Once in a while, Hollywood finds a product so compelling it overwhelmingly crushes all competition—sequel after sequel after sequel. The TWILIGHT juggernaut is the new gift that keeps on giving. It’s already made over $2 billion so far (yes, that’s billion with a B), so it is no wonder that TWILIGHT products keep coming out very time you turn your head. Shortly on the heels of the last TWILIGHT compilation (MUSIC FROM THE TWILIGHT SAGA FOR CHAMBER ORCHESTRA) comes this one: MUSIC FROM THE TWILIGHT SAGA. With music from all four existing films, this one is released by Silva Screen Records, the king of compilation albums. As usual for Silva, the recordings were made with the City of Prague Philharmonic Orchestra. If you’re familiar with work by both Silva and the City of Prague Philharmonic, you’ll know the quality is solid. Yes, there are probably better orchestras in the world, but I’ve never felt the need to complain about Prague. 　　The four film scores in the TWILIGHT SAGA are: 　　1. TWILIGHT by CARTER BURWELL 　　2. NEW MOON by ALEXANDRE DESPLAT 　　3. ECLIPSE by HOWARD SHORE 　　4. BREAKING DAWN I by CARTER BURWELL 　　It is widely known that I gush over CARTER BURWELL scores, so having two melancholic, romantic BURWELL scores in the same compilation is going to get me all tingly. Throw in DESPLAT’s incredible NEW MOON theme, and almost anything written by HOWARD SHORE, and I’m doing a happy dance even before I hear it. There, bias disclosed. 　　In my review of the other TWILIGHT compilation, MUSIC FOR CHAMBER ORCHESTRA, I commented that the same track selections with a real symphony orchestra would be ideal. Silva apparently was of the same mind, because most of the same tracks are on this album, and then some. We have seven of the best tracks from TWILIGHT, six from NEW MOON, seven tracks from ECLIPSE, and five from BREAKING DAWN I. That is what a compilation should be: a generous selection of the best thematic material. And we get the original versions performed by a full symphony orchestra, with all the emotional layers intended by the composers. This is my dream TWILIGHT compilation album. Actually, the dream album would have all five scores, which indubitably will be forthcoming later this year. But for now, this one will do. 　　The TWILIGHT SAGA, of course, is a four book series about the love adventures of a Bella Swan with both a vampire named Edward and a werewolf named Jacob. The key theme of the Saga is Bella’s Lullaby by CARTER BURWELL. Written to win his partner (now wife), BURWELL adapted the bittersweet tune to express Edward’s eternal longing for and devotion to Bella. Bella’s Lullaby is now the anthem of the TWILIGHT nation for swooning women worldwide. 　　The seven tracks from TWILIGHT by CARTER BURWELL revolve largely around the Lullaby’s brooding angst and forbidden desire. There is enough melody to evoke romance, but also enough dissonance to evoke pain. How I Would Die (4) and I Know What You Are (6) are especially anguished expressions with strident electric guitars and tumultuous percussions. Although these cues do not necessarily make for an easy listen, they are brilliant expressions of exactly the kind of emotive force needed for the film. 　　ALEXANDRE DESPLAT’s NEW MOON is the opposite of BURWELL’s aching poetry. His six tracks represent a harmonious, classically romantic score led by an eminently hummable title theme. Regular film music fans would no doubt highlight this score as the best of the four by far. It is a conventional orchestral score with distinct, memorable motifs and layered variations of the primary theme. Silva also was savvy enough to include a piano cue called The Meadow (13) that fans acclaim, but was omitted from the original score album. 　　HOWARD SHORE composed a quieter, simpler score with an emphasis on piano for ECLIPSE. The seven tracks selected capture very well the usual lyricism Shore brings to characters. His main themes for Bella and Jacob are melting. I was pleased to see Silva include a few action cues as well, with Shore’s now famous reverberations of bass percussions and brass. It was nice to get a bigger picture of the Twilight films than just the romance and characters. 　　Finally, the best part of the compilation, for me, is BURWELL’s latest score for BREAKING DAWN I. The five tracks represent quintessential BURWELL. I was especially gratified they included two action cues: A Wolf Stands Up (23) and You Kill Her, You Kill Me (25). As a long time fan, I haven’t seen him compose stirring, epic action like this in a long while, not since the old days of FEAR, THE JACKAL, and CONSPIRACY THEORY. Wrapping it up is a beautiful, piano reprise of Bella’s Lullaby in Let's Start With Forever (24). 　　This album provides an excellent sample of the best TWILIGHT music currently available. Obviously, listeners who are not fans of TWILIGHT or CARTER BURWELL would rate this album lower than I would. I’d venture to guess that even non-BURWELL-fans may find this compilation an effort worthy of a 6 or 7 out of 10, if only on the strength of DESPLAT’s and SHORE’s robust scores. Hopefully, though, this compilation can introduce to the average film music enthusiast what I and other TWILIGHT fans already know. TWILIGHT SAGA does exceptionally well what all film music should do: allow you to continue experiencing the story long after it leaves the screen.