More importantly, Mancina had grown up an extreme enthusiast of Disneyland's New Orleans Square, and he agreed with the filmmakers that the original Baker themes should be reflected in the film's score. The fully orchestral and choral recording by Mancina emulates the Baker sound with precision, raising ghostly whispers and outright orchestral terror just as a fan of the ride would expect and admire. As such, his music is easily a far more appropriate recording for this film than the trashy music for Pirates of the Caribbean had been. The final irony of all of this equation is that Mancina's score, despite the success of Pirates of the Caribbean, was not released on CD to the public until 2016. As was done with Mancina's Brother Bear (another Disney project late in 2003 that didn't present its score material very well on its commercial album), Walt Disney Pictures pressed an expanded, score-only promotional presentation of The Haunted Mansion specifically for the purposes of gaining the studio a possible Oscar nomination. Had the split Academy score categories (separating drama and comedy) still been in place, this may have worked, but predictably, neither Mancina effort was nominated. While both fuller scores merit praise for Mancina's general efforts in 2003, The Haunted Mansion was the highlight of the year for the composer, running at full steam through a joyride of engaging, lyrical music and the all-out crashing of horror. Compared to Debney's interpretation of the ride, Mancina's version isn't as elegant or massive (the flighty operatic female voices are minimized here), although Mancina does offer just enough beauty and overtly grandiose statements of theme to counter the appropriate level of chaos that parades through the film's chases. The opening and closing titles music, some of which dumped in favor of song material, establishes a combination of the Baker tributes and Mancina's own themes. The concept's playful waltz rhythms may remind some listeners of Danny Elfman, but their structure is actually based on the ride itself, expressed primarily through the organ music and operatic singing. The Baker themes are interpolated everywhere, but rarely do they receive the full Debney treatment of massively obvious accessibility. They are explored at great length in suspense mode during the duo of "Meeting Edward Gracey" and "This House Haunts Me," and the more playful waltz mannerisms are presented with choir in "Jim Finds Out What Ed Wants." Some of the most ominous performances of this Baker material comes in its last usage, heard during "Don't You Remember?"

Mancina works several of his own themes into the mix of The Haunted Mansion as well, and each functions nicely alongside the Baker inspiration. A sneaky woodwind line introduced in "Phone Call" often accompanies the main theme. The family of Eddie Murphy receives a rather underplayed idea as they arrive at the house. The composer also coins his own waltz, heard in the opening title, to join with the previously existing equivalent. Out of this grows a liturgical action theme of horror that emulates Jerry Goldsmith's The Omen in a playful sense. The best original Mancina theme by far is his love theme, which interestingly does not draw upon the lovely operatic vocalizations from the Baker score. Instead, his idea follows the Baker theme in "So Many Memories" and only enters the equation again at the climactic "Try Again." Mancina's main waltz and love themes, among his other original ideas, occupy "End Title" for its entirety. The Baker themes are only barely hinted in the final twenty minutes of the score, interestingly, including in those unused credits recordings. Kudos have to go to Mancina specifically for his instrumental choices; this is perhaps the most intricately orchestrated score of his career. While he employs a chorus, harpsichord, and organ expectedly, it's in the woodwind section that he really excels here. Not only do you get the authenticity of the menacing classical elements, but the woodwinds offer Goldsmith-like sensitivity with skill. There will also be vestiges of James Horner's children's scores echoed at times as well. Some of the louder, pounding sections are a bit dry and one-dimensional in the full orchestra's presence, although the omnipresent chorus provides enough of the wetter haunting environment necessary to achieve the right overall effect. The Disney promotional album only offered twenty minutes of score in one long suite (in superb sound quality), including the "Overture" heard on the song album. That commercial album was a waste, criticized for not only neglecting additional score material but also for its inclusion of songs totally unrelated to the film and/or the ride. In 2016, Intrada Records pressed a very generous, comprehensive 2-CD set of The Haunted Mansion, upwards of 100 minutes of music including 84 minutes of the proper score and a handful of alternate arrangements, different mixes, and some humorous source recordings. The score remains one of Mancina's top career achievements, a far better listening experience than Brother Bear, and the limited Intrada set is solidly recommended for anyone wishing to hear how the adaptation of a Disney ride's music into a feature score can be accomplished with respectfully satisfying tact.  ****   @Amazon.com: CD or Download