The main Zorro theme and primary love theme interact more extensively in The Legend of Zorro, their inseparable nature previewed by usage in The Mask of Zorro that suggest the latter was always envisioned by Horner to be a natural interlude to the former. More unique to the first score, however, is the application of the secondary Elena theme for the sentimentality of Don Diego in a cue like "Diego's Goodbye," which features another outstanding flute rendition of the idea to suggest the familial history of the thematic set as well. This material, highlighted previously in "Elena and Esperanza" and with more relevance and poignant presence at the end of "The Confession," is unfortunately underutilized and doesn't make more than a token appearance in the sequel score. In the latter moments of "Elena and Esperanza," Horner stylistically conflates two of the Elena-related themes, allowing the love theme to receive troubled, minor-key counterpoint potentially more suitable for the other idea. Horner's interpolations of these themes into the score are impressively playful on the whole, the composer masterfully altering the tempo of especially the main theme for Zorro and launching it with a sense of exuberance and high style that well matches the classic Alfred Newman approach. (If only Horner had incorporated castanets into scores with the same frequency as his bagpipes, perhaps his music would have been more interestingly stylish.) Three of the action cues after the opening scene, "The Ride" (which was used popularly in the trailers for the film), "Tornado in the Barracks," and "Stealing the Map," all present stunningly frenetic and enjoyable variations on the main theme while also serving as the most ethnically rich sequences. The pizzazz put forth by the trumpets alone is remarkable, and, more often than not, a rowdy acoustic guitar rhythm leads the way. In most of these performances, Horner follows the action with lush renditions of either Zorro's theme or the developing primary love theme. The remaining action cues are slightly more anonymous in that they very much mimic similar material in Willow, with "Leave No Witnesses..." striking several similar notes. The infamous Horner "danger motif," otherwise a simple series four sixteenth-notes for brass resolving ominously to key, is employed in a few cues for the purpose of suspense, most notably "Elena's Truth." It takes turns with major and minor key renditions in "Leave No Witnesses...."

A snare rhythm with chime hits and shakuhachi wails represents the lead antagonist, Montero, in much the same fashion as the villains of Willow in "The Mine," and the culmination of this material in the timpani-pounding "Leave No Witnesses...." is adequately exciting. The climax of the latter cue can be somewhat grating in its abrasively dissonant crescendo of suspense, but it serves its purpose. Don't expect the villains in the story to receive much special treatment from Horner outside of the increasingly prevalent danger motif, sadly, the composer failing to apply some imperialistic variant on his Latin tones. Still, the highlights of The Mask of Zorro often come when you aren't expecting them. Such a cue that needs specific mentioning is "The Fencing Lesson," a combination of multiple cues on the original album. One of the more humorous developmental ideas in the film, it's additionally a moment when the strikingly crisp sound effects of the film merge very well with Horner's music. It is in this cue that Horner makes the most out of his percussion section and soloists, taking simple triangle hits and castanet spasms and slowly building them into the recognizable, traditional folk rhythm for guitar as the younger man learns the trade from Diego. Eventually, a triumphant burst of mariachi fanfare signals the lesson learned. Additionally, bass strings pluck along with the guitar to create a fuller sound, reminding in ways of Jerry Goldsmith's more fanciful propulsion from The Shadow. The slashing of a cymbal to represent the swoosh of a sword, most obvious at 4:25 into "The Fencing Lesson," is the kind of creativity that more Horner scores could use. Overall, you can't help but get the feeling that Horner really enjoyed himself with The Mask of Zorro; whereas Deep Impact seemed to aimlessly go through the motions, this score is sharp, precise, funny, and resounding. Most of all, it's extremely memorable and distinctive in a career that was otherwise criticized for self-referencing. There is enough Horner DNA in this score to clearly identify it in his established style; after all, Horner cannot resist using the clanging danger motif as an ultimate tool of climactic resolution in "Leave No Witnesses...." Some listeners will tire of either those overly consistent Horner elements or the obviousness of the Latin infusions. Even so, there is enough compelling action and drama bookending this score and providing moments of brilliance throughout the middle to earn its acclaim.

On the original 1998 album for The Mask of Zorro, a welcome 70 minutes of score material was offered in outstanding sound quality and followed Horner's more favorable habit of arranging shorter cues into longer tracks. The concert version of the two primary themes in "Zorro's Theme" may be among the weaker offerings for some listeners, with both themes receiving more impressive performances in surrounding cues. Horner's lack of resounding enthusiasm in fanfare form for the theme in this arrangement continues to annoy as one of the work's few baffling aspects. Perhaps because most performance ensembles wouldn't have the necessary specialty instruments to tackle this score properly, this orchestra-only suite presentation was crafted, but it thus seems rather dull. The love theme and Elena-specific interlude are translated into the obligatory pop song, "I Want to Spend My Lifetime Loving You," that had potential if not for the slashing sound effects and cheap orchestral hits that diminish the style inherent in the melody itself. While this song would go on to receive considerable play on radio, that mainstream version would take a more conservative mix thankfully absent these effects. A fuller orchestral ambience would have really improved either variant. In 2023, the La-La Land Records label expanded the presentation to separate the score's cues in proper film versions and then appended the album edits along with the Spanish-language version of the song at the end of the second CD. While the first album's combination of "Main Title" and "The Plaza of Execution" was masterful, it's good to hear the first 30 seconds of the latter cue, as it builds a nice anticipatory introduction on its own. While much of the middle of the score's filler material isn't fantastic, it does illuminate the Elena material better despite becoming mired in suspense. You also get a few new flourishes of Zorro's theme, as in "Rooftop Getaway." Don't expect any interesting alternate takes on this product, though, and most listeners may find the original presentation more than adequate as a result. In the end, The Mask of Zorro may not be as massive in scope or offer the incredible auxiliary action sequences of The Legend of Zorro, but its excellent thematic establishment remains an attraction and some of its snazzy solo performances, especially in "Tornado in the Barracks" and "Stealing the Map," are more appreciably raw in their enthusiasm. Both works mark unique high points in Horner's career, and both represent the most memorably accomplished score released during their respective years.  *****   @Amazon.com: CD or Download