Yeah, excellent, it has finally been released. I have been waiting for this score, well, since forever I think. Was it worth the wait? Well, yeah, it probably was really. It is not quite what I was expecting, at least in places. The leaving port music isn't the majestic music I had imagined, but the alternative that Horner has composed is certainly very good, although rather reminiscent of one Irish, female artist. The Celtic flavour is introduced right at the start with a solo pipes rendition of one of the main themes which then moves into an orchestral rendering. Starting with Southampton, the choral/Enya type thing is started as everyone boards the boat. The theme is driving and upbeat, although I would have expected some hint of something bad being going to happen, although in Rose, the love theme is introduced and it too has the Celtic lilt to it with a kind of romantic sadness and wistfulness that is absolutely perfect. I felt the key change during the love theme is very inventive and it seems to be doing something different to what it actually is, but without actually sounding wrong. Leaving Port starts with what sounds like an ethnic, metallic sounding, guitar-type instruments being plucked very rhythmically that sounds kind of like Morse Code, if that is what it is meant to be, what a clever idea! The choral, ship theme crops up again with delicate synths and the occasional orchestral moments, although these tend to recall Legends of the Fall to some extent, but the feeling is just right and balances the very upbeat choral theme superbly. I would have liked the choral theme to be re-orchestrated sometimes as the synth/choral thing is perhaps excessive, although Horner manages to put it through just about enough different styles to keep it fresh.
The second third of the album is mostly exciting, loud and well composed action music. Many have commented that it is like Courage Under Fire, but since I've not heard that, to my mind most of the music is quite new to the Horner canon, which, although a few trademark ideas crop up. The crashing pianos from Apollo 13, among others, makes a welcome appearance a few times. I always thought that was a fantastic invention, it is so wild sounding, but always controlled within the music itself. The rumbling, growling piano figure also appears several times, yet another idea I like. Much of the action is more Goldsmith-inspired than anything else, but it never actually sounds like something Goldsmith has written. One small calm moment occurs in Unable to Stay, Unwilling to Leave where the love theme appears in a quite beautiful version as the two lovers must abandon their sinking vessel. Of course, it doesn't stay quiet for long and the pulsing action music with dissonant brass chords as well as the twanging Morse-code motif. Another impressive moment of this track is when a huge glissando moves up through the entire orchestra, as though something huge (the sea I guess) swallows up the ship, this produces an incredible effect. The track ends with an almost Michael Nyman like piano figure which is unbelievably haunting and it's a shame that it doesn't appear again. The rest of the action music is more of a continuation and perhaps begins to outstay its welcome, although it never becomes unbearably untuneful and the Legends of the Fall style theme crops up several times along with the love theme to add some humanity to the disaster that is going on.
The final third after the Death of Titanic is more downbeat and sombre and forms an extended elegy to the lives lost. After the happiness of the first section, the horror of the second section, this part almost seems anticlimactic, which I suppose is what it is supposed to be. The song version of the love theme is excellent indeed and well sung by Dion in a rather restrained performance and containing a lovely backing by the orchestra and pipes. It would be nice for Horner to write some more songs as his good ones are superb and this is certainly one of his best. The Hymn to the Sea is a continuation of the same kind of music as heard before the song and forms a sombre climax to an epic score.
I wouldn't say this the best Horner score ever, but it is probably the only long Horner score which maintains the interest all the way through, the others such as Willow and Legends of the Fall all have their slower moments. Although this does have its slower moments, I never get tired of hearing it. Another score to recommend.
Rating ~ 
Total Time ~ 72:23