Personally, I find John Williams horribly boring much of the time. He's composed some classic scores, no doubt, but at this point in his career his stuff isn't particularly memorable. His scores also tend to be VERY heavy on saccharine sentimentality and whimsy, which isn't something I want to see in The Silver Chair. It's the darkest Narnia book to be adapted to date, as well as the most adventurous and quest-oriented, and I think that the music should reflect that. It should be adventurous and sweeping with occasional moments of darkness. And, of course, there should be a few well-placed reprisals of Harry Gregson-Williams wonderful Narnia theme.

I'm glad to see someone mentioned John Powell. The first score I remember really noticing him for was The Bourne Identity, but it's his How to Train Your Dragon score that really made me love him. It's absolutely phenomenal. I'm sure he'd deliver something great here. James Newton Howard would, of course, be a reliable composer for this sort of film as well.

A really left field choice that will probably never happen but could be awesome would be Benh Zeitlin and Dan Romer. Thye scored (and Zeitlin also directed) "Beasts of the Southern Wild." I actually didn't particularly care for the movie, but the score is unbelievably beautiful. It's easily my favorite score since How to Train Your Dragon in 2010.

It's actually really hard to pick highlights from the Beasts of the Southern Wild score because, save for a few songs mixed into it, literally every single track is incredible. It's one of the few movie soundtracks I can listen to straight through without skipping some of the inevitable boring stuff. I really can't recommend it enough. If you want to check out a few tracks to get a good feel for what it's like, try "Until the Water Goes Down," "The Confrontation," or, my personal favorite, "Once There was a Hushpuppy."

I know its been a long time since anyone posted on this thread, but this subject is very important to me. In film, music is nearly as much of a character as the narrator is in a book. It dictates (along with many other aspects) tone and emotion. There is nothing I love more than a movie that has the guts to do something different with its score. I would love if The Silver Chair had a distinctive score filled with character. Think of what Hans Zimmer did with the Sherlock Holmes films. Both are supported by gypsy and Balkan inspired music, giving the films a distinct flavor. One of my favorite movies of all time, The Third Man, is entirely scored with solo zither music. It is the perfect soundtrack for the film with its crumbling postwar Vienna setting. Obviously I don't think every film should have zither music, but it seems like so many movies now have no creativity in their scores. Stock action music here. Stock brooding music here. Stock wonder-filled music here.

I like the idea of a Celtic theme to the score. It would fit the tone (I think), and a lot of the mythology in the books came from Celtic mythology, and The Silver Chair is very low on the Greek mythology that abounds in some of the other books. If they wanted, the Narnia motifs could still be there alive and well, done in a unique style (though I tend towards the idea of a brand new score myself) and the Celtic feel could get stronger and stronger as the characters travel north and then darken and deepen when they head under ground. That may be a bit on the nose, But I think that sounds awesome.

Thanks if you've read this, I know I'm a bit late to the party .

Apologies for repeating myself (I said this on another thread), but I do feel that a Celtic style of music has become such a cliche in fantasy-genre films. Anything with swords and dragons in it is seen as "pseudo-mediaeval" and to give it that atmosphere, you invariably get Northumbrian pipes and harps and long-haired minstrels strumming lutes. Far from giving The Silver Chair a distinctive feel, I think it would make it feel like every other fantasy film. I really like Celtic music (Clannad, Iona) but I agree with Thunder-Fist that it needs something distinctive. As for what, I'm not sure. Rather than a full orchestral score, maybe a solo piano (Ludovico Einaudi)...?

Perhaps some Norse influence would work well, especially for the Marshes, wastelands, Ettinsmoor, and Harfang. Instruments like the boneflute, viking panflute, and the lyre aren't quite as overused and have distinct sound. While the feel is often quite medieval, arrangements would play a huge part in that. I can easily visualize the three travelers trekking through the wastelands to the high, cold notes of a boneflute supported, when needed, by a subtle orchestra for resonance (perhaps dark strings and winds). I could see the giants of Harfang suited well with some feasting and choral music of similar cultures, and the deep choral songs of the vikings could seamlessly transition into the darkness of sunless land and wherever the score went from there on.

One problem is viking-esque battle music might sound video gamey. But since most of it isn't very accurate (and there shouldn't be any actual battle music anyway) I think any unwanted association could be avoided by a competent composer.

Just some ideas, not really thought out too much. Keep in mind I mostly mean where to look for inspiration, not literal, period accurate songs, nor the inaccurate contemporary idea of what Norse music is.

I think Thomas Bergeson would be great if he did that sort of thing. I like TSFH music a lot too and think it would fit perfectly. Hans Zimmer is always a good choice- he has so many amazing scores to his name.

