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I didn't really think about it at the time, but looking back, Dances With Wolves is a fairly unique score in John Barry's oeuvre.
Thought he'd provided music for many different types of films, this was perhaps the only true "epic" he ever scored. Some of his other assignments had "epic elements" (Born Free, some of the Bond scores, The Last Valley, Monte Walsh, etc.) but none of them offered the same scope and "large canvas" as Dances With Wolves. Its sprawling landscapes, limited dialog (and long running time) were crying out for the kind of "broad strokes" with which Barry loved to express himself.
This, combined with the fact it was his first job after several years in the hospital (during which he twice nearly died) contributed to Dances With Wolves being one of his most inspired efforts.
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Oh, so many great cues. "Two Socks" brings tears. "Journey to Fort Sedgewick" is exuberant. "Looks Like a Suicide" is chilling with those jagged strings, dark horns, and eerie wordless chorus. And I'm leaving out the "john Dunbar" theme and the "Buffalo Hunt."
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'The Buffalo Hunt'.
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Musicmad, I completely agree with you. That jaunty cowboy motif seems out of place with the film, the score, and with John Barry. Dramatically, its only purpose is to announce that you are watching a western. The other version of the Buffalo Hunt doesn't completely work for me, either. Rhythmically, it seems to have a bit of a militaristic march flavor to it rather than a freewheeling hunt in a stampede. My only criticism of the score, which I think otherwise is a masterpiece.
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