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So first impressions:<br><br>JP knocked this one out of the park! The whole score has this excellent swashbuckling vibe, which is surprisingly aggressive during the action sequences (entirely due to his trademark percussion).<br><br>The writing style is really interesting, it’s basically John Powell doing his usual style but with some Williams flourishes, especially during the softer cues. The Star Wars themes do return, but not as heavily as Rogue One. And of course the JW cue is great, although surprisingly structured more as an action cue as opposed to a concert suite.<br><br>And for some reason the Han theme sounds vaguely similar to Poe’s theme from Force Awakens.Let’s just say “Reminiscience Therapy”.... hold onto your seats! ;-)This score is awesome!! Powell did a great job at making a score that's differet than all the other SW scores, but still you know it's a SW score. He reprised Williams' theme brilliantly and I can't stop to listen to it!!!what about the music when batman makes it back to the cave and lex opens the case of kryptonite. cant find it in theseYeah I can't agree that Inception or Interstellar are superior pieces of scoring. Certainly not in structure, thematic development, etc. <br><br>What defined those scores is the vision behind them more so than the execution. In so many ways, that is opposite of The World's End. Interstellar is a brilliant score that managed to provide each scene with a simplistic tone, but one that captured the atmosphere behind the scenes perfectly, such as the unique use of the organ. Same with Inception with the guitars. <br><br>With a World's End, the vision is nothing special. It is a rock and roll twist to classic music. But the execution brings enormous power and gravitas to the movie.<br><br>I would sum it up by saying that in Interstellar and Inception, the creation of the music drives the movie's ideas while in At World's End, the movie drives the creation of the music.
Nazg&#251;l for Azog I will never forgive. It's not a Servant of Sauron theme, it's a Ringwraith theme, and Azog's not a Ringwraith, he's a goddam Orc, and that theme doesn't belong there, full stop. It was just put there because it sounds "epic" and would "pump up the action scene". Gondor Restored at the end is just as stupid. And the Dreaming of Bag End theme for Bilbo is indeed lovely, and would have been lovelier still if it actually appeared in the movie. Instead it just gets replaced by copy/pasted Hobbit music from LOTR instead because Peter Jackson desperately wants his audience to remember how good those movies were in lieu of the Hobbit ones being any good on their own. Needless to say it goes missing entirely from the second and third score...along with the Misty Mountains melody (the strongest theme of the first one). I still really like those scores overall but they got absolutely butchered in terms of their thematic usage in the films. Then again those movies were an absolute clusterfuck so I shouldn't be surprised.<br><br>WRT Harry Potter, the 3 note theme does work okay for Voldemort, except that there's already a longer, separate Voldemort theme in Philosopher's, one that I like even more, and which only gets used once in Chamber (when Riddle rearranges the letters). I can understand liking Chamber better than Philosopher when you compare the albums, but in terms of the complete scores there's no contest at all, Philosopher wins by a country mile because of Chamber's rehash issues (and there are some good cues missing from the album, such as the Troll and Forbidden Forest scenes).@Edmund<br>The thing with the Nolan scores (at least Interstellar/Inception) is that they are repetitive, in as much as being built heavily around the suites that I’m guessing they use to edit and temp the film. <br>And while the themes are simple I do think they are structured in a unique enough way which builds emotional resonance through the gradual increase in chords/volume/speed/etc. Even Dunkirk is a relatively simple score theme wise, but is so technically complex.<br><br>And personally I’ve never been in love with Inception. I admire it on a technical level, but outside of “Time” I find it to be a fairly cold score. Obviously what it was meant to do so not a complaint, more of a personal preference thing.You know, I actually like Chamber of Secrets much more than Philosopher's Stone. It has the best moments from that score with improved themes. (I actually like the 3 note motif for Voldemort better than it being used for the stone, it already sounded like the Sith theme from Star Wars so might as well go all the way with it.) It felt more tight, better paced, and had an overall more energetic feel to it.<br><br>The Hobbit, I'm not entirely sure where you're getting heartbreaking from. If you mean the state of its release I absolutely agree, if you're talking about its reprisals the only one I had any issue with was the Return of the King/Gondor Restored theme which had nothing to do with Thorin and Bilbo's relationship. <br><br>The Nazghul theme being used for Azog I thought was fine as he was a servant of Sauron in the movies, History of the Ring and Gollum's themes were used effectively, and the new thematic material for the first film, I thought was wonderful. The themes A Baggins of Bag-End and The Lonely Mountain song being used as a Fellowship type of theme are the greatest highlights for me.See, I don't find Inception or Interstellar (or Thin Red Line) all that "complex". Especially not compared to At World's End (how many themes are in that score, like 15? 20? Pretty much all of which show up in rapid succession during the Maelstrom battle?). The Nolan scores are more about building up around very simple conceptual ideas.