Joseph Trapanese was announced to compose the film score for Robin Hood and recorded the score at the AIR Studios in London during April 2018. The London Chamber Orchestra performed the score, conducted by Trapanese himself and orchestrated by David Butterworth. The orchestral portions were recorded in an unusual manner. Instead of placing the basses in the center, those basses were split and placed on either sound of the room to bounce of the walls, creating a more low-end and bass-driven sound, and the violins were place far back in the room, to allow the sound to marinate in the room before hitting the microphones, allowing high strings coming after the low-end sound. The brass section, which consisted of 12 horns, two tubas, six trombones and four trumpets were recorded separately.[1][additional citation(s) needed]
Release
The soundtrack album was released through Sony Masterworks on November 16, 2018, five days ahead of the film's release.[2]
Reception
Zanobard Reviews gave 7/10 to the score and wrote "Joseph Trapanese's score to Robin Hood is a bit of an oddball, being part generic superhero and part 2013's Oblivion (yes, seriously). That doesn't stop it however from being an upbeat, epic and pretty enjoyable soundtrack overall."[3] Adam Lubitow of City called it "a pounding score that desperately wants to remind you of Hans Zimmer in The Dark Knight mode".[4]Owen Gleiberman of Variety and Todd McCarthy of The Hollywood Reporter called the score "bombastic" and "thrilling".[5][6]
Emmet Asher-Perrin of Reactor wrote "the soundtrack by Joseph Trapanese could be copy-pasted onto any current Marvel film and do just fine. Maybe he was trying to audition for them with this score? I'd buy anything at this point."[7] Chris Bumbray of JoBlo.com wrote "Joseph Trapanese's score [is] dangerously close to becoming a generic sound-alike at times (a bummer – Trapanese is a terrific composer who could have done better had he been given the opportunity)."[8] Bill Bria of /Film called it "a propulsive score by Joseph Trapanese".[9]
Additional music and arrangements – Clark Rhee, Hal Rosenfeld, Jared Fry, Jason Lazarus
Recording – Jake Jackson
Additional recording – Noah Scot Snyder
Recordist – Laurence Anslow
Mixing – Alan Meyerson
Mastering – Patricia Sullivan
Supervising music editor – Bryan Lawson
Music editor – Dominick Certo
Score editor – David Channing
Music supervisor – Randall Poster
Music consultant – Celeste Chada
Musical assistance – Alex Ferguson, Alex Kish, Ashley Andrew Jones, Colleen Lutz, Dylan Shyka, Erik Lutz, Eva Reistad, Max Davidoff-Grey, Pietro Milanesi
Technical score coordinator – Clark Rhee
Music librarian – Jill Streater
Copyist – BTW Productions, Booker White
Graphic design – WLP Ltd
Management
Film music coordinator (Summit Entertainment) – Hannah Harris
Music business affairs (Summit Entertainment) – Heather Rajcic
Soundtrack acquisitions (Masterworks) – Mark Cavell
Director of film and television music (Summit Entertainment) – Ryan Svendsen, Lilly Reid
Executive in charge of film music (Summit Entertainment) – Amy Dunning
General manager and executive vice president of music business affairs (Summit Entertainment) – Lenny Wohl
Music finance executive (Summit Entertainment) – Chris Brown
Vice president of music business affairs (Summit Entertainment) – Raha Johartchi
Product development manager (Masterworks) – Jennifer Liebeskind
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