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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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Composer - Musician : Synthesizer
Hans ZimmerLorne BalfeAtli ÖrvarssonGeoff Zanelli
ComposerAdditional MusicAdditional MusicAdditional Music
Angels & Demons
Label: Sony Classics
Length: 54'17
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   3/5 (40381 votes)
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  1. 160 BPM (6:42)
    Hans Zimmer
  2. God Particle (5:20)
    Hans Zimmer, Lorne Balfe, Atli Örvarsson, Mel Wesson
  3. Air (9:08)
    Hans Zimmer, Lorne Balfe, Atli Örvarsson, Geoff Zanelli, Mel Wesson
  4. Fire (6:51)
    Hans Zimmer, Lorne Balfe
  5. Black Smoke (5:45)
    Hans Zimmer, Lorne Balfe, Mel Wesson
  6. Science And Religion (12:27)
    Hans Zimmer
  7. Immolation (3:38)
    Hans Zimmer, Lorne Balfe
  8. Election By Adoration (2:12)
    Hans Zimmer, Nick Glennie-Smith
  9. 503 (2:14)
    Hans Zimmer, Lorne Balfe
  10. Bonus Track : H2O (1:51)
    Hans Zimmer, Lorne Balfe, Atli Örvarsson
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mehmet cengiz küllük reply Replies: 0 || 2009-05-31 00:00:00
i like the film and musics.Thanks for wonderful musics Hans Zimmer.It was also Gladiator musics beautiful too

Anonymous reply Replies: 0 || 2009-05-31 00:00:00
Where can I find the lyrics to the soundtrack? I love choirs and these here are just great. I love them.

Enrico reply Replies: 0 || 2009-05-31 00:00:00
I don't think we'll find choir words...just because I think that choir don't say anything...Am I right?!

Rob reply Replies: 0 || 2009-05-31 00:00:00
They use synth choir. So, I guess there is no words or some standard latin gibberish.

Elias Jordan reply Replies: 0 || 2009-05-30 00:00:00
Amazing soundtrack, I loved the movie and the music was terrific! Love 503

Enrico reply Replies: 0 || 2009-05-29 00:00:00
I've got today the soundtrack...fantastic!!! "160 BPM" is the best with "Science and religion" (even if Hans has taken something for "Thin Red Line")...I've never heard something like "160 BPM", the chorus is awesome!!!
"God Particle" is good too..."Air", "Fire" and "Election by adoration" are fantastic...
Great job Hans...go on!!!

steve reply Replies: 0 || 2009-05-29 00:00:00
hey if any one cuold help wiht this there was a song which was kinda a remake on the old song frm the da vinci code and it was called chevaliers da sangreal but it was diffrent it was a great song what is it called if any one can help.

Raffaello reply Replies: 0 || 2009-05-29 00:00:00
LOVE IT!
all of ur soundtracks, but this one is AWESOME!

curiousfan reply Replies: 0 || 2009-05-27 00:00:00
Can anyone please please please tell me what the very last song is at the very end of the film when Cardinal Baggia, the Pope, walks onto the balcony to wave to the people? That was my favorite part, and it is nowhere to be found!!!!

ZimmFan reply Replies: 0 || 2009-05-27 00:00:00
The music in the film where the new Pope walks out onto the balcony is called "Introitus" - from a work for chorus and orchestra called "Lux Aeterna" by American composer Morten Lauridsen. The music is available on iTunes and on CD from Amazon, etc. It is thought that Ron Howard temp-tracked the scene with Introitus and then realized it worked best for the final scored version of the film. Knowing Zimmer, I'm sure he felt the same way!

MaKa´s reply Replies: 0 || 2009-05-27 00:00:00
It´s beautiful the soundtrack with the movie and the actors. I dont have word to descrption dmy feelings when i saw the movie.

It´s great, congratulations of the team!!!!!

curiousfan reply Replies: 0 || 2009-05-27 00:00:00
Thank you, ZimmFan! :)

goddie2shoess reply Replies: 0 || 2009-05-27 00:00:00
great!!! i have no words to describe how much i enjoy and love your soundtracks. this one, however, is the best so far. i simply love it.

