's fifth Oscar-winning score is a profoundly moving body of music, generally (though not entirely) elegiac in tone, very much like the movie for which it was written. It's also a bit of a mixed bag, occasionally falling back on material that will be familiar to fans of the movies that scored during the early- to mid-'60s. The main title theme uses some of those devices -- dense, heavy string passages adjacent to trumpet calls -- but it is hardly representative of the full score. The real heart of is the pensive, tragic which is far closer in spirit to 's music for or -- films (and scores) far removed from the movies. It seems as though, when is asked to write music for characters who are complex and troubled ( is neither), he delivers the goods in the guise of musical material that reflects those elements. Some elements familiar from the films can be found scattered throughout this , particularly in the violin-driven "stings" that open and the horn calls that herald its closing; in the string parts underneath the hyperactive percussion of that might've been lifted right out of ; and also in with its secondary violin part in the upper register of the strings. Much of , however, shows a broadening of 's sound -- he uses the vast canvas of 's movie and 's cinematography as the basis for one of the most richly scored of his career, working with one of the largest orchestras ever heard in one of his films; and have an almost -like majesty about them, and is one of the finest pieces of music the man ever wrote. At times, it sounds as though had every string and horn player in Los Angeles present, and topped it all out with an oversized percussion section, but none of the music or the scoring here sound excessive. was reissued with two bonus tracks in 1995. The 2004 reissue expanded some tracks and added still more material to present the "in its entirety." ~ Bruce Eder