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Gladiator Soundtrack

Price: CDN$ 14.67 & FREE Shipping on orders over CDN$ 25. Details
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Frequently Bought Together

Gladiator + The Last Samurai + Braveheart
Price For All Three: CDN$ 38.73

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Product Details

  • Audio CD (May 2 2000)
  • Number of Discs: 1
  • Format: Soundtrack
  • Label: Universal Music Group
  • Run Time: 155 minutes
  • ASIN: B00004STPT
  • In-Print Editions: Audio CD
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (342 customer reviews)
  • Amazon Bestsellers Rank: #1,901 in Music (See Top 100 in Music)

1. Progeny
2. The Wheat
3. The Battle
4. Earth
5. Sorrow
6. To Zucchabar
7. Patricide
8. The Emperor Is Dead
9. The Might Of Rome
10. Strength And Honor
11. Reunion
12. Slaves To Rome
13. Barbarian Horde
14. Am I Not Merciful?
15. Elysium
16. Honor Him
17. Now We Are Free

Product Description

Product Description


Back in the Golden Age of the Hollywood epic, composer Miklós Rózsa lavished much scholarly research on his scores for Quo Vadis (1951), Ben-Hur (1959), El Cid (1961) and others, gracing those movies with music that had as its wellspring authentic (or at least authentic-sounding) melodies from the period. For Ridley Scott's revival of the Roman epic, Gladiator, Hans Zimmer eschews such learned academia in favour of his own more contemporary, wall-of-sound approach (honed to perfection on movies like Tony Scott's Crimson Tide). In truth, no one is quite sure what Roman music sounded like, and Zimmer's unscholarly rock music background is temperamentally better suited to Scott's all-action movie anyway.

Gladiator's score is a stylistic conflation of some audacity, incorporating lavish synthesised, percussive action sequences (a Zimmer trademark), "ethnic" instrumentation including Spanish guitar, Chinese dulcimer and Armenian duduk, and--most suprisingly of all for Zimmer--unabashed plagiarism of Wagner (his cue "The Might of Rome" is "Siegfried's Funeral March" in all but name) and Holst ("The Battle" and "The Barbarian Horde" lean heavily on "Mars"). Vocalist and co-composer Lisa Gerrard (fresh from working on The Insider, coincidentally also starring fellow-Australian Russell Crowe) adds her ethereal vocalisms to the music's more intimate scenes ("Sorrow" and "Elysium" for example). Her contribution brings an exotic, Oriental flavour to a score that in its broad musical canvas reflects the movie's depiction of the vast scope of the Roman Empire. If not the equal of Zimmer's career best work on The Thin Red Line (1998), this is still a hugely entertaining and diverse soundtrack. --Mark Walker