<br><br>Unless you're talking about emotional complexity, which is a very different thing and not really possible to objectively judge...You know, I don't think I've ever really gotten the full story surrounding that score. I've heard conflicting reports. My personal belief is that Ross did little to no substantial composition and that all the new stuff (themes, suites, new cues and also significantly fresh arrangements of old material) is pure Williams, but that film is full of reused music from the first film (it's actually quite frustrating, not as bad as On Stranger Tides or as heartbreaking as The Hobbit, but a bit of a rehashy mess and it makes the key error of using the Philosopher's Stone motif as a Voldemort theme). That's where I think Ross comes in and was responsible for taking those cues verbatim from the first film and tweaking/rearranging them just enough to match the timings of the scenes without actually adding any of his "own" notes. His role is likely somewhere between additional music, arrangement and music editing (but as Hybrid likes to point out, oftentimes those sorts of roles are really blurred and overlapping anyways).<br><br>A guy at jwfan did an analysis that helps understand the nature of that score, but be warned, it goes *really* deep:<br><br>www.jwfan.com/forums/index.php?/topic/27619-finished-chamber -of-secrets-thematic-and-originality-analysis/
I'm trying to be objective* (sorry haha)@Anonymous Zimmer's best? Well... I'm trying to be subjective:<br>IMO The Thin Red Line remains the pinnacle of Hans' career from an artistic point of view. It's a turning point, though we've been used to this kind of writing since (so many scores have copied TTRL).<br><br>Inception and (especially) Interstellar are superior pieces of scoring as well. Their level of complexity is unmatched in Zimmer's discography.<br>Gladiator is another impressive score, as it combines some of the best action music, best drama and deepest emotions Hans has ever composed for a movie.<br><br>Seems like I'm quite objective here, as none of my favorites scores are on this list ! ;)Interesting you mention William Ross' role in Chamber of Secrets because I've never fully understood what his exact involvement was. Was he just an additional music composer? Or did he actually compose most of the score with John Williams only writing the suites? Just curious if you know.I mean, the thematic situation *is* a bit messy. You've got new themes by Powell, one new Williams theme adapted by Powell, and then existing Star Wars themes adapted by Powell. I agree the credits are a bit long-winded but I can't think of a more concise way to convey all that information.<br><br>What does bother me (and maybe this is my inner fanboy talking) is that it seems to downplay Powell's role a bit, listing him second and with the use of the word "adapted" which makes him feel a bit second fiddle. Remember how William Ross "adapted" Williams' music for Chamber of Secrets, by which was meant largely copying and pasting bits from Sorcerer's Stone? I have no doubt that Powell has done a far, far more substantial job here (and they do say "composed and adapted", to be fair). Then again, it's a Star Wars score, and of course they're going to put Williams' name front and center as much as possible no matter what.<br><br>This is all such nitpicking of the highest order :pHans for Star Wars ?<br><br><br>Never.<br><br><br>Ron probably asked him first and Hans probably was like "JOHN POWELL !!"
What would have happened if Ron Howard would have been the first choice to direct Solo? He would have chosen James Horner (if he wasn't dead) or try to convince Hans Zimmer to do the music. The only collaboration between Howard and maestro Williams was in the movie Far And Away.Poster in SpainA Star Wars score that sounds like a Powell score? I'm in.<br><br>From what I've heard of many people, the score is really great and apart from the Williams theme, I heard Powell also had a lot of great themes.<br><br>I cannot wait for it!Your source?Just saw the film, really fun and faced paced movie. The score is great, it has a solid main theme by John Williams (not as great as Rey theme though) but still memorable and john powell adapts this main theme in various variations throughout the film. Star Wars fan might be dissapointed by the score because this overall sounds like a typical Powell score which doesn’t really sound like a typical Star Wars movie. Still fans of Powell will love this new score.
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Hans ZimmerKlaus BadeltPatrick CassidyJim Dooley
ComposerAdditional MusicAdditional MusicAdditional Music
Hannibal
Label: Decca Records
Length: 54'14
HZimmer.com rating:        4/5
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   2/5 (7704 votes)
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  1. Dear Clarice (6:02) +
    Hans Zimmer
  2. Aria Da Capo (1:48)
    J.S. Bach, performed by Glenn Gould
  3. The Capponi Library (1:14)
    Hans Zimmer
  4. Gourmet Valse Tartare (6:50)
    Klaus Badelt
  5. Avarice (3:54)
    Hans Zimmer
  6. For A Small Stipend (0:55)
    Hans Zimmer
  7. Firenze Di Notte (3:09)
    Martin Tillman, Mel Wesson
  8. Virtue (4:37)
    Hans Zimmer
  9. Let My Home Be My Gallows (10:00) +
    Hans Zimmer
  10. The Burning Heart (4:24) +
    Hans Zimmer
  11. To Every Captive Soul (6:55)
    Hans Zimmer
  12. Vide Cor Meum (4:20) +
    Patrick Cassidy
+Dialogue by Anthony Hopkins
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matthew reply Replies: 0 || 2014-12-10 22:40:24
I yust realized that alan silvestri or zemeckis used the end of let my home be my gallows in beowulf. anybody knows what the fuck happened? because if you watch the end credits, there's absolutely nothing there about this. no special thanks to HZ. no let my home be my gallows is from hannibal. nothing...
also beowulf is WB and paramount, hannibal is universal...