Enrico reply Replies: 0 || 2009-05-25 00:00:00
What do you mean?!

SQ reply Replies: 0 || 2009-05-25 00:00:00
LOL

It's true long time ago.

Enrico reply Replies: 0 || 2009-05-25 00:00:00
Ehi guys!!! I've read this bad thing...is this true?!!!

"He is currently in Semi-Retirement, having said he will compose less film scores in the next few years, decideing to focus more on producing."

Oh my God, I hope this isn't a real news... :(

Memo Pozos reply Replies: 0 || 2009-05-25 00:00:00
Espectacular, strong, powerful, I thought that after the dark night nothing could be better, vocals are unique, Everything is unique

Lynn reply Replies: 0 || 2009-05-24 00:00:00
Love this Soundtrack!

But does anyone know the lyrics?
What is the choir singing?
Especially in 160BPM?
...???

Badguy reply Replies: 0 || 2009-05-24 00:00:00
of course! There is a variation of 160BPM in "Fire"

Kusi reply Replies: 0 || 2009-05-24 00:00:00
yes, there are varations of the theme of 160 BPM in several scenes like the car drive through rome or at the near end the way back to the vatican.

Anonymous reply Replies: 0 || 2009-05-23 00:00:00
160bpm is used several times ?

in 2nd and at end ?

Badguy reply Replies: 0 || 2009-05-22 00:00:00
the second track in the movie is 160BPM the first ride on the vatican, the third tracks is AIR, but before 160BPM there is a track that sounds like BURNING THE PAST from KINGDOM OF HEAVEN

Anonymous reply Replies: 0 || 2009-05-22 00:00:00
it's not possible without cut time informations

Kusi reply Replies: 0 || 2009-05-22 00:00:00
I think there will be more cuts in the several tracks, but I didn't found any others yet! ;)

Anonymous reply Replies: 0 || 2009-05-22 00:00:00
argh !

it's a real puzzle...

Kusi reply Replies: 0 || 2009-05-22 00:00:00
If you like to cut the tracks, sorry I don't have currently the exact cut times :(

FIRE: The first few minutes of this track appears at the end of the movie, when a swiss guardian is coming to the camerlengo to tell him, that he should go to the cardinals. In the tracklist before IMMOLATION

SCIENCE & RELIGION: The first part of the track is when they go to the dead pope because of the poison. In the tracklist this would put in between Air and Fire

H2O: this is a mix between the Watermusic and the end-twist music


01. GOD PARTICLE
02. AIR
03. 1st Part of SCIENCE & RELIGION
04. 2nd Part of FIRE
05. H2O
06. BLACK SMOKE
07. 2nd Part of SCIENCE & RELIGION
08. H2O (reprise)
09. 1st Part of FIRE
10. IMMOLATION
11. ELECTION BY ADORATION
12. 503 (End Credits Part I)
13. 160 BPM (End Credits Part II)

Anonymous reply Replies: 0 || 2009-05-22 00:00:00
I'd say :

01 - God Particle (Main Titles)
02 - Air
03 - Fire
04 - H2O
05 - Black Smoke
06 - Science & Religion
07 - Election by Adoration
08 - Immolation
09 - 503 (end credits part 1)
10 - 160 BPM (end credits part 2)

Anonymous reply Replies: 0 || 2009-05-22 00:00:00
what is the good track order ???

1st try

01 - God Particle
02 - 503
03 - 160 BPM (Earth ?)
04 - Black Smoke
05 - Air
06 - Fire
07 - H2O (Water ?)
08 - Election By Adoration
09 - Immolation
10 - Science And Religion

Jaweco reply Replies: 0 || 2009-05-21 00:00:00
I listened to the Da Vinci Code CD again a few hours ago, and to me this is much much MUCH better than Angels and Demons, though I do like the latter. DVC stays a highlight in Zimmer's career, A&D is "just" a nice score as its best parts (to me) are themes from DVC, the "Science and Religion" track apart (my favorite). Action music leans more toward 90s' Zimmer's action scores, like Peacemaker, that doesn't sound "davincicodian" even if it's kinda cool in its own way... maybe a bit dated...

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Angels & Demons soundtrack - Hans Zimmer 2009