The Tattooist of Auschwitz (Original Series Soundtrack) Hans Zimmer & Kara Talve

• 1 Whatever It Takes 03:52
• 2 Krompachy 01:45
• 3 If Someone Sees Her 03:31
• 4 Just Like When I Met Her 02:28
• 5 I'm Free 03:00
• 6 How Can You Be Here? 03:14
• 7 What Happens to the Women? 01:52
• 8 The Tenor (Quando m'en vo) 02:08
• 9 You Think You're Special 02:38
• 10 One Day, When It's Safe 03:11
• 11 Not Long Now 03:34
• 12 Whatever It Takes (Grandma's Piano) 02:12
• 13 You Have No Fear 01:39
• 14 Not The Women And Children 01:59
• 15 We Will Be Strong (Chazak, Chazak, v'nitchazek) 02:05
• 16 I Will Find You 02:15
• 17 The Death March 02:18
• 18 Mekudeshet li (Sacred To Me) 03:16
• 19 To See It Through These Old Eyes 03:14
• 20 Ani Ma'amin (I Believe) 02:53
• 21 Whatever It Takes (Say Goodbye To This Place) 02:06
• 22 Love Will Survive (from The Tattooist of Auschwitz) 03:26
• Total Runtime 58:36

Info for The Tattooist of Auschwitz (Original Series Soundtrack)

Columbia Records has released the original end credits song Love Will Survive from the Peacock/Sky limited series The Tattooist of Auschwitz. The track written by the show’s composers Hans Zimmer & Kara Talve, as well as Walter Afanasieff, with lyrics by Charlie Midnight, produced by Afanasieff & Peter Asher and performed by Barbra Streisand is now available. A full soundtrack album featuring Zimmer’s & Kalve’s score from the drama will be announced soon. The Tattooist of Auschwitz is directed by Tali Shalom-Ezer and stars Anna Próchniak, Harvey Keitel, Jonah Hauer-King, Jonas Nay and Melanie Lynskey. The 6-part series will premiere on May 2 on Peacock in the U.S. and on Sky Atlantic and NOW in the UK and other European markets.

This beautiful, illuminating tale of hope and courage is based on interviews that were conducted with Holocaust survivor and Auschwitz-Birkenau tattooist Ludwig (Lale) Sokolov - an unforgettable love story in the midst of atrocity.

In April 1942, Lale Sokolov, a Slovakian Jew, is forcibly transported to the concentration camps at Auschwitz-Birkenau. When his captors discover he speaks several languages, he is put to work as a Tätowierer (the German word for "tattooist"), tasked with permanently marking his fellow prisoners.

Imprisoned for more than two and a half years, Lale witnesses horrific atrocities and barbarism - but also incredible acts of bravery and compassion. Risking his own life, he uses his privileged position to exchange jewels and money from murdered Jews for food to keep his fellow prisoners alive.

One day in July 1942, Lale, prisoner 32407, comforts a trembling young woman waiting in line to have the number 34902 tattooed onto her arm. Her name is Gita, and in that first encounter, Lale vows to somehow survive the camp and marry her.

A vivid, harrowing, and ultimately hopeful recreation of Lale Sokolov's experiences as the man who tattooed the arms of thousands of prisoners with what would become one of the most potent symbols of the Holocaust, The Tattooist of Auschwitz is also a testament to the endurance of love and humanity under the darkest possible conditions.

Hans Florian Zimmer
(1957) is a German film score composer and record producer. Since the 1980s, he has composed music for over 150 films. Zimmer was born in Frankfurt am Main. As a young child, he lived in Königstein-Falkenstein, where he played the piano at home but had piano lessons only briefly as he disliked the discipline of formal lessons : "My formal training was 2 week(s) of piano lessons. I was thrown out of 8 schools. But I joined a band. I am self-taught. But I've always heard music in my head. And I'm a child of the 20th century; computers came in very handy. In a speech at the 1999 Berlin Film Festival, Zimmer stated that he is Jewish, and talked about his mother surviving World War II thanks to her escape from Germany to England in 1939. He said of his parents "My mother was very musical, basically a musician and my father was an engineer and an inventor. So, I grew up modifying the piano, shall we say, which made my mother gasp in horror, and my father would think it was fantastic when I would attach chainsaws and stuff like that to the piano because he thought it was an evolution in technology."

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