to surprise their better-armed enemies. The weight of this musical effect creates a terrifying backdrop for the suspenseful build-up to the bloody Battle of Prestonpans. Simultaneously, we also see Claire in her makeshift field hospital. She and the other Highland women are clearly nervous for what’s to come and whether they will be prepared to manage the expected wounded, who presumably could include the women’s husbands, brothers and fathers. Claire’s heart beats to the rhythm of the drums, as the tension builds. The tune alternates tempo often throughout, therefore increasing the sense of tension as the Highlanders get closer to the English camp. We also hear snippets within the piece of the tat-a-tat of the British field drums letting us know what awaits the Jacobite army through the mist. Bear has said the melodies and pulsing tones of Track #16 almost feel like they could have come from the television show, The Walking Dead. As most may know, Bear McCreary also scores for that program. He’s right. You can feel the terror escalating with each percussive beat. It was a terrific score for one of the most amazing episodes of Season 2.
I am sucker for Dougal MacKenzie. I find his character endlessly fascinating. Good guy, bad guy? I know this question has been asked and explored in this fandom a lot, but to me it all came to a head (or did it?) in Episode 2.10, “Prestonpans.” In a previous blog post I wrote ranking the Season 2 episodes, “Prestonpans” was my #1 favorite episode of the series. There are many reasons for this, but not the least being Dougal’s death-defying march straight into the enemy’s midst. First, it continued to play out the interesting dynamic we had started to see developing between Dougal and his nephew, Jamie. The student had become the teacher as Jamie sought to manage his Uncle’s emotional outbursts and zealous support for the Jacobite cause. Jamie knew the advantage it would give him if he could harness Dougal’s energy and transfer it to the disheartened Highland army. The War Chief is a handful, as we have come to learn. He is arrogance and ego mixed with a fierce warrior’s heart… but probably a guy you want to have around when facing a much better resourced and organized enemy. Jamie knew just what he was doing when he subtly suggested to Dougal that someone needed to test the moor to see if a direct assault on the English would be possible. Dougal saw the possibilities and went for it. The scene absolutely riveted me as the accompanying score – Track #13 “125 Yards” – amplified the tension, while Dougal defiantly advanced towards the enemy line looking straight down the barrels of the English muskets. Dougal survives by the skin of his teeth (or the crook of his bonnet!) and rides triumphantly back to the cheering Highlanders and the Bonnie Prince having learned all he needed to know on the daring reconnaissance. The tune reaches a stirring climax with use of McCreary’s adaptation of “Moch Sa Mhadhainn,” a Scottish folk tune from the Jacobite era. We’ll explore the fascinating story behind this song a bit later. I was on the edge of my seat watching this series of scenes in Episode 2.10. It was a thrilling ride for Dougal and an important milestone in the evolution of his character. As a viewer, we walked every inch of that muddy moor with Dougal and felt every moment aided by Bear’s spine-tingling arrangement that is Track #13 “125 Yards.”
The heartbreakingly simple Track #10 “Faith” accompanied some of the most poignant and deeply moving scenes in the entirety of Episode 2.07. Also titled “Faith,” this episode found Claire alone, on her own and grieving the loss of her stillborn child. The Faith Theme was performed with a solo piano and a symphonic flute – sounds we have rarely heard on any of Bear’s Outlander compositions to date. The solo piano is analogous to the utter isolation that Claire felt both over the loss of her child and the loss of Jamie and her faith in him. The long segment of Claire’s return to the Fraser apartment in Episode 2.07 is accentuated by the Faith Theme. As Claire unsteadily makes her way past her servants – oddly now her only “family”, save young Fergus – we feel each note, each step of Claire’s painful return to her life alone without her baby or her husband. So much emotion in so simple a melody. And, again, at the end of this episode, we hear the Faith Theme as Jamie and Claire reunite to pay respects at their baby daughter’s grave. The solo piano notes of the tune sound almost childlike themselves as we feel every frame of this scene and every slow movement of Jamie and Claire as they struggle to accept their tragic loss and seek to forgive and find a way back together. So much resonance here between the visual and the auditory senses. It’s an unforgettable piece and lands firmly in the #4 spot on my Top Ten list.
The single most evocative music that Bear McCreary has used liberally throughout both seasons of Outlander to date has been “The Stones Theme.” It represents the unknown and the mystical but also Claire’s journey at various points in the series. A close second to “The Stones Theme” is the “Jamie and Claire Theme.” Sprinkled through so much of both seasons’ soundtracks, these two compositions define Outlander the series. I lump these two tracks together – Track #21 “Destiny on Culloden Moor” and Track #22 “A Fraser Officer Survived” – here because, although they occur in different scenes, they run together quite seamlessly. The “moment” these two tracks collectively create is a powerful one. And, what’s interesting, is that they span two time periods in Episode 2.13, “Dragonfly in Amber.” “Destiny on Culloden Moor” is used as Jamie takes Claire to the Stones for yet a second time prior to the start of the Battle of Culloden. Like the first time when she refused to go, Jamie was trying to protect Claire. This time Jamie believed death was near for him. His destiny lay on Culloden Moor. A widow alone with child and in the aftermath of a brutal defeat of the Highland culture would not be a fate he would wish for the woman he loved. We all waited to see how that farewell scene would play out. Not exactly like the books, but definitely not bad – in great part due to the music. As Claire and Jamie shared their final words and moments together, the full orchestra and the beautiful and haunting return of the Gaelic chorus made us feel every single second of that hasty goodbye. In particular, we feel the couple’s agony, as the scene climaxes when Jamie guides Claire tenderly through the veil of time. This time Jamie believes she is forever lost to him.
McCreary uses as a base for this piece a melody from Marin Marais’ Piéces de Viole, livre IV, “Muzette and Double.” Marin Marais was a French composer who studied with Jean-Baptiste Lully. As mentioned earlier, Bear borrowed heavily from Lully’s work in many of the pieces composed and adapted for the Paris episodes in Season 2. Like Lully, Marin Marais was also hired as a court musician by the royal court of Versailles. You can hear McCreary’s inspiration here at approximately the :52 second mark.
Great is my joy and hearty laughter
Since I’ve heard of the Prince’s coming
To the land of Clanranald
It was highly probable that “Moch Sa Mhadainn” was sung by the Highlanders as they advanced on their enemy. Bear found an unusual singer to give voice to the song. Griogair Labhruidh – a.k.a. ‘G-Croft’ is a multi-award winning Gaelic singer, master piper, producer and guitarist. He was born into a long line of Gaelic musicians on both sides of his family. Surprisingly he is known for his hip-hop style and is currently working on the first ever Scottish/hip hop fusion album. But, it was that unusual background that led Bear to believe that Griogair’s vocal style would be the perfect mix of modern and traditional to give voice to “Moch Sa Mhadainn.” In addition to Grioigair, Bear added some vocals from a male Gaelic chorus to suggest the groups of Highland men who likely would have joined in as the song was sung during their battle marches. The emotional impact of this tune infuses the second half of the season through all its various iterations. It embodies, for me, everything I love about the story of Outlander and Jamie and Claire’s struggles in Season 1 and Season 2. All of the variations of this original and historically accurate folk song are used to brilliant effect throughout Season 2. Without hesitation, therefore, I choose the use and adaptation of “Moch Sa Mhadainn” throughout the second half of Season 2 as my #1 Top Musical Moment.
Purchase the Outlander Season 2 Soundtrack at Amazon