When not utilizing a small ensemble for the source music (and its extension into the original score material) in The Alamo, Burwell did assemble roughly 80 orchestral players for several recording sessions as needed to accompany the actual historical event. A slight Celtic influence mingles with traditional Mexican elements for several cues before listeners are treated to the ensemble in full. As such, the score does take a while to build some steam during the extensive scenes of character development. Burwell's heartwarming primary theme, a lyrical and folksy tune, is countered in its solo performances by broad action strokes in the lower brass ranges for scenes of greater dread. The maintenance of most of the action material in the lower ranges causes an almost brooding atmosphere in the score, with little outwardly heroic material heard outside of the less obvious thematic performances by piano and strings. This may have been Burwell's intent (painting the true picture in the individual characters), and the score is certainly serviceable in its selection of instruments. The ethnic woodwinds end up stealing the show despite their somewhat questionable applications to this event. How the ensemble was written for and mixed, however, is where Burwell's The Alamo generates some nagging questions. With the dubbing of so many players into the mix, it's difficult to imagine where the potential of so much talent was lost in the final product. The sections seem to play in unison during most cues, accomplishing what half the performers could have done with one simple overlay. An example of where this writing hinders the score is in "The Last Night," for which a heroic performance of theme by the brass is accompanied by the ethnic flute in higher ranges. And yet, the brass is so focused and resolute on the same note that it nearly completely drowns out the flute. Lending additional problems to the flatness of the ensemble's sound is the emotionless mixing of the snare drum as a static, aimless device of militaristic ambience. Ultimately, the score hits many of the right notes, but does so without much grace or elegance in performance. Even the much-discussed Crockett fiddle performance with the Mexican band seems flatly rendered, a victim of an extremely dry environment as well. On the other hand, Burwell's main theme is a very enjoyable and heartfelt idea in its more intimate variations, even though it is anonymous enough that it could very easily have served a film like The Rookie without much alteration. As such, Burwell likely succeeds in providing the basic musical needs of the film, but stops short of writing an effectively textured and complex narrative for an event of this magnitude. The right ideas are there but the execution seems lacking.  ***   @Amazon.com: CD or Download