Dances With Wolves
- John Barry
- Studio Orchestra
- Sony Classical
- 1990
In retrospect, John Barry was almost born to score Dances With Wolves, it's mix of understated human struggles and epic scenery. Although ostensibly a western, it's as far from either Sergio Leone and The Magnificent Seven as one could wish to find and made everyone sit up and take notice of Kevin Costner as a director (even if his subsequent directing career has been somewhat hit and miss). For Barry, after a serious illness, he was clearly even more inspired than usual and the result is one of his most popular and famous scores.
Like all of Barry's more recent scores, there are outstandingly lush themes - but unlike the usual one or two, there are perhaps half a dozen here, all equally good. The titular character's John Dunbar theme is undoubtedly the best known; instantly recognisable, the theme is noble, elegant and sincere. Add to this themes for Two Socks the Wolf, the gorgeous, but naturally understated love theme as well as numerous other themes and ideas. This wealth of material ensures that each incident stands memorably on its own, but of course fitting ideally with the material around it. This kind of musical storytelling isn't really a usual Barry trait, but works superbly well here.
Although there is a noble glow to much of the music, the opening reveals a starkly mysterious choir to begin in ghostly style, before melting away into the haunting trains of the John Dunbar theme. The percussive Pawnee attacks are another striking contrast and the off kilter drum motif takes a little getting used to. However, the travelling music mirrors the splendour of the land and are all given differing treatments. The Journey to Fort Sedgewick features an inverted version of the John Dunbar theme with a fanfare like horn counterpoint, while the Ride to Fort Hayes is gentler idea using a descending string figure as counterpoint. Journey to the Buffalo Killing Ground is more epic in scope with sweeping string and bold horn intervals mirroring the striking open space.
More intimate moments use the core themes to a greater extent than in moments when the music opens out. However tracks such as second half of Journey to the Buffalo Killing Ground and The Buffalo Hunt provide for a new twist. The former uses a minor key version of the opening of the John Dunbar theme but this develops into a new and quite desolate figure. Counter this with perhaps the highlight of the score, the Buffalo Hunt which adds a rhythmic and percussive spin to the John Dunbar theme and is perhaps the only portion of the score (aside from a few lovely harmonica compositions) that suggests the more traditional Bernstein or Moross Western. In between the John Dunbar theme, a strident horn motif backed by a oscillating string figure captures the moment perfectly.
This expanded version features a few extra tracks, notably the even more strident film version of the Buffalo Hunt, as well as some additions to the opening cue and extra moments here and there. There is nothing especially new, but the additions make this the definite release of a Barry masterpiece. Few scores truly transcend the film they were written for and while Dances With Wolves is a fine film, the score uses the full range of Barry's imagination and style, together with more great themes than you can shake a stick. For once the Academy couldn't have given the statue to a more deserving choice so ideally suited is the music within the film itself, but an equally inspiring listen on disc. The performance and recording are both terrific, rich but detailed, so every nuance can be heard clearly. A score that no Barry fan, indeed no film music fan should be without.
Rating ~ 
Expanded Edition ~ 75:36
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Original Release ~ 64:12
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