No film composer received more attention in 1998 than James Horner, whose association with Titanic resulted in mainstream fame and two Oscars. Despite his new-found celebrity status, Horner has continued to write scores for new Hollywood films at his customary pace this year. His latest outing is The Mask of Zorro, in which the arthritic Don Diego (Anthony Hopkins) comes out of retirement to transform a junior apprentice (Antonio Banderas) into the fearless hero Zorro once was. Horner complements the nifty swordplay and campy hijinks with a foot-stomping blend of flamenco and post-modern sweep, though none of this colourful activity will make you forget Alfred Newman’s music for The Mask of Zorro (1940).
A better choice is Back to Titanic, the second volume of music released from last year’s mega-hit. The disc features a newly recorded 20-minute suite, previously unreleased cues, source music, dialogue excerpts (including lines incorporated into Celine Dion’s “My heart will go on”) and a nocturne piano version of the love theme (“The portrait”) played by the composer. Horner’s score isn’t nearly as unconventional as director James Cameron would have us believe, but the composer’s decision to use Celtic melodies and simple musical materials to create a sense of emotional history and quasi-religious resonance was definitely inspired. Back to Titanic earns high marks for being more representative of the film’s musical profile than the first soundtrack album, and is recommended for anyone not suffering Titanic saturation.
Two compilations complete this quartet of new Horner releases. Silva Screen’s double-disc set offers a lengthy overview of the composer’s career, ranging from his formative sci-fi efforts to his recent folk/new age/orchestral hybrids. Conductor Nic Raine is a competent leader, but the variable performances suggest that more rehearsal time was needed. Varese Sarabande’s collection haphazardly gathers tracks from the label’s back catalogue and adds a new suite from Titanic conducted by John Debney. The suite is weighed down by excessive choral arrangements and an inert performance; the collection generally works best when Joel McNeely assumes the podium. Kevin Mulhall