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(1998)

An adaptation of Nicholas Evans’ novel of the same name, The Horse Whisperer was Robert Redford’s focus during 1998, which he directed, produced, and starred in.  One of the problems faced during the production process was the score.  Veteran John Barry, who had won his fourth Oscar for his score to an earlier Redford film – Out of Africa – in 1986 and a fifth for Kevin Costner’s epic Dances with Wolves in 1991, was originally assigned to score the film, but what he wrote wasn’t what Redford was looking for, and he therefore rejected Barry’s score and recruited Thomas Newman to write a new one.

Barry’s themes for the film were eventually released on the album “The Beyondness of Things”, which are essentially an extension of his themes from Dances with Wolves, and a few other similar styled scores.  As wonderful as the themes are, Newman’s score is arguably more appropriate for the film, though it doesn’t reflect the epic scope of the film in the way that Barry’s could have.  Whilst Barry’s themes on album are superior, in terms of what the film required, Redford’s choice was probably a good one.

Newman’s familiar instrumentation and casual rhythms are predictably present, and here, they’re blended with various traditional Americana orchestral sounds.  His main theme for the film is a wonderful one, but it isn’t used to the extent it could be; it’s only really heard properly in “The Rhythm of the Horse” and “End Titles”.  Regardless though, it’s probably one of the best themes Newman has ever written, starting with a solo flute, guitars and light percussion which then lead into a beautiful performance of the theme by the string section of the orchestra.   There are some other great themes as well, particularly the outbursts by the orchestra in such cues as “Montana” in particular.  “Iron” is another one, showcasing some excellent music for guitar.  Ultimately, it may not be one of Newman’s strongest scores as a whole, but it does feature some of his best themes, and on that basis is a highly recommended purchase.

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Track Listing

1. Angus (0:55)

2. Double Divide (1:36)

3. The Whisperers (2:21)

4. Accident (1:45)

5. There Was Snow (Opening) (3:17)

6. Hooking On (1:23)

7. Montana (1:23)

8. Pilgrim’s Progress (1:59)

9. Runaway Meadow (3:00)

10. Badlands (0:47)

11. Voice of God (1:00)

12. The Rhythm of the Horse (3:15)

13. Rancher’s Wife (1:30)

14. Iron (1:33)

15. Simple Truths (3:21)

16. Hereford Cross (1:15)

17. Tunnel (1:26)

18. Awkward Talk (1:58)

19. Your Misfortune (None of My Own) (2:52)

20. Hooves (1:14)

21. Hobble (2:52)

22. The Very Act of Being (2:28)

23. Grace (3:06)

24. Lazy J (1:00)

25. Creek House (1:14)

26. The Vast Continent (3:39)

27. Percheron Stallion (1:49)

28. End Title (3:44)

Total Time: 57:54

Credits

Music Composed, Performed and Conducted by Thomas Newman

Orchestrations by Thomas Pasatieri

Produced by Thomas Newman & Bill Bernstein

Awards

None

Insert Notes

Contains credits, but no extra information.

All artwork and images are Copyright © Hollywood Records

(1968)

In the history of film scores, few, if any are more original than Ennio Morricone’s music for Sergio Leone’s westerns.  His main theme for The Good, the Bad and the Ugly is quite possibly the greatest and most famous ever written – play any few bars from it and virtually anybody would recognise it.  Whilst Morricone had revolutionized the western genre with his previous scores to A Fistful of Dollars and For A Few Dollars More, it was with this film that the maestro made a name for himself.  The main title theme reached a level of success rarely achieved by a film score, becoming a chart-topping single, and the score is one of the best-selling of all time.

Exactly how a composer could sit down and write music like this is something I just can’t fathom.  Grunting choirs, twanging electric guitars, and coyote barks…who would have thought that such unusual instrumentation could result in such stunning music?

