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I came across this clip on the Hans Zimmer website. It’s his “Molossus” track from “Batman Begins” as performed by the Cincinnati Pops Orchestra, so its free of all the electronics and stuff that were on the soundtrack. It really shows how nice his stuff can be when an actual orchestra is used.
http://www.hans-zimmer.com/fr/media/molussus.mp3
I came across that one when I came across the one below, a sample from Zimmer’s new “The Da Vinci Code” score. It sounds like sampling to me, but perhaps there are better trained ears around here. I still would have preferred the original choice of composer, James Horner.
I’m not a fan of the pop drum beat that are in those Kunzel/Pops arrangements, including “Molossus”. I prefer to the original OST recording, synth or not. You might like to check out Dario Marianelli’s V FOR VENDETTA, which must have been temped with “Molossus” during the climax, as you can hear it in “Knives and Bulletts (and Canons Too)” 3:50 into the track to 4:35.
Ryan
I don’t have anything against synth — Danny’s a master of blending it nicely with an orchestra, like with Spider-Man — but Hans Zimmer tends to use it waaaaay too much. Sure, it’s something he’s been considered a pioneer with, but he’s prefectly capable of using an orchestra, and when he does, it’s really good (like the orchestral parts of “The Lion King”). For some reason, before “Batman Begins” came out I was hoping that Zimmer and James Newton Howard would be working together to blend their styles into a great sound instead of them composing separate tracks, but Zimmer’s theme is his usual stuff; not terrible, but not very inspired action music that lacks the heroic and darkened spirit of Danny’s theme. That’s why I sort of like the Kunzel version better because although it still isn’t as relevant to the character as Danny’s Batman, the real orchestra sounds a bit more appropriate than electronics and synth.
Erich Kunzel and the Cincinnati Pops do only decent performances of some film scores, but for some reason I’m very interested in the differences between original recordings and different arrangements of them. For example, I’d love to compare the sounds of the Carnegie “Serenada Schizophrana” with the Hollywood Studio Symphony version just to see how they’re different.
Spider-Fan Wrote:
> I don’t have anything against synth — Danny’s a
> master of blending it nicely with an orchestra,
> like with Spider-Man — but Hans Zimmer tends to
> use it waaaaay too much.What do you mean, using it too much?
What do you mean, using it too much?
As in I don’t think he’s written a purely orchestral score, or at least mostly orchestral, in a very long time. Not to my knowledge, at least.
Zimmer’s doing DA VINCI CODE? So what tiff did Ron Howard and James Horner have? I saw that Thomas Newman did CINDERELA MAN.
Anybody know?
Here’s what the IMDb says:
Hans Zimmer replaced James Horner (long time collaborator with Ron Howard), while Horner took the offer to compose the music for The New World (2005), when Zimmer couldn’t accept it, because of scheduling conflicts.
Spider-Fan Wrote:
> What do you mean, using it too much?
>
> As in I don’t think he’s written a purely
> orchestral score, or at least mostly orchestral,
> in a very long time. Not to my knowledge, at
> least.Yes, I get that, but is there really such a thing as using a synth “too much”? If it fits the film, what is wrong with it?
SoundtrackNet has just posted a “First listen” for the real “Da Vinci Code” score. I didn’t really find the sample clips all that impressive except for the track “Chevaliers de Sangreal,” which had a very nice sound to it. Maybe it’s just that the portions for each track were the not-so-good parts, so I think it may end up being a pretty decent score.
http://soundtrack.net/features/article/?id=191
And while over at SoundtrackNet, check out their “First listen” to “Mission: Impossible 3” by Michael Giacchino, who I think has really established his own musical identity and reflects it upon a very good adaptation of Schifrin’s theme with a more Elfman than Zimmer approach. I totally love his addition of countermelodies to the main theme to give it a darker sound.
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