The New World

Apparently, it's not easy to work for director Terrence Malick if you're a composer. Malick often changes direction during his projects - creating all kind of problems for his composers - and has a habit of replacing large chunks of the original score with classical music. Hans Zimmer had to deal with these problems when scoring The Thin Red Line and so did James Horner when scoring Malick's latest film, The New World. On the other hand, both Zimmer and Horner were allowed to spend many months on their respective projects, writing ours of music during the pre-production phases of the films, so Malick's approach isn't all bad.

Because of the difficulties James Horner experienced while scoring this film, the score for The New World in the film and on CD are almost two totally different animals. The film often uses parts of Wagner's "Das Rheingold" and Mozart's 23rd Piano Concerto, instead of Horner's score, and whenever the actual score is used, it's often very restrained and understated, albeit very effective. On CD, however, the score is allowed to develop, breath and stretch its wings, moving from restraint to lush and strong thematic moments. Horner utilizes orchestra, electronics, piano, female vocals - and bird song! - and although he occasionally revisits earlier scores on his resumé, The New World is a beautiful, captivating and very pleasant score.

The use of sampled bird chirps might seem a tad too much at times, but it actually works quite well most of the time. And its never allowed to dominate the score in any way, only appearing in a couple of cues, such as the opening title track "The New World", where Horner uses the piano to create an interesting windchime effect - a musical idea that re-appears throughout the entire score. Another re-occuring element is the female vocals, which, together with piano and strings, creates a very relaxing sound, similar to parts of Titanic and The Spitfire Grill.

"First Landing" and "A Flame Within" both revolves around a simple, echoing, piano ostinato and a repeating descending figure, performed by strings in "First Landing" and by solo vocals in "A Flame Within", creating an almost hypnotic pattern. And the latter features the first strong statement of the main theme - a beautiful melody, that unfortunately sounds a little too close to some of Horner's earlier themes, and especially one from The Missing. But it's a great tune, as is the piano based "An Apparition in the Fields". It is one of the loveliest piano pieces Horner has ever written, with a very soothing sound, which hightens when soft female vocals joins the piano. Wonderful in its simplicity.

And no one can write "forest music" like Horner. He did it in The Spitfire Grill, and he does it for The New World, as well. "Of the Forest" is brimful with light, dancing piano, soft strings and electronics. It's also packed with samples of bird song. Which kind of works, even if it gets a little too much at times. For The Spitfire Grill, Horner used flutes to represent and mimic birds - an approach that actually works better than using actual birds.

"Pocahontas and Smith" is the first really big orchestral cue, with lush strings, soft woodwind solos and strong statements of the major themes. "Forbidden Corn" continues in the same vein, sometimes crossing into Braveheart territory. "Rolfe Proposes" brings back the piano and is quite reminiscent of Horner's score for To Gillian on Her 37th Birthday, with reflective, quiet piano, electronics and Horner's often used synth oboe.

"Winter/Battle" is the only harsh cue on the CD, with Horner adding some unusual electronics to the mix. Sort of like the "Revenge" music from Braveheart and Legends of the Fall, but with a more aggressive touch. "All is Lost" is calmer, with a more traditional approach, and some lovely renditions of the main themes. People familiar with Horner's lush and dramatic string music will feel right at home.

Horner's The New World isn't the most original Horner has written lately - his scores for Flightplan and The Chumscrubber is probably more interesting if you're looking for originality - but it's a fine score, that's mostly very delicate, restrained and intimate. And the song at the very end of the soundtrack album, performed by Hayley Westenra, is actually quite good. Based on the score's main theme, and staying as far away from pop as possible, this is actually one of Horner's better songs.