by Swashbuckler on 4/16/2000
favorite track: 14
 
Preisner's score for this epic is quiet, understated and wholly dignified.

The score is based around a very European sound, which is contrasted sharply with the large amounts of integrated Native American music (not music "inspired by" or in the style of Native American music - it has been culled from a large library of anthropological recordings).

This approach allows for a score that describes the differences of the two cultures involved in the story without being condescending to either one; the use of actual Native American recordings is a brilliant decision on the part of the filmmakers, as it allows for an authentic score.

Preisner's original score is based around a central theme first heard in the title sequence, played by oboe and strings. This is a quiet theme, one which is attractive yet has a foreboding quality to it.

There are several other themes, most of which are written in a similar style. Although all of them are in the strictest sense secular, there is a quality to them that manages to evoke the spiritual conflict of both the missionaries and Tom Berenger's Louis Moon character, who is stuck between two worlds.

There are several other source cues (not including the Native American material, which is treated as score), which sometimes get in the way of a smooth listening experience.

The very extensive and informative liner notes by music editor (and composer of additional score) Robert Randles describes how the music works with the film.

The sound on the score is excellent, crystal clear and full. The Native American music and source cues are only as good as their varying original recordings, but they have been remastered well.

Overall, a very good score, with an interesting approach to the film's points.