Posted by: Andrew Drannon <Send E-Mail> Date: Wednesday, March 28, 2001, at 7:33 p.m. IP Address: hubv-mcr-24-165-216-210.midsouth.rr.com
Actually, the reason why Enemy at the Gates, as well as so many other new Horner scores, sound so tired and trite is that the composer tries to make his music TOO good.
Think about it - Horner is the most classically-trained film composer working today, and seems to think that all of his scores must contain flawless symphonic development. This quality always DOES materialize, but often at the expense of the melodic lines. Horner, due to the way he crafts these huge, sprawling cues, is forced to formulate dozens upon dozens of new themes in each score to construct the orchestral tissue of each piece - a monumental task for ANY composer. Unfortunately, he seems to have overextended himself with this intriguing method of scoring - motifs begin to be recycled between scores, in Enemy at the Gates moreso than ever before. In order to win back his prestige, Horner must change - he must either completely reinvent his compositional style, or scale his workload back beyond the already-paltry two projects per year.
For more of my thoughts on this score, check out my lengthy review and analysis at my site, ScoreSheet Soundtrack Reviews (http://www.scoresheet.f2s.com/).