Glory: Original Motion Picture Soundtrack
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CD Details
Brand: TCMComposer: James Horner
Edition: Music CD
Audio: English (Original Language)
Format: Soundtrack
CD Release Date: 1992-06-29
Model: 077778615026
Music Label: Virgin Records Us
Product features:
- James Horner, composer
- boys choir of harlem
- A Call TO Arms
- After Antietam
- Lonely Christmas
- Forming The Regiment
- The Whipping
- Birning The Town Of Darien
- Brave Words, Braver Deeds
- The Year Of Jubilee
- Preperations For Battle
- Charging Fort Wagner
- An Epithaph To War
- Closing Credits
Music reviews of Glory: Original Motion Picture Soundtrack
Music Review: Accolades for a thief
Rating: 1 Stars
James Horner's score has been praised to the skies by a great many moviegoers. Why, then, do you suppose it didn't receive an Academy Award nomination--a score this prominent, on which viewers have heaped unstinting accolades, is ignored? Probably because the composers' arm of the academy doesn't view plagiarism that lightly.
This score is rife with the kind of borrowings for which Horner has become notorious over the years. The main theme, heard prominently and developed throughout the "Call to Arms" and "Forming the Regiment" tracks (to name two), is a transparent reworking of the ten-note theme of Aaron Copland's "Fanfare for the Common Man." In "Brave Words, Braver Deeds," a melody from the Offertorium movement of Gabriel Faure's Requiem is utilized without alteration, appearing twice. The "Burning the Town of Darien," track lifts a chunk from Ralph Vaughan Williams' sublime "Fantasia on a Theme of Thomas Tallis." The entire "Charging Fort Wagner" sequence is another transparent rejiggering by Horner, this time of the opening movement of Carl Orff's dramatic cantata "Carmina Burana." These are merely the ones I could identify. I'm no music historian; a sharper ear could likely pick out more.
No mention is given, either in the liner notes to the CD or in the credits for the film, of these other composers. At least in films like "Greystoke" and "Excalibur," the composers from whom the extra music got borrowed received a mention alongside that of the primary composer.
Read the credits of the old Errol Flynn film "Captain Blood" and you'll note that the composer, Erich Wolfgang Korngold, receives a title card that gives him credit for "musical arrangement," despite the fact that the music is almost entirely his. Korngold, pressed for time to meet his deadline, used a bit of Franz Liszt's music for a sword duel between Flynn and Basil Rathbone. The borrowed piece didn't amount to much, but Korngold insisted that he not be credited as composer, only as arranger. This was a man of integrity who wouldn't think of taking credit for another's work.
The circumstances surrounding the scoring of "Glory" are unknown to me. Perhaps Horner had a tough deadline. Perhaps the director fell in love with the "temp track" and asked Horner to emulate those pieces instead of coming up with something original. It really makes no difference, though. A man of integrity would have demanded that those other composers receive their due credit. If you're going to stand on the shoulders of giants, you should be man enough to admit it.
Description of Glory: Original Motion Picture Soundtrack
The dynamic & stirring soundtrack to the 1989 Tristar film about an African-American Northern Civil War brigade, starring Denzel Washington & Morgan Freeman - this LP was composed & conducted by James Horner (Oscar winner for Titanic).Director Edward Zwick's 1989 tale of the first company of black soldiers in the Union Army during the Civil War captured America's abiding fascination with that great struggle. However, its most unsung player was composer James Horner, who created one of his most grand and memorable scores. So memorable, in fact, that some of its rich cures have been recycled by other filmmakers and Horner himself. More than any other single work, it's Glory that's responsible for Horner's remarkable rise to the top of his profession in the '90s. --Jerry McCulley
Director Ed Zwick's stirring, tragic Civil War epic inspires a gorgeous, deeply moving score from James Horner, who mirrors the story's bitter ironies and ultimate outcome through a main theme and recurring motifs that emphasize the elegiac over the conventionally heroic. While martial drums inevitably rustle beneath Horner's autumnal charts, the somber main theme, when stated by the Harlem Boys Choir, is at once beautiful and heartbreaking, telegraphing the fate of the story's regiment of African-American volunteers in the Union Army. The climactic battle scene, itself a marvel of cinematic impressionism, elicits a more urgent, insistent Latin theme reminiscent of Carl Orff, and just as dramatic. --Sam Sutherland
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