Review Summary: A emotional charged score with an unique sound using the Boys Choir of Harlem.
Edward Zwick, the director of Glory, asked James Horner to use “Battle Hymn of the Republic” in this score. James Horner realized that this was not the right direction or color as he would probably refer to it for this soundtrack. Horner felt this score needed a voice. And felt what better voice for a film about the first regiment of black soldiers in the US than the Boys Choir of Harlem.
Horner’s use of the Boys Choir of Harlem is an excellent edition to this soundtrack. It gives it a unique sound that many soundtracks do not have. It also gives it a unique sound for a Horner soundtrack as well. If you like or hate Horner you may be aware that Horner has a tendency to reuse his material in multiple films. In fact Horner’s main theme in Glory was reused recently in his work for Avatar. Glory is my favorite of Horner’s score. It is such an emotional score that without his score I could not imagine watching Glory without this excellent score. It brings an emotional punch to an already emotional subject, but it does not necessary overdramatize the material and overpower it either.
The first track “Call to Arms” has been used many times in the Olympics and in commercials. The haunting vocals played over strings and snare drum is so effective it is no wonder Horner can compose so well to film and why he is still in high demand. The combination fit so well together and the end trumpet/bugle calls near the end gives a feeling of a battle ready to begin. “After Antietam” is a somber cue that brings back the emotional theme cue heard in “A Call to Arms”. In fact this theme is reused many times in this score and so effectively that it becomes part of the whole emotion sound of the score. One of the reasons critics were mad when he reused this theme in Avatar. “The Whipping” is another emotionally charged that starts with trumpet and strings. You can feel the sorrow in this cue as it builds. The main theme is played much softer here by clarinet this time. Hearing this cue will bring tears to your eyes.
“Burning the Town of Darien” is a nice cue that uses Ralph Vaughan Williams' "Fantasia on a Theme of Thomas Tallis" with tragic strings. The cue works so well. I wonder if Zwick temp tracked this classical piece and then asked Horner to use it or if Horner used it on his own. It still works very well in the movie as the Union troops set fire to the town of Darien. “The Year of Jubilee” is a nice uplifting cue with piccolo that brings joy as the troops march. But then the theme is reused and brings tragedy back as you realize these troops are still in war and could die in their next battle.
Which brings us to the next track “Preparations for Battle.” This cue is my favorite Horner cue on this album. And one of my favorite soundtrack pieces ever composed. It begins with flutes and strings. The main theme is performed throughout this piece and is the best performance of this track as the strings and then a French horn begins a nice rendition of the theme. Horner is known for his beautiful constructed but hard passages for French Horns. And when the boys choir takes over the theme in the middle of the cue it is just is pure brillance in composing and captures the emotions of the troop. Then near the end as the snare drum and chimes begin to start the military like procession as the group begins their charge toward Fort Wagner. “Charging Fort Wagner” is a really well known piece as it uses Carl Orff's dramatic cantata "Carmina Burana" in this cue. I actually like Horner’s use better than Orff’s version. As Horner uses choir, orchestra, and bells to build on this theme and does so effectively that it does not just rip-off Orff’s version but expands upon it and uses it to match the film sequence it accompanies perfectly.
“An Epitaph to War” is a somber cue after the battle. As trumpet and choir echo the main theme again. This cue can bring you tears as the boys choir effectively brings out the human emotion needed for the scene. “Closing Credits” is a interesting ending to this film. It uses adult male voices at the end instead of the Harlem Boys Choir along with chimes and a nice synthetic bass line that play off each other very nicely. It’s a great finish to an excellent score. It did get a Grammy Award for its masterful classical pieces but was ignored by the Academy when nominating musical scores. Instead Horner’s Field of Dream score was nominated. Which many people felt was a snub for Horner’s fantastic work on this film.