Eddard Stark reply Replies: 0 || 2014-10-27 20:06:22
If you listen carefully Firenze di notte, it is similar to Why so serious

Jeanbayljean reply Replies: 1 || 2014-10-10 19:43:14
Oh God, oh Hans, please, give us the reccording sessions ! Without Hopkins voice I beg you !
This score is one of the best of Hans by far, yet so underrated !


trent easton navarro2014-10-11 20:04:45
I hope La La Land or Intrada will release an expanded version of this one. And indeed without the voice-over. While I think it works somewhat on Dear Clarice it's annoying as hell on Let My Home Be My Gallows

Bioscope reply Replies: 1 || 2014-05-19 18:39:25
please add Clay Duncan's Gun Play to the audio if you guys have it!!


Zack2014-09-30 10:37:59
Does anyone think we'll ever get a re-release without the god damned voice overs? It's a great score, and it does add some mood to it, but ugh, I wish it never happened.

scratch reply Replies: 5 || 2014-05-01 19:44:42
Does anyone know whether the instrumental for "Dear Clarice" exists without Anthony's dialogue dubbed over it? Would love to track that down... may well just recreate it otherwise!


Nyct2014-05-01 23:21:16
On the complete score perhaps, but that remains to be see.


Marc2014-05-02 12:51:30
What's the source of track ''Lecter Snatched'' ?


Bondo2014-05-02 13:24:19
It's by Steve Jablonsky, available on one of his old promos... and also my favorite track in the entire film! Has a definite "The Fan" vibe to it


Hybrid Soldier2014-05-02 13:33:48
Yes it's a BIG Fan ripoff actually... lol


scratch2014-05-02 17:28:36
I take it there is no release of the complete score anywhere? Incidentally, did any of you see Anthony's Waltz being premiered in 2011? Lovely piece...

dark prince reply Replies: 0 || 2014-02-01 01:47:05
A great score, a different horror style, than hides the evil behind beutiful and elegant melodies, that way is more sinister without stop to be wonderful. The best way to define Dr. Hannibal Lecter. Hans Zimmer and their pleople did it, a score may make you feel terrified and marveled in same time

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Lasse reply Replies: 0 || 2010-04-11 00:00:00
1: Aria da Capo
2: Capponi Libary
3: Virtue
4: Come after you
5: Adjust to the Darkness/ Mason Verger meeting
6: An der Schonen
7: Eating the Nurse
8: Scen of Lecter
9: Investegation
10: Firenze di Notte
11: The Burning Heart
12: Let my home be my gallows
13: Lecter Hunt
14: The Abducting
15: Bring him home
16: Gourment Valse Tartare
17: Afthermath
18: Seat of Good Manners
19: to every Captive sould
20: Vide Cor Meum
21: Bang

i Also got a cue called "Rinaldo Pazzi", its the same as "Investegation" only shorter. And one called "Inferno" wich is the same as eating the nurse only longer.

