Howard employed a traditional, large-scale orchestral ensemble for Wyatt Earp and inserted only a few elements of genre personality (including accordions, fiddles, and harmonicas) and ethnic spirit (a recorder and other elements for the Celtic references necessitated by this more accurate approach to the genre), thus keeping the score as classically inclined as the script. These choices by Howard yielded a very consistent strength of sonic posture that stands as the score's greatest asset, even if most of the more ambitiously engaging material is concentrated in the first half of the work. Representing six months of solid work, Wyatt Earp was a labor of love for the composer, one that he actively sought to be a part of at the outset of production and one he confessed to meaning more to him than any other project at the time and is even unparalleled in his career over the subsequent few decades. In the years to follow, Howard certainly became known for his versatility with orchestral and choral ensembles, but in 1994, the Waterworld composer was still proving that his transition from the rock genre to the orchestral scoring business was viable. More than any other score, Wyatt Earp really helped that effort, because the work stands strongly with Bruce Broughton and Basil Poledouris' modern Western genre music as a distinct and memorable entry, if not for its consistent quality, then for its significant length. Howard's noble title theme for Wyatt Earp may not be the most elegantly sweeping of Western melodies, initially meant by the composer as a secondary device until being talked into adapting it as the primary identity of the entire story (not necessarily the titular character alone). But it suffices in establishing the mood of the era, as well as inspiring several imitations of the theme that other composers would attempt in later scores, and Howard inserts just enough rhythmic movement to its background lines for it to serve genre expectations. Even more powerful, however, are Howard's three major secondary thematic constructs, highlighted by the title character's romance theme. This idea poignantly inspires "The Wedding" (and surrounding cues) before tentatively reshaping itself as Earp finds his second love in the latter half of the film. The composer admits that this is his own favorite theme from the score, one of the few times that he has achieved perfection in how he treated a scene or concept in a film.

Aside from the main theme and the romantic alternative in Wyatt Earp, Howard wrote two arguably more imperative secondary ideas for major concepts in the story. The first of these is the civilization theme, representing Dodge City and the Celtic tradition that informed this and similar towns and superficially resembling the lively title theme from Waterworld (an intriguing connection to frontier living). In these portions, Howard's approach to the West reflects a similar technique to John Williams' in Far and Away, providing spirit and excitement that conveys the highest of hopes during the era. The other theme in the score represents Earp's own personal destiny, and this is the one identity that Howard nurtured with that intent from early in the writing process. Initially heard as a bond between Earp and his father (most impressively in "Nicholas Springs Wyatt"), this idea eventually finds greater traction as the score progresses. The bulk of the score's weighty drama exists in this theme of gravity and scope, one with nothing in common with the genre per se but addresses larger issues of perseverance. All four of these main themes are afforded a suite-like arrangement in "End Credits," an excellent survey but one that is rather light on the rendition of the love theme. Additional motifs are commonly developed by Howard in Wyatt Earp, the length of the film demanding such attention. Several lesser woodwind and solo string melodies accentuate the hardships of the characters, and this, maybe, is where the protracted script actually assisted Howard in providing substantial development to his many ideas in ways you typically hear in a television mini-series. The rhythmically propulsive action sequences are backed by driving snare and other percussion, beginning with the wild "The Wagon Chase" and culminating in a climactic cue for the "O.K. Corral" battle before exploring a few remaining confrontations (the lesser "The Train Shootout" and "Wyatt's Ambush") thereafter. There isn't an abundance of old-style or folk-inspired Western cliches at work in this score, with the Celtic flavor of the buffalo sequences, the "Railroad" scene, and the civilization theme in "Dodge City" being among a few that openly exhibit this flair. There is some source-like material written for the film, but not in the honky tonk style you would expect. The most remarkable aspect of the Wyatt Earp score as a whole is its consistency of quality through most of its length, even during moments of lesser volume and motific development.

Just as the movie can be boring to many, though, there are a handful of underscore cues recorded for conversational or suspense scenes in Wyatt Earp that may not be of interest to the listener. The original 1994 Warner Brothers album of an hour in length for this score did a good job of stripping most of this less interesting material from its presentation. On that album, only "Railroad" really breaks up the otherwise steady and easily digestible sound of the score's highlights. In 2013, La-La Land Records provided a whopping 3-CD set featuring a massive expansion of material for enthusiasts of the composer and film. While more of the less tolerable moments of the work are included on this product, one has to marvel at the continued mastery that the composer displayed in the entirety of the effort. Many of the best newly released cues featuring the main theme on this set are concentrated near the start of the product (on its first CD), including the great "The Wagon Train" (a hybrid of Alan Silvestri and Jerry Goldsmith mannerisms with Howard's own optimistic action voice), though some additional development of the love theme in the latter third finally illuminates Howard's full evolution of that idea. The third CD has some redundant but still interesting alternate recordings of major cues, as well as source material by orchestrator Brad Dechter, a selection of the composer's synthetic demo submissions for various scenes, and a heartwarming studio interaction between orchestra and composer. Those who appreciate this score's throwback style and consistent quality will appreciate the 2013 album's rearrangement of the material into chronological order on top of its crisp sound quality. The sound quality of this recording has always been dynamic, however, even on the 1994 product. For listeners expecting weighty romantic drama, be aware that despite Howard's best intentions, Wyatt Earp doesn't quite provide the moments of lush Americana romance with as much resonance as James Horner did in Legends of the Fall. That said, Howard's music for Wyatt Earp was an important step along his journey to become one of Hollywood's premiere composers, and it remains among the most compelling scores of the 1990's Western genre. It is something of a shame that the composer has never really returned to this style of drama since, admitting decades later that he wouldn't know if he really could. As such, Wyatt Earp may be a singular event worthy of exploration on its limited 2013 album for any score collector interested a well-constructed and enthusiastic, old-fashioned portrayal of the West.  ****   @Amazon.com: CD or Download