Don't expect a plethora of stylistic references to medieval stereotypes in the music for The Name of the Rose. In fact, parts of the score are closely bound in rendering and scope to Vibes and Unlawful Entry. The former score is specifically reflected in the low keyboarding of faux-strings that Horner seemed fond of utilizing at the time. The tone of the score is very drab, establishing a heavy atmosphere of very slow tempos and only using synthetic treble elements to poke at the listener when necessary to pique interest at a small plot element. Horner does actually create and maintain several motifs in the score, including one whimsical cascading figure that appropriately closes the film (fading out both the cues "Epilogue" and "End Titles"). A jabbing descending motif of rapid fire from a synthetic harpsichord or chimes is heard best in "Flashbacks." A rambling bass-region motif, perhaps for the Holy Inquisitor, consists of a truly menacing alternating series of notes most powerful under a choral effect in "Betrayed." None of these themes is memorable, however, and without the sensitive primary theme that slowly reveals itself as the film progresses, The Name of the Rose would exist without any true identity. This theme first forms its final shape in the latter half of "The Confession" (on eerily pretty solo woodwind over string quartet) and finally receives the spotlight in "Epilogue" and "End Titles." It's an elegantly redemptive theme, but its sparse construct still firmly connects it to the extremely somber material heard in the rest of the score. In the picture, this theme's prominence in the final scene is almost a shock when compared to the remainder of the picture's utilization of music. Therein exists the biggest problem that some will have with The Name of the Rose. One man's intelligently understated score is another man's underachieving bore. Because there are times in the film during which Horner's score really does sound of out place (as in the climactic first minute of "Epilogue"), it's hard not to gravitate towards the latter group. The slight period references, as in the percussion of "The Discovery," are weak. The insertion of deep choral effects, as in "The Lesson," is too infrequent. The employment of single shrill violin notes above those vocals is a major detraction despite keeping the viewer on edge. The employment of solo accents elsewhere is undermixed. Overall, The Name of the Rose is simply too gloomy and too sparse to appreciate on album. That hasn't stopped the score from experiencing a myriad of album offerings in Europe, from French and German CDs in 1986 to a Spanish re-issue in 1991. All of these albums feature the same contents, though unless you've appreciated Horner's score in context, be weary of the depressing listening experience.  **   @Amazon.com: CD or Download