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“The score for BRAVEHEART helped to further establish James Horner as one of Hollywood's most prolific and sought after movie maestros. The score offers innocence, beauty, tragedy, brutality and ultimately victory. A score which so effectively communicates such a gamut of emotions is rare and is what has helped to cement its place as one of the Nineties' top scores.” Not the Now Review by Christopher Coleman Composed, Conducted, Orchestrations by James Horner Performed by the London Symphony Orchestra Released by London Records 1995, 1997 If James Horner ever wrote a shoe-in for an Oscar, surely it was BRAVEHEART. Ah, the irony known as The Oscars!

As Mel Gibson's BRAVEHEART racked in Oscar after Oscar, surely composer James Horner would bring in the coveted prize - finally. As we know, it was not meant to be for 1995, but, as we further know, Horner would finally receive some recompense. Two years later Horner would bring home that trophy, for this ultra-popular score to TITANIC. The score for BRAVEHEART represents the very best of James Horner. 1995 was, arguably, the composers best year.

Not only did BRAVEHEART find itself nominated for best score but so did Horner's APOLLO 13. For many, BRAVEHEART remains one of their most beloved Horner compositions, if not their all-time favorite. This Celtic sound would go on to permeate several of Horner's later scores including: THE DEVIL'S OWN, and TITANIC.

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The original 1995 release of BRAVEHEART provided film music fans with the best moments of the memorable film, but the demand for even more of the music warranted a second release two years later. MORE MUSIC FROM BRAVEHEART mixed dialogue with previously released tracks, added several unreleased cues, and threw in an over-abundance of traditional Scottish tunes. Operation flashpoint dragon rising review. It would also set a pattern for Titanic's own follow up release, BACK TO TITANIC. James Horner tapped into the very best of his talent in helping to bring Director/Star, Mel Gibson's, vision come to life. Horner draws upon the expansive, majestic sound of LEGENDS OF THE FALL, and the heroic and celtic-influence of PATRIOT GAMES. The story of the peaceable, Scottish farmer turned rebel and freedom-fighter, William Wallace, demanded a clever recipe of such ingredients and James Horner mixed and melded them together without hitch.

The score for BRAVEHEART helped to further establish Horner as one of Hollywood's most prolific and sought after movie maestros. The score offers innocence, beauty, tragedy, brutality and ultimately victory. A score which so effectively communicates such a gamut of emotions is rare and is what has helped to cement its place as one of the Nineties' top scores. The original BRAVEHEART begins with the memorable main title that introduces us to the film's main theme played spotlessly on the bagpipes.

The second release gives us a more complete and preferable version of this piece, if one is able to tolerate the narration. The original release of the soundtrack was certainly sufficient as it captured the important themes and moments of the movie most adequately. The original release flowed very well and is one of the easiest soundtracks to listen to straight through. The thing that truly separates this release from its successor is the final track. Track 18, End Titles, is simply the best cue found on either disc and I would say if one had to choose between the two, purchase the first volume simply for this track.

While the themes contained in the End Titles can be found elsewhere on the More Music. Release, this arrangement is absolutely scintillating and no single track on either disc can rival it. MORE MUSIC FROM BRAVEHEART was released some two years after the original soundtrack (1995). With the interest in the film still permeating society and it's release on VHS, this second volume was strategically timed. To its credit.

Is does add a number of significant cues not found on the original. Among them are: The Royal Wedding (3), Outlawed Tunes on Outlawed Pipes (5), and Vision of Murron (13). Additionally, the longer take of the Main Titles (1), More Music from Braveheart gives us an uninterrupted version of the film's conclusion with accompanying dialogue. While four tracks comprise this segment they are seemless in transition and, if nothing else, provide a wonderful way of reliving the conclusion of this epic. What greatly detracts from this release are the Traditional Bagpipe tunes.