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Film Soundtracks - Released October 25, 1987 | Varese Sarabande

  
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Film Soundtracks - Released January 1, 1995 | Decca Music Group Ltd.

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Film Soundtracks - Released June 4, 1982 | Rhino Atlantic

Taking the musical reins from the legendary Jerry Goldsmith, James Horner boarded the Starship Enterprise to deliver what would prove to be his breakthrough score. A surprisingly dark, emotional effort some distance removed from Goldsmith's utopian fanfare, Star Trek II: The Wrath of Khan was instrumental in steering the franchise into more complex territory. Horner's lucid melodies and sweeping orchestral arrangements possess a sense of genuine danger and malice long absent from Star Trek's musical backdrop, climaxing in the profoundly emotional catharsis of "Spock." His efforts lend Trek creator Gene Roddenberry's vision a newfound gravitas. © Jason Ankeny /TiVo
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Classical - Released September 23, 2016 | Mercury KX

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Film Soundtracks - Released January 1, 1998 | Hollywood Records

James Horner is one of the most prolific film scorers of his day, but not one of the most original, and his accidentally best-selling score for Titanic, a characteristic combination of lush romantic passages and melodramatic bombast, casts a long shadow over subsequent work such as this score, which copies many of the earlier one's effects, down to the Scottish pipes of which the composer is so fond. Horner's work always seems to exaggerate the other elements in the film, making him perfect for subjects that are already outsized, and so just as he was a good choice for the over-the-top (or was it under-the-bottom?) nature of Titanic, he was right for this film remake about a giant ape. And if you really loved those pipes on the Titanic score, you'll find more to like here. © William Ruhlmann /TiVo
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Film Soundtracks - Released January 31, 2020 | Masterworks

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Film Soundtracks - Released November 18, 1997 | Sony Classical

Distinctions The Qobuz Ideal Discography
James Horner's score for James Cameron's epic romance Titanic is much like the film itself -- against all expectations, it delivers exactly what it promises. His score is grand, without falling into typical melodrama, and delicately romantic, without being sickly sentimental; it offers genuine emotion and excitement, with the haunting vocals of Norwegian singer Sissel providing a nice counterpoint to Horner's blend of strings, vocals, orchestras, and synthesizers. Celine Dion's "My Heart Will Go On" may feel a little like an afterthought, especially after experiencing Horner's wrenching, affecting score, but its heart is in the right place. Nevertheless, it is Horner's instrumental work and its whirlwind of emotions that makes the score of Titanic a voyage worth repeating. © Stephen Thomas Erlewine /TiVo
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Film Soundtracks - Released June 20, 2000 | Sony Classical

James Horner composes and conducts the music for Wolfgang Petersen's The Perfect Storm, another film about a star-crossed ship. Horner's sweeping, portentous score mirrors the true story of the crew of the Andrea Gail, a fishing boat caught in a deadly Northeaster in 1991. Despite somewhat overblown tendencies on some pieces, the album is a dramatic and emotional piece of film music for an equally gripping movie. Indeed, the score for The Perfect Storm may prove to be as popular as Horner's Titanic music. The album also includes John Mellencamp's theme for the film, "Yours Forever." © Heather Phares /TiVo
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Classical - Released January 26, 2021 | Sony Classical

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Film Soundtracks - Released March 3, 2009 | Walt Disney Records

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Film Soundtracks - Released January 1, 1983 | Varese Sarabande

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Film Soundtracks - Released February 23, 2015 | Editions Milan Music

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Film Soundtracks - Released June 29, 2012 | Sony Classical

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Film Soundtracks - Released January 20, 2006 | New Line Records

For Terrence Malick's THE NEW WORLD, veteran composer/conductor James Horner crafted a gorgeous score that perfectly echoes the renowned director's highly visual, atmospheric style of filmmaking. To accentuate Malick's love of natural beauty--revealed in lingering shots of wildlife and unspoiled landscapes--Horner utilizes subtly swelling horn lines, nuanced string passages, and even the delicate sounds of birdsong. Acclaimed singer Hayley Westenra provides vocals on a number of tracks, most notably the closing song "Listen to the Wind," which was written and produced by Horner and pop guru Glen Ballard. Aside from that final number, though, the soundtrack is predominantly understated, almost to the point of being ambient, marking it as a rarity in the often bombastic realm of Hollywood film scores. © TiVo
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Film Soundtracks - Released May 11, 2004 | Warner Sunset - Reprise

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Classical - Released June 21, 2019 | Portrait - Sony Masterworks

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Film Soundtracks - Released January 1, 2003 | Varese Sarabande

One of James Horner's most hushed works, House of Sand and Fog is an aptly brooding, implosive musical counterpart to Vadim Perleman's adaptation of Andre Dubus III's heartbreaking, and bestselling, novel. Horner captures the aspirations of the Behranis, a family of Irani immigrants, in the score's opening tracks. Pieces such as "An Older Life" and "Waves of the Caspian Sea" are quietly hopeful, string-driven compositions that feel like they're going to blossom into the kind of lush, sentimental pieces for which Horner is renowned -- but they never do. Likewise, "'This Is No Longer Your House'" and "Kathy's Night" reflect the seeping frustration of Kathy Nicolo, an alcoholic young woman forced to give up her family's house, which the Behranis buy soon after. The musical themes of Nicolo and the Behranis come together, in a subdued manner on "Parallel Lives, Parallel Loves" and more urgently on "The Shooting, a Payment for Our Sins." But even the score's most dramatic moments are understated, providing more of a backdrop for the film's events than a commentary on them. Regret and nostalgia dominate House of Sand and Fog, particularly on "Behrani's Thoughts - Long Ago," "The Dreams of Kings," and "'We Have Traveled So Far, It Is Time to Return to Our Path'." These aren't the easiest emotions to depict in music, but Horner does an admirable job of turning these subtle emotions into a compelling score. © TiVo
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Film Soundtracks - Released January 1, 2011 | Varese

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Film Soundtracks - Released November 18, 2003 | Sony Classical

On his score for Ron Howard's brooding Western The Missing, James Horner reins in some of his lush tendencies as a composer, delivering a restrained but still emotional collection of music. Nevertheless, even the score's smaller compositions, such as "New Mexico, 1885," retain the epic sound that defines Horner's work. This tension is put to particularly good use on "Dawn to Dusk; The Riderless Horse," which begins with delicate flutes and strings before soaring into a quietly majestic melody that becomes darker and more ominous as it unfolds. Most of the score alternates between yearning and hope, as on "The Search Begins," and eerie portent, as on "Dark and Restless Wind" and "The Brujo's Storm -- A Loss of Innocence." Horner's music also ties into the film's Native American aspects with the use of flutes as both a textural and melodic element, particularly on tracks like "The Stranger" and "A Rescue Is Planned," where they sound like crying wolves. Likewise, "Setting the Trap" and "An Insurmountable Hurdle" are thrilling homages to past Western scores. All of these themes, musical and emotional, culminate on "The Long Ride Home," a 16-minute finale that encompasses the delicacy and danger that are in the rest of the score. One of Horner's most accomplished scores in recent memory, The Missing is nearly as much of a journey as the film it enhances. © TiVo
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Film Soundtracks - Released June 23, 2009 | Walt Disney Records