It’s tempting to take the easy way out here: the simplest answer to which motives recur from prior films is that Silvestri only reuses material from those films in the MCU he scored – the Captain America theme (by Silvestri) plays in full at least three times while neither Iron Man’s theme nor Thor’s theme (none of those films list Silvestri as composer) have any significant role to play in this film. This essay is focuses solely on musical material lifted from prior films in the MCU. The New Avengers theme plays twice as well – once when Captain Marvel lands the spacecraft, and once as the New Avengers arrive through Doctor Strange and Wong’s portals in the final battle. Tony’s funeral music plays twice, for example, first as Captain Marvel saves Tony in the first few minutes of the film, and again during his funeral in the film’s end. Similarly, I am also not counting new motives written for Endgame that play multiple times. The feelings of love and friendship between Hawkeye and Black Widow are mutual, which makes the sorrowful piece of music feel more honest than it did with Thanos and Gamora in the previous film ( Avengers: Infinity War). One such moment in Endgame merits special mention even though time travel is involved: the reused music for the Soul Stone that plays on Vormir feels more earned here than in Infinity War. In the case of both franchises, when we see earlier musical material alongside earlier visual material in the sequels, it’s not a reuse – it’s the same use we’ve already seen in the context of those previous films. Audiences need to hear the Avengers title theme during the shot of the camera panning around the original six-person team to confirm that the time-travel has, in fact, worked. I’ll note that as with Back to the Future Part II, also scored by Silvestri, and actively acknowledged in Endgame as the inspiration for its core narrative conceit of time travel, this essay does not count portions of Avengers: Endgame where we hear the music from prior Marvel Cinematic Universe (MCU) films in the same context we originally heard it as a musical reuse, per se. Which motives recur and which material is left by the wayside in a three hour film meant to serve as a culmination for the six original Avengers, and how do those choices get made? Alan Silvestri, now scoring his fourth Marvel film (he also scored Captain America: The First Avenger, Avengers, and Avengers: Infinity War prior to Endgame), draws on a number of his prior scores – one benefit to long running franchises. There is a lot to unpack in Avengers: Endgame, which serves as a means to tie a ribbon on more than a decade of Marvel films while hinting at what is in the future for the studio.

Iron man 2 soundtrack it takes 2