I'm tempted to give Horner some credit, since it's very hard to put together an epic score in such short time, but I thought someone of his talent would just be able to pull it off. I expected better than this. It was bold, brassy, and downright melodramatic. At times, the score just seemed lost, and the orchestra making it up as they went along.

The trailer's music, I thought was much better than the material in the film. If the music in the trailer is part of Yared's lost score, that's a shame.
 

However, Horner's shameless theft of Shostakovich's Symphony No. 5, as well as David Arnold's Stargate themes is deplorable. I find it sadly ironic that Warner Brothers (a member of the MPAA) would have such blatant lack of respect to the intellectual properties of others... especially considering their own mission to prevent copyright infringement.
 

As to the repetitions of earlier works, may I say to the Horner haters that Williams, Barry, Goldsmith etc all have similiar repetitions, or echoes of earlier works in their efforts. I am constrained to point out that the people we love most in our lives have similiar repetitions or echoes in their mannerism, personality, and habits that endear them to us and provide a personal connection, a sense of comfort and familiarity, all essential qualities for human relationships. It is no different in that respect to film score composers. So measure your criticism more carefully, and less personally. At least Horner strives to enrich and bring beauty into our lives when there are all too many whose only contribution is animosity, violence and destruction. Have a nice day.
 

If you think about it, Horner had to do the near impossible: compose and conduct a score in a month and a half. Seeing how little time he had makes me appreciate just how solid this score is, even though it's far from perfect. Take for example Track #2, this piece sounds more like it would be the theme for Mardi Gras back in the 1800's. But truly this is the only real sour note on the CD. There are a few gems to be found like track #3, #6, and #10. There is an almost ghostly feel to "The Wooden Horse" and the "Sacking of Troy." Overall this is a solid score, worthy of a listen if you liked the film.
 

Gabriel Yared's score is much better, unsurprising since he put over a year of development into it (as opposed to a couple months by Horner); shame the test audience apparently wasn't very knowledgeable in the score department.
 

The opening track has an ancient Mediterranean feel to it, which is repeated throughout most of the score, notably tracks two, three, six and eleven. French orns, trumpets and violins/violas feature prominently in these tracks, as well as the timpani and other stringed instruments. These tracks are where the major action takes place.

Tracks four, five and seven, while very quiet and slow, have Horner's main romantic theme and use the woodwind/string section very well. Once again, the London Symphony Orchestra is used, as well as the Bulgarian Women's Choir.

James Horner has composed one of the best soundtracks I have heard, and it is worth listening too, even if you haven't seen the film.