8 reply Replies: 0 || 2013-04-07 06:14:05
Hey Hybrid, any news on a legit expanded/complete on Hannibal?

Takehiro reply Replies: 2 || 2011-08-01 06:41:12
Is there any kind of film order to this? I am sucker for having scores in film order lol


Lasse2011-08-01 23:21:47
no, it a little bit difficult to say since they use the same track several times


Takehiro2011-08-02 01:14:24
Ridley Scott re-editing the music again, eh? :)

Uga reply Replies: 9 || 2011-05-31 11:09:33
I'd love to see a complete score for this. Pazzi theme is lovely.
Everyone seems hopeful for another recording sessions leak of some other film. I of course just want to see Hannibal and Inception, but alas I'm just another beggar alone in his quest for these holy grails.


Takehiro2011-07-27 03:35:09
You're not alone bud, I want this too :)

From all the "expandeds" out there, which is best in terms of content?


uga2011-07-27 06:40:21
I would use the ost and the bonus tracks from magic music box and klaus badelt (in terms of sfx free).


Kusi2011-07-27 11:26:53
Magic Box Music did compose music for Hannibal? I don't see any tracks from them on their site..


Dawn2011-07-27 11:30:39
I don't think magicbox music ever composed cues for Hannibal...

Klaus Badelt cues are all heard in the official soundtrack CD (fully developped).

But Geoff Zanelli's website contains at least 2 or 3 unreleased cues, and there's a Steve Jablonsky promo with one unreleased cue.


Anonymous2011-07-27 22:19:50
Whats the name of the SJ promo??


uga2011-07-27 22:30:58
I'm sorry, I didn't mean magic music box, I meant geoff zanelli's website. my mistake


Dakota2011-07-27 22:33:26
I don't think it's a Jablonsky promo. If it is what I'm thinking of, then it's the 2-disc expanded score. It's a 9 minute piece called "Adagio"


Dawn2011-07-28 10:26:59
There are no "2CD expanded promo" for Hannibal. I mean, of course, there are a lot of fanmade "promos" around, but they are... fanmade.

I know both movie and score by heart, and I can confirm that all those "expanded editions" are fake. They combine music from the OST with another source that has nothing to do with Hannibal. Many years ago, some guys claimed to have an expanded score with some "Steve Jablonsky's rejected/alternate music" but the cues had nothing to do with the movie, and furthermore, they even had nothing to do with Jablonsky...

Dakota, getting unreleased music is always fun, but I think you should at least verify the new music is actually in the movie (or composed for it)... I don't see the point in collecting extended scores if you don't even know what's on them. Hannibal is all about those impatient guys that are ready to put pointless things on a CD in order to claim "I have more music". Adagio has nothing to do with the film score, nothing to do with SJ, nothing to do with any part of Zimmer's working process. It's like adding some Winnie the Pooh music in the middle of Steamboy and claiming it's expanded ! The SJ cue I was refering to, originally, is named "Lecter Kidnapped".

Trust me, film music promos from Geoff Zanelli, Steve Jablonsky and Klaus Badelt are the only sources that contain REAL HANNIBAL UNRELEASED MUSIC. Although all the music from Badelt is already featured on the OST.

Anonymous, minimum service would be at least to pick a name before asking questions here. About the promo, it was called SJ Film Music...


Dakota2011-07-29 03:21:13
Dawn, I never said I even have that. I've never seen Hannibal, I don't have the soundtrack, and therefore I have no idea what music is on it, or what it even sounds like. This cue you mentioned I thought might have possibly been that 9 minute track. I was just trying to help. Scores I do collect I have usually seen the film to, therefore knowing what music belongs on it or not.

Lukas reply Replies: 0 || 2011-03-08 00:00:00
Hey Hybrid Soldier Help me !