The main title however, is by no means the score’s only highlight.  Every single track is pure gold, with the harmonica in “Marcetta“ performing one of the most beautiful melodies I’ve ever heard.  It’s the last two tracks however, that possibly the best two cues are heard.   Few, if any pieces of film music are of finer quality than “L’Estasi Dell’oro (The Ecstasy Of Gold)”, from its haunting piano and vocal performances to its heroic horn theme, and it’s one that Morricone performs in nearly all of his film music concerts.  The final track, “The Trio”, features arguably the best trumpet solo ever written for the movies, accompanied by light strings and a guitar performing the simple repeating phrase that the piano played in “The Ecstasy Of Gold”.  It’s spectacular, mind blowing music.

Hearing this score is a unique experience that can never be repeated, and this score is one that is an absolute must have for any music fan, film or not.  No review can do it justice, which is the reason this one is of such short length.  Quite simply though, it’s one of the greatest scores ever written.

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Track Listing

1. Il Buono, Il Cattivo, Il Brutto (The Good, The Bad And The Ugly) (Main Title)

2. Il Tramonto (The Sundown)

3. Sentenza

4. Fuga A Cavallo

5. Il Ponte Di Corde

6. Il Forte (The Strong)

7. Inseguimento

8. Il Deserto (The Desert)

9. La Carrozzo Dei Fantasmi (The Carriage Of The Spirits)

10. La Missione San Antonio

11. Padre Ramirez

12. Marcetta (Marcia)

13. La Storia De Un Soldato (The Story Of A Soldier)

14. Il Treno Militare

15. Fine Di Una Spia

16. Il Bandito Monco

17. Due Contro Cinque

18. Marcetta Senza Speranza (Marcia Without Hope)

19. Morte Di Un Soldato (The Death Of A Soldier)

20. L’Estasi Dell’oro (The Ecstasy Of Gold)

21. Il Triello (The Trio – Main Title)

Credits

Music Composed, Orchestrated, Conducted & Produced by Ennio Morricone

Awards

None

Insert Notes

Purchased as an MP3 download which contained no digital liner notes.

All artwork and images are Copyright © EMI

(1993)

Of all the single best years for a film composer in Hollywood history, John Williams in 1993 was arguably the most impressive of them all.  Whilst his score for Schindler’s List would overshadow Jurassic Park and earn Williams practically every possible film music award, both scores were a monumental success, to the point that Williams spent 1994 conducting themes from them both in concerts and taking a break from composing scores.

The score for Jurassic Park is an unquestioned classic and easily one of the best scores written during the 90’s.  There are two primary themes, and the album includes excellent concert arrangements of both in the tracks “Theme From Jurassic Park” and “End Credits”.

Whilst the memorable, sweeping themes are the main highlights, there’s some great action music here too, with the two most notable instances being the frantic music of “Incident at Isla Nublar” and the harsh, relentless “The Raptor Attack”.  “Dennis Steals the Embryos” is the only real upset, not only being near-identical to the theme from the conspirators from Williams’ earlier score to JFK (perhaps Dennis was also conspiring to murder Kennedy…?), but it just totally inappropriate when compared to the rest of the score.

Choirs are used very sparingly in the score, but when they are, the effect they have is stunning, most notably in the beautifully ethereal piece “Hatching Baby Raptor”.

Probably Williams’ finest achievement since his Oscar winning score for E.T. in 1982, Jurassic Park remains a highlight both of the composer’s career and of fantasy film scores.  Regardless of whether it didn’t have the success it should have or not because of Schindler’s List, the score ranks amongst Williams’ very best, and is one that should be included in any collection of his music.

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Track Listing

1 – Opening Titles

2 – Theme From Jurassic Park

3 – Incident at Isla Nublar

4 – Journey To The Island

5 – The Raptor Attack

6 – Hatching Baby Raptor

7 – Welcome To Jurassic Park

8 – My Friend, The Brachiosaurus

9 – Dennis Steals The Embryo

10 – A Tree For My Bed

11 – High-Wire Stunts

12 – Remembering Petticoat Lane

13 – Jurassic Park Gate

14 – Eye To Eye

15 – T-Rex Rescue & Finale

16 – End Credits

Total Time: 70:20

Credits

Music Composed, Conducted & Produced by John Williams

Orchestrations by John Neufeld & Alexander Courage

Awards

Grammy Award (nominated)

Insert Notes

Contains the usual note from director Steven Spielberg.

All artwork and images are Copyright © MCA Records