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Customer Reviews

4.6 out of 5 stars

Most helpful customer reviews

By Emil^ on May 31 2004
Format: Audio CD
Of all my favorite classical soundtracks from the movies - Zimmer's & Garrard's Gladiator disk is hands-down my all-time favorite. More epic in scope that William's Jurassic Park and more hypnotic than Mansell's Requiem for a Dream. For me this is the epitome of modern movie/classical music that I can sink into while allowing my mind to fantasize.
I learned of this disk while visiting a handful of high quality/elite audio stores a few years back, many of which by default used this soundtrack as a showcase to demonstrate the range, depth, clarity and overall quality of their high-end sound systems & speakers.
As an audio connoisseur of the classical genera I was blown away by the quality and dynamics of this compilation. Yet, even on the mediocre system I have, the dynamics, range of emotion & character this album exhibits are sublime - this IS a model showcase soundtrack. It's kind of like an educational amusement park ride in the Roman Era in my eyes - full of adrenaline, hype, tragedy, love and entertainment and war - yet amazingly, not cheesy in the slightest.
I learned of this album well before seeing the movie, and in fact - after seeing Gladiator the movie, I was disappointed that it did not deliver what my imagination could while listening and focusing on this soundtrack.
From dramatic orchestral movements to soft and emotional sounds of drama and tension and beyond, the music of this album tells a complex story which does not require pictures to illustrate. Let your imagination be the canvas and paint while listening to this story.
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Format: Audio CD
I saw the movie, Gladiator a few years ago in theaters with my dad. Although I loved the movie and thought it was amazing, nothing "stuck with me" more than the haunting and completely melodic music.
The score opens with "Progeny", the same song that opens the movie for those of you who have seen it. I call it a mysterious ballad, lonely in the beginning with Commodus' theme, and then a pretty Spanish guitar towards the end. Immediately after is "The Wheat", a short, desert-like Arabian tune with a single woman humming a melody. The end grows into "The Battle", a 10-minute masterpiece that made the movie in my opinion. Wonderful harmonic instruments and percussion begin the song, and within a minute they disappear leaving the drums and the Spanish guitar. A man vocalizes for a moment, and the guitar returns, strumming a sort of insane little riff than eventually turns into the battle cry of the Roman soldiers. Trumpets blare, drums blast, cymbals crash, stringed instruments begin to tone down the entire song. A little echo-y thing occurs with the trumpets and horns, then this explodes into more percussion and the undeniable theme of Gladiator. The tempos and time signature changes and the song ends miraculously and intensely.
"Earth" seems to be the prettiest song, heard literally from the beginning of the movie to the end. It doesn't contain many instruments, but the solos are so pretty. First, I'm assuming a woodwind plays it, followed by the most beautiful trumpet solo I've heard in awhile. It never ceases to make me hum along.
"Sorrow" is the song played when Maximus finds his wife and son dead (sorry if you haven't seen the movie and I ruined it, but it happens early on so it's not like a surprise).
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By Clarissa on Jan. 7 2004
Format: Audio CD
As much as I enjoyed the music on "Crouching Tiger, Hidden Dragon", the Oscar for best original score really should have gone to "Gladiator" but at least it won best movie. I'm real picky when it comes to soundtracks because I tend to skip several sections until I actually hear something I like (for the most part the instruments merely serve as background noise, anyway) but I can easily listen to this from start to finish, and without missing a single beat. From the dramatic strings that seem to cry to the Heavens (or to the Gods) on "The Battle" to the more somber pieces that mostly evoke sadness with visions of death that are toned down and eerily haunting, every song is mesmerizing in their own particular way and they all bring back memories from the film. Hans Zimmer captures the mood perfectly and the wonderful contributions of multi-faceted singer/composer Lisa Gerrard from the now defunct but never forgotten Dead Can Dance on "Elysium, "Honor Him", and the gorgeous, soul-stirring "Now We Are Free" (among others) are chilling yet achingly beautiful.
Although I've been wanting this incredible soundtrack for what seems like forever, I just now received this today and would like to thank a special someone in my life who keeps showering me with Christmas and birthday gifts since they're so close together :-). I'm happy to finally have this in my collection...
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Format: Audio CD
As much as I adore all the work of former Dead Can Dance cofounder Lisa Gerrard - I think she's one of the best talents in music today - much of it is quite dark and ominous, great for the right mood, but not too often. In this album, though, her collaborator, the veteran film composer Hans Zimmer, fills the role previously manned not very well by Dead Can Dance partner Brendan Perry. That is, he adds melody and lightness and some coherence. While Perry drew from corny 70s Greg Lake-like prog rock, Zimmer brings more classical tones into the mix. Except for the "pop" closer duet with Enya, the entire work is without lyrics, instead just Gerrard's lyricless chanting. I would have liked more of her singing, but the result is timeless. But the point here is not what was wrong with Dead Can Dance, it's what's right with this album. A beautiful flowing magnificent work that takes you through a range of emotions and styles, with strong recurring themes, like any great film soundtrack - or for that matter classical work - it mixes Gerrard's ominous chilling sounds and themes with Zimmer's grandeur, taking you through tensions, then closures. Immensely satisfying.
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