Hans Zimmer scoring a Narnia film would be like the ultimate for me. He is one of my favorite composers ever. Actually, since we obviously won't have the continuity of one composer like LOTR & The Hobbit, my next choice would be:

Patrick Doyle for The Silver Chair. I've listened to a couple Shakespearen scores he did (my favorite is Henry V) and I kind of see a similarity to the mood you would need. And he does really beautiful climax music that could really do justice to when Rilian is revealed.

John Williams for The Magician's Nephew. Initially I thought the only movie John's style would suit was LWW and that's already taken. But after listening to The Book Thief soundtrack I think he could do really well with The Magician's Nephew. There was something about The Book Thief score that had a similar feel to how I think of The Magician's Nephew and how I picture it as a movie.

Jerry Goldsmith for The Horse & His Boy. Initially I was going to say Hans Zimmer because of his scores for Gladiator and The Bible, but then I listened to the music from Elvis Stojko's skating program to The Mummy again. (I hate those movies with a passion but I have heard the scores and they're terrific). The music Jerry used would be perfect for HHB - there's music for the desert, great battle music - everything.

Hans Zimmer for The Last Battle. No question. He can obviously do battle music (POTC films, Gladiator) and some of his climax themes sound like they belong in Aslan's Country. Listen to the first 45 seconds of The Battle from Gladiator and the track "My Name Is Lincoln" from The Island.

You all gave such interesting suggestions! I don't know if anyone already mentioned him here, but I just discovered Austin Wintory and he's really wonderful. I really liked his work. You can listen to this, the Journey Soundtrack:

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I know it's from a video game, but he does soundtracks for movies too. I don't know if he would fit the movie or if he would do a good job with TSC, but I like his compositions.

Hans Zimmer scoring a Narnia film would be like the ultimate for me.

Didn't he do "Prince of Egypt"? I've never seen it but I was obsessed with the story of Moses a while back and I listened to the soundtrack regularly. It's fantastic, so I wouldn't mind him scoring a Narnia film.

Instruments like the boneflute, viking panflute, and the lyre aren't quite as overused and have distinct sound.

Ohhhhh I can almost hear that! Instead of Celtic they could do a more medieval minstrel sound with the pipes, flutes, a harp, and I hear a hammered dulcimer in there too! If you've never heard one you must give this a listen!

It's the most amazing instrument!

Austin Wintory just replied me on twitter and he said: "I have a hand-made Dawn Treader here in my studio from my childhood I made with my father ". That's so amazing, I can't even explain. One more reason for me to like him and imagine his compositions on the movie, haha. He's really nice.

My favorite contemporary composer is James Newton Howard.

I would simply love him to compose for the Silver Chair.

Okay, I have to make a correction. I posted Jerry Goldsmith for The Horse and His Boy, not realizing he passed away back in 2004! My apologies. So I guess my revised list is Hans Zimmer for both HHB and LB (He's proven capable of the Bible-era movies with Gladiator and the Bible Miniseries, and you'd use similar music probably for Calormen country?), John Williams for MN, and Patrick Doyle for SC.

I've been thinking, what do you all think of a Tchaikovsky influence in the score? I feel the some of the scenery could be very Russian/Siberian, and that sound could work quite well. (Just imagine the great snow dance) It would give the movie a more timeless and romantic feel.
"Romantic: characterized by, or suggestive of an idealized view of reality."a romantic attitude toward the past" idyllic, picturesque, fairy-tale"
Perhaps it would put it in a different genera than modern fantasy/action/adventure films.
Just a thought.

Tchaikovsky is my favourite composer. I would definitely be cool with seeing his influence in the score. C:

This may be wishful thinking, but I think it would be really cool/interesting if Adam Young scored The Silver Chair. He's the genius behind Owl City, and yes, I know Owl City is electronica, but this year he launched a new project: Adam Young Scores. Each month, he releases a soundtrack to a moment in history that inspires him, such as Apollo 11 or the first flight across the Atlantic. While some of them utilize a lot of synth, many are quite orchestral. (For instance, "Silence" on the Titanic soundtrack sounds quite Narnian to me.)

I don't know if he has the experience for the job, but I think he's quite talented and creative and I'm sure he would give the film a very unique sound. Plus, it seems like he might be a Narnia fan!

I know it might not be everyone's cup of tea. But I'd be really thrilled if some of Daniel John's music, as performed by his group Silverchair was worked in somehow. This Australian music group called themselves Silverchair after the Narnia book, and it would be sort of cool if the film borrowed their music back if the film director thought it was at all suitable or relevant.

I listened to Adem Young' s RMS Titanic album, and I kind of see what you're talking about Rose, a number couple of the songs do have a of Narnian quality to them, I don't know if Adem Young himself would be a good choice for composing the score, but if we kind of similar too those couple track with a full orchestra I think could be something excellent.