Why is not with Klaus on the cover of Hannibal on it?

Can you tell me other music where he is?

Lasse reply Replies: 0 || 2010-04-12 00:00:00
no im not. i dont know what it is xD

Anonymous reply Replies: 0 || 2010-04-12 00:00:00
@ Lasse
Are you on SoulSeek?

Lasse reply Replies: 0 || 2010-04-12 00:00:00
no. except from Let my home be my gallows and the burning heart

Anonymous reply Replies: 0 || 2010-04-12 00:00:00
are there any sound effects or anthony hopkins dialogue?

Mr Tweedy reply Replies: 0 || 2010-04-11 00:00:00
@Lasse
Do you have a complete tracklist, dude ?

Lasse reply Replies: 0 || 2010-04-09 00:00:00
well i dont have much information about it. but i got it from a friend.

and then i contacted Clay Duncan on myspace to hear what the soundtrack Gun PLay was, and he said it was the song wich was playing in the cars under the fish marked scene

Dawn reply Replies: 0 || 2010-04-09 00:00:00
Hi Lasse,
Do you have more informations about this bootleg (link) ?

It could be interesting... ---*could* because "Bring Him Home", "Eating the Nurse" or "The Abducting" were already released on various composers promos (Geoff Zanelli, Steve Jablonsky...)---

Lasse reply Replies: 0 || 2010-04-09 00:00:00
there is a new Hannibal bootleg soundtrack whit soundtracks like :

-Lecter hunt
-Bring him home
-Investegation
-Eating the Nurse
-An Der Schonen
-The Abducting
-Come After You
-Aftermath
-Adjust To The Darkenss

gok fei reply Replies: 0 || 2008-02-16 00:00:00
I agree with llwyt. That is a beautiful piece in such a disturbing film. I'm trying to find out if there is an opera being made avail.

llwyt reply Replies: 0 || 2008-02-08 00:00:00
"vide cor meum" is divine. Is the full opera available, being written or never going the see the light of the day?

arash aus iran reply Replies: 0 || 2007-03-30 00:00:00
hans zimmer is the greatest composer of all times
thanks hans
dank schon

Suicune reply Replies: 0 || 2007-03-20 00:00:00
A soundtrack that would have deserved a better movie.

Hybrid Soldier reply Replies: 0 || 2007-03-06 00:00:00
More informations :

1. Dear Clarice (Feat. Anthony Hopkins) (6:02)
2. Aria Da Capo - Written by Johann Sebastian Bach, performed by Glenn Gould (1:48)
3. The Capponi Library (1:14)
4. Gourmet Valse Tartare - Composed by Klaus Badelt (6:50)
5. Avarice (3:54)
6. For A Small Stipend (0:55)
7. Firenze Di Notte - Composed by Martin Tillman and Mel Wesson (3:09)
8. Virtue (4:37)
9. Let My Home Be My Gallows (Feat. Anthony Hopkins) (10:00)
10. The Burning Heart (Feat. Anthony Hopkins) (4:24)
11. The Every Captive Soul (6:53)
12. Vide Cor Meum (Feat. Anthony Hopkins) - Composed by Patrick Cassidy, Libretto from Dante's "La Vita Nuova" (4:20)

arash reply Replies: 0 || 2007-03-04 00:00:00
the greatest composer of the world for all times
induspatbaly is herr hans zimmer

08-12-06 reply Replies: 0 || 2006-12-08 00:00:00
Vide cor meum from Patrick Cassidy is a wonderfoul peace of music. THe line to Dante are great. Thanks Cassidy, thanks Hans.

Anonymous reply Replies: 0 || 2006-08-20 00:00:00
very very fantastic music .

Mikel Carmona S.i.W reply Replies: 0 || 2006-08-08 00:00:00
A fantastic music. I love this score more than the movie. But, the voice of Anthony Hopkins insert in the music i dont like, I preffer only the score, without voices. I´m waiting for a bootleg with the score isolated. an embreance!!!! Mikel ( Spain)

Hormone reply Replies: 0 || 2006-07-11 00:00:00
Vide Cor Meum is genius. Hans Zimmer is my one true love. Makes me spaf a little.

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