Titles 1 and 2 include the huge main theme. Title 3 is one of my favorites, even though it sounds pretty simple. Title 4 is pretty fast, maybe slightly reminiscent of John Carpenter and later more often used. Title 5 is pleasantly soft, it just 38 seconds and introduces the main character Sarah Connor. Title 6 begins as the third title and takes the theme of the fourth on again. The Chase tracks find him anyway best, closely followed by the Terminator knock when he appears somewhere or zusammenflickt itself. Title 7 Sahra in the bar initially sounds actually like a score of Carpenter, for example, Escape from New York. Terminator was yes then, might be possible, therefore, that it is something derived. However, Brad Fiedel's something more imaginative than Carpenter and also provides for changes in the track, eg in Title 9 Garage Chase, the first only has a tiny sound, and only really gets going after five minutes. The whole track takes 6, 52. Also Title 8 is a chase scene and teeming with action and ingenuity. Title 10 includes again this threatening knocking while zusammenflickt the Terminator. Title 11 is probably the best track, as well as the best and most memorable scene in the movie. It starts with the Terminator knock and then a little faster, and in the almost five minutes to come more and more, as it should be in film music, mixed with a short breathing on the Terminator theme. After about four minutes, the tempo increases and the main theme deftly plays around. Although the scene is quite violent and cruel (the entire police station is finally terminated) remains the music to four minutes very quiet, as well as most of the rest, and that makes him even scarier by the score. Title 12 is the memory scene of Kyle Reese, the first reminded of Carpenters Escape from New York and very powerful and sad comes along. Again comes after three minutes the police station issue and makes the title something more sinister. Title 13 is then the unbeatable Love theme by Sahra and Kyle, a melody that contrasts sharply with the hard metallic robot sounds and also the dramatic and hopeless filters out what will give us also in the corresponding scene visually conveys. Title 14 is again an ordinary action track, but here I feel at Carpenters second part Escape from Los Angeles recalls. Since it is a motorcycle chase that sounds roughly like in Terminator, especially as Arnie is here traveling by motorcycle. But Brad Fiedels piece I find better, because it's like I said, more varied. Title 15 is also one of my favorite tracks. The popular knock inaugurates this monumental moment that makes resound the sad love theme for a minute, which is detached from the tapping after one minute and then ten seconds later is violent and a little like the Bowser scene sounds from Super Mario games. Only that the Terminator is threatening to some. Title 16 is equal to seamlessly and backed the subsequent flight from the Terminator by a factory. The music here is very calm and turns at the end something. Title 17 is after about a minute really disgusting and you can better the atmosphere and the environment probably does not make music. After two minutes, set a creepy sound that is reminiscent of a mechanical scream, which culminates in the final minutes. Title 18 includes a lightweight version of the love theme and 19 sets again on the main theme.
All in all, Brad Fiedel has delivered a masterpiece here. The opinion I might stand alone, but I personally think it's even better than the second part, because of the new Terminator had a creepy theme. And the whole thing was were then refined and sounded even more powerful, especially the Cyberdyne scenes. True Lies, I found not bad by fiddle. Otherwise I know except Striking Distance and Serpent and the Rainbow, unfortunately, nothing more of him. These two, however, I found not so great.
