Braveheart is a music which is one of the most successful musical creations of the Californian film composer James Horner and what appears to be a sign of their quality well, was often recited by himself later. Yes, Horner, who enjoys a controversial reputation in Hollywood because of his frequent self-citations, works here conspicuous and sent over long distances quote freely. His subjects are very consistent and the instrumentation (which extends over the great London Symphony Orchestra to folk instruments like the bagpipes, among others) take the action just as excellent as the Handlungsort of the Scottish Highlands. From the entertaining, but a bit too verfälschendem Braveheart especially the final scenes remain sustainable in memory (even if they leave the historical reality completely ignored - Scotland was only a few years free), who live to James Horner's sound creation, but later to. The soundscape that Horner generally devises in this film is extremely complex and is determined by a mixture of Melancholiepassagen, fierce musical battle paintings and delicate Liebescues. How shiny Horner shows themes in this work really work, not least in Action passages as -attack on Murron - or -Sons of Scotland - where they give the drama a significant additional boost. Because matching in quiet moments melodies are easily composed, in any situation appropriate dramatic themes but not and Horner performs this feat as masterful as his already great strength quiet moments incomparably harmonious set to music with the images, which (Oh joy !!) here almost zitatlos happens. The carried by flute solos wonderfully melancholy -The Princess Pleads for Wallace's Life - is just as succinct as the melancholic-spherical -Main Titles - that the bagpipes, passing all the music has surprisingly good matching performances, procure his first coherent presentation. Courage within its own borders shows Horner in Action tracks how -Revenge - where it increases much folkloric percussion with a truly magnificent synthesizers support the dramatic climax and in -The Battle of Stirling - that characterized by its 3 minute massive, rhythmic and almost atonal introduction passage is that includes folkloric percussion, drums, bagpipes as well as the here again (as opposed to TITANIC) quite matching atmospheric synthesizer. The music is a central element of -BRAVEHEART - and one of the few cases that Horner has really managed to turn it into a self-standing nature of the film. You can hear his great motivation to get out, including in 6 minute -The Secret Wedding - that the wedding between Wallace and his high school sweetheart Murron underscored. The here very visionary einkomponierten excellently presented lyrical woodwind solos are among the finest that Horner has created in the 90s. That with him are not always necessarily existing rhythmic feeling shows Horner in -Revenge - and -Falkirk - which unlike other Horner Action tracks not in the monotony lost their rhythm, but come along quite diverse. The central element of the film, as the music is, as already mentioned, the execution of Wallace. The drama of the piece -Freedom / The Execution / Bannockburn - is not without -Betrayal & Desolation - to discuss, that the capture of the freedom fighters set to music and anticipates the tragic end. Without this 8-minute track would -Freedom / The Execution / Bannockburn - worth only half. With him there are the strings that are highly dominant at the beginning and even experienced a little reminiscent of other works Horner. The on certain dynamic percussion passage is extremely powerful and are the strings after a few lively horn knocks the room for very disturbing moments that decide the track predictively along with an excellent bagpipes and synthesizer choir. Time for the listener can relax -Horner at The Princess Pleads for Wallace's Life - which, as the title suggests, is more than just accompanied the purposeless clemency of Princess Isabelle, who has fallen in love with Wallace. At no point of the track germinates the hope of mercy on that lonely flute runs mourning until the end then, and boosts quiet, the tragedy for the final. And that is now. With -Freedom / The Execution / Bannockburn - THE standout track, Braveheart and Horner can play a certain movie musical importance. Even if Horner never moved here off his known spectrum, so is the track one of the manipulative that there were in the 90s. And here can only be seen really as foresight the topics were composed. All have a final appearance as if Wallace's life story again to draw the viewer over and again whether excellently performed by strings or woodwind solos, and dramatized by increasingly enhancing succession. In the middle of the track is again quiet in order to become fully dirge of instruments after the flute solo, in the Horner everything reinpackt what was present at orchestras before. Bagpipes, strings ... all mourn the end of the heroes that the resolution itself into nothingness bagpipe is a musical end. The -End Credits - grasp the thematic material again skilfully together and complete the movie, like the CD performed well, so that the listening experience is fantastic. Now how is now conclusively evaluate this music? 5 stars are too much of a good thing, as they because of their extremely strong conventionality in connection with sometimes more, sometimes less strong self citations simply does not allow this and such an assessment over other more important film scores would be unfair, moreover, there is the not approach reaching at great works craftsmanship. Rightly I have vowed Horner artisan ability, but with a Goldsmith or Williams can BRAVE HEART, though just barely, not measured. So I opt for 4, what is the score justice, it is but a small piece of film music history, outweigh its strengths against the weaknesses.
