The Mummy

LOS ANGELES, CA / CAIRO, EGYPT - Thur, May 7, 2026 - Jerry Goldsmith’s classic score to The Mummy rises again in a collaboration between the Hollywood Studio Symphony in Los Angeles and soloists in Cairo. Goldsmith’s original recording channels the Middle East through Western classical orchestra, echoing iconic films like Laurence of Arabia and Ben Hur. The new recording (and engraving) completes the connection, uniting artists who live and breathe the musical traditions of Egypt together with the union musicians in Los Angeles recording on the same scoring stage as Laurence of Arabia and Ben Hur.

This is the first new recording of [the cue] “The Mummy” from The Mummy since the release of the film in 1999, largely due to the lack of a printed score and parts. It’s a common problem. Film composers are focused on writing and recording specifically for picture, not preparing a commercial manuscript for orchestras. After recording, many scores are tossed in a box or buried in an old hard-drive and then lost to the sands of time, and more recently - wildfires. To resurrect The Mummy, producer Christian Amonson became a musical archaeologist.

This brand new arrangement is the first to include traditional Egyptian instruments, which were recorded in Cairo.

Ahmed El Qamari, qanun
Eslam Elabaty, oud
Ahmed Khairy, ney
Abdelazeem Barhoma, percussiom
Mohamed Abu Elmaatie, percussion
Mohamed Ra’far, percussion
Shehab Hafez, percussion

Surprisingly, seven Egyptians appears to be more than all Egyptians who participated in the original production. Of the ~800+ crewmembers for The Mummy listed on IMDB, only one characteristically Egyptian name is present: an Arabic translator from Los Angeles Valley College. The Mummy filmed in Morocco and had no Egyptian actors in the cast. Even the Egyptology consultants were American/European. There’s no indication that Arab or Egyptian musicians played on the score recording in London. The oud was played by an Armenian-American born in Los Angeles (Armenia is 1000 miles from Egypt). Amonson was unaware of the participation (or lack thereof) in the original, but wrote: “I always wished I could hear more oud in the cue, and my arrangement grew from there. And why wouldn’t I go to the source?”

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