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20 of 21 people found the following review helpful:
4.0 out of 5 stars
A superb mix of the American West and the romance of Arabia!, March 10, 2004
James Newton Howard has risen over the past five years to become one of finest composers of movie music. With scores such as "Wyatt Earp," "Unbreakable," "Signs," and "Peter Pan," he's shown a very creative approach to film music that is superior to most of the young composers today who rely on boring rhythms and electronic laziness to the point that they are all starting to sound alike. In addition to his creativity, Howard also has a lyrical gift that sounds similar to the master of the lyrical soundtrack, John Barry. "Hidalgo" is one of Howard's best scores yet. The film offers a challenge for any composer: combine American Western-themed music with Middle Eastern influences, and a dash of Native American rhythms. That's a tough assignment for any composer, but Howard dazzles with his brilliant weave of different cultures. Jerry Goldsmith faced a similar challenge on his knock-out score to "The Wind and the Lion" in 1975, and if James Newton Howard doesn't quite attain the heights of that classic score, he nonetheless gives us an excellent work that sweeps the listener away into the romance of the Arabian deserts, the thrill of horses pounding through the sand, and the wide-open sounds of the American west. This CD captures the music in a wonderful package that will thrill fans of film music and anyone who enjoyed the film. Native American tinged melodies open the score in "Main Title," and then the Hidalgo theme is introduced, a piece of pure Americana that owes quite a bit to legendary composer Aaron Copeland. The sprightly music of the next track, "Don't Waste Our Money" is also a pure slice of the Old West. With the tracks "Arriving in the Desert" and "Morning of the Race," Howard introduces the Middle Eastern theme. This is some of the most beautiful music in the score: using ethnic percussion and instruments like the duduk, oud, saz, and bouzouki, Howard conjures up an ancient world of bazaars, palms, veils, camels, and oases. As "The Race Begins," robust cowboy music propels horse rideer Frank T. Hopkins and his beloved horse on. Thrilling, percussive action music appears in the tracks "The Sandstorm" and "The Trap," while the Arabian theme makes a beautiful entrance with ethnic percussion in "Frank Pushes On." One of the most effective tracks is "Katib," a quiet and reflective piece of Middle Eastern mood music. There is some wonderful Middle Eastern vocal work on the seven-minute track "Montage," which combines various shorter cues from throughout the film. For "The Final Three," as the race approaches its finale, the composer unleashes a pounding action cue with heavy brass that builds toward to huge climax. The last track, "Let 'Er Buck," brings us full circle to the Hidalgo theme and its feel for the wide-open American prairie. At 45 minutes long, the album is a nice length for a score recorded in Los Angeles (union re-use fees often restrict albums that use Los Angeles film musicians to around thirty minutes in length -- this happens to Jerry Goldsmith's CDs a lot). Some major music pieces are missing, such as a lengthy action cue for the rescue of Jazira. But this is still a wonderful listening experience away from the film: it carries you off into the romance of two worlds, the same way the movie does. This film score confirms my belief that James Newton Howard, along with Canadian composer Howard Shore (responsible for "The Lord of the Rings" and "Panic Room"), shows the real promise for the next wave of film composers.
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