Renovatio Records proudly presents James Newton Howard's captivating score for the 2004 epic western film Hidalgo, directed by Joe Johnston. Viggo Mortensen stars as Frank T. Hopkins, a seasoned long-distance rider embroiled in a thrilling survival horse race across the 19th-century Arabian desert. The supporting cast includes the legendary Omar Sharif as Sheikh Riyadh and Zuleikha Robinson as Jazira, the sheikh's daughter. Allegedly based on true events, Hopkins was the first American asked to participate in the 5000-kilometer race, and the film narrates his struggles to complete the race. Thus, the movie unfolds as a tale of resilience, camaraderie, and self-discovery as Hopkins, a 'half-breed' with native American Lakota heritage, and his loyal mustang, Hidalgo, not only endure the natural obstacles presented by the desert, but also face the difficulties of being treated as outsiders by the Arabian competitors. Despite some mixed reception, with concerns about the unintentional reinforcement of stereotypes, the simplification of Arabian cultural elements, and historical inaccuracies, the film garnered praise for its impressive cinematography and adventurous spirit—much of it owed to Howard's masterful composition.
Howard's score seamlessly blends traditional Western orchestral elements with authentic Middle Eastern sounds, creating a rich musical tapestry. Instruments like the ney, the koala, the mijwiz, the buzuq, the oud, and the double violin make stellar appearances throughout the score, while paying homage to an old-fashioned, swashbuckling style of film music writing, much akin to an Indiana Jones adventure.
The score opens with the compelling "Main Title," which introduces the main musical theme that encapsulates the profound relationship between Hopkins, and his loyal horse. This central motif, an ascending progression of four to five note passages, is initially tender and emotive, but as the narrative progresses, the theme grows in strength and instrumentation, mirroring the growth and nobility of Hidalgo as a character. The main theme receives an astonoshing full ensemble rendition at the end in "Let 'Er Buck", ultimately becoming a symbolic representation of the noble spirit of the horse as an animal.
In addition to the main theme, Howard skillfully introduces secondary motifs that enrich the score. A distinct musical theme emerges during the cue "Arriving in the Desert" for the vast and enigmatic Arabian desert itself. Through the use of traditional Middle Eastern instruments and percussion, Howard captures the essence of the desert landscape, creating a musical backdrop that quickly immerses the audience in the film's cultural setting. Other minor secondary motifs revolve around the intricate relationships between Hopkins, the sheikh, and the sheikh's daughter, explored during the middle portion of the score, namely in the cues "The Sheikh" and "The Second Half". "The Race Begins" sees Howard in his comfort zone, as he unleashes his already well-known rousing action adventure music, capturing the excitement and intensity of the titular race. Notable cues like "The Trap," "The Exchange," "Sandstorm," and "The Last Three" showcase Howard's ability to craft intense, exciting, and memorable action sequences without losing harmony.
Howard also makes room for creating intriguing atmospheres; in "Katib", for instance, the music plays as a slithering backdrop to underscore a pivotal conversation between the Sheikh and his cunning nefarious nephew. Notwithstanding, the crowning achievement of the score is the "Montage" cue, a masterpiece that blends ethnic percussion, Hovig Krikorian's enchanting vocal solo, atmospheric choirs, and the power of a string ensemble to perfectly convey the vast solitude of wandering in the desert for days. Moments of brilliance such as this highlight Howard's ability to always elevate his scores, with meticulous attention to detail in instrumentation. All in all, Hidalgo is a fascinating score that weaves together cultural authenticity, ethnic beauty, swashbuckling adventure, and strong thematic statements.
Originally released by Hollywood Records in 2004, the score album faced criticism for its brevity and the omission of significant action sequences. Renovatio Records steps forward, addressing these concerns with a new release that features 20 minutes of unreleased material, presented in chronological order to accompany the film’s narrative structure. This renewed presentation ensures that Howard's immersing composition for Hidalgo makes for an indispensable addition to any James Newton Howard collection.
Track List:
Cover Artwork:
Credits:
Cue Assembly:
|
Track
Title |
Slate Number & Cue Title |
|
1. Main Title |
1m1v18 Main Title (Edited) |
|
2. Wounded Knee Massacre |
1m2v6 Frank To Wounded Knee
(Edited) 1m3v13 Massacre (Edited)
|
|
3. Far Rider |
2m3v2 Chief Talks To Frank |
|
4. Don't Waste Our Money |
2m4v7 Annie-Train-Boat |
|
5. Arriving in the Desert |
3m1v13 Arriving At
Port-Desert Walk |
|
6. The Sheikh |
3m2v5 The Sheikh |
|
7. Morning of the Race |
4m2v1 Morning of the Race
(Edited) |
|
8. The Race Begins |
4m3v5 The Race Begins |
|
9. The Empty Quarter |
3m3v6 Yusuf (Edited) |
|
10. Sandstorm |
4m7v1 Sandstorm |
|
11. Katib |
3m6v1 Katib Comes To Sheikh |
|
12. The Exchange |
6m3v10 Exchanging Al Hattal 6m4v1 Jazira Run (Edited) 5m7v6 Raiders (Edited)
|
|
13. The Second Half |
9m2v2 Gives Sheikh Gun
(Edited) 7m1v2 Second Leg of Race
Begins (Edited)
|
|
14. Frank Pushes On |
4m4v8 Arab Dies-Race
Continues (Edited) 7m3v3 Frank Pushes On
|
|
15. Montage |
7m4v2-7m5v3 Locusts-Montage 4m8 First Montage (Edited) |
|
16. The Trap |
8m4v7 The Trap |
|
17. The Last Push |
8m5v3 The Last Push |
|
18. Ghost Dance |
8m6v4 Ghost Dance (Edited) |
|
19. The Finish Line |
9m1v20 Racing to the Finish
Line |
|
20. Let ‘Er Buck |
9m4v12 Frank Buys Mustangs |
