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The Da Vinci Code Soundtrack
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Frequently Bought Together
Customers Who Bought This Item Also Bought
|1. Dies Mercurii I Martius|
|2. L'esprit Des Gabriel|
|3. The Paschal Spiral|
|4. Fructus Gravis|
|5. Quodis Arcana|
|6. Malleus Maleficarum|
|7. Salvete Virgines|
|8. Daniel's 9th Cipher|
|9. Poisoned Chalice|
|10. The Citrine Cross|
|11. Rose Of Arimathea|
|12. Beneath Alrischa|
|13. Chevaliers De Sangreal|
|14. Kyrie For The Magdalene|
Ron Howard and Akiva Goldman, the Oscarr-winning director and writer of A Beautiful Mind, reunite to bring Dan Brown's The Da Vinci Code , one of the most popular and controversial novels of our time, to the big screen with a cast headed by two-time Academy Awardr winner Tom Hanks, Audrey Tautou, Sir Ian McKellan, Alfred Molina and Jean Reno. Produced by Oscarr-winner Brian Grazer and John Calley, The Da Vinci Code begins with a spectacular murder in the Louvre museum. All clues point to a covert religious organization that will stop at nothing to protect a secret that threatens to overturn 2,000 years of accepted dogma. The Decca soundtrack will be released May 9 and features original music composed by Academy Awardr winner Hans Zimmer (Gladiator, Hannibal, Black Hawk Down).
For his adaptation of Dan Brown's megaselling book, director Ron Howard didn't take any risks, he called one of Hollywood's most popular composers, Hans Zimmer. Zimmer is a skilled craftsman, which is good and bad since he adequately delivers in a variety of styles, but usually misses the extra unexpected zing that makes a score truly memorable. His work for The Da Vinci Code is almost entirely muted. This may well be one of the quietest soundtracks to a blockbuster you've ever heard; only bursts of threatening-sounding strings occasionally break the quasi-ambient mood. The strategy is particularly efficient on "L'Esprit des Gabriel," which swells in a pleasantly ominous way. It's the kind of track that benefits greatly from blasting through a movie theater's multiple speakers. As a whole the score is as serious-minded as the movie's plot is preposterous. The most compelling aspect is Zimmer's use of a choir, especially on "Malleus Maleficarum," "Salvete Virgines" (paired with clanging metallic percussion), and "Poisoned Chalice," in which soprano Hila Plitmann takes eerie center stage. Yet overall it's often difficult to tell the cues aside, awash as they are in a sea of somber strings. Once upon a time, Hollywood took artistic risks on some of its bigger offerings. Is that time gone for good? --Elisabeth Vincentelli
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I'm a huge soundtrack lover and collector and movie scores are my favorite, especially grand movies that stay in my memory such as costume dramas and period pieces. Within 1 minute of having this music on half the hair on my body was standing pin straight. The choruses are out of this world, giving this a mythical, sacred sound that made me feel as if I was falling into the music itself. Hans Zimmer is a master of creating an environment with his music that envelops the listener and makes the movies on 100% more real than it can be.
The Da Vinci Code soundtrack sounds just the way you would imagine it to; rich, opulent, hypnotic mix of choruses that pick you up from ancient catacombs and shoot you straight up to heaven. Although I loved the score on the first listen, upon hearing it again a few times I felt like it sounded even better as I knew what to expect and learned to relish the glorious sounds and even though I don't read Latin the chapter titles from the back made more sense to me.
This soundtrack was a mix of powerful orchestra music, some lovely violin solos, great chase music and wonderful choral tapestry of sounds. This music is not all heavy and ancient; there are some lovely romantic moments with opreatic arias ("poisoned chalice"), harphs, crying cellos and violas that transported me to a magical valley, with hurling winds and open spaces.
Overall it's a lovely soundtrack and a must have for anyone who enjoys original scores and can be listened to no matter what mood or time of the day because it's beauty stands true regardless of everything else.
The score is unique and borrows elements from his previous scores to Hannibal, The Ring, and Batman Begins. It's not the bombastic action score we've come to expect from Zimmer, then again this is not a bombastic action movie. Zimmer creates tension with most of the tracks, and he adds a Latin choir to some tracks to set the religious tone of the film. In fact, the British Film censors said that the filmmakers had to tone down Zimmer's score in the film if they wanted to get a 12A rating versus a 15. I've never heard of a film's score affecting the rating of a film. Track 7, "Salvete Virgines", is a perfect example of the choir even though it is not used in the film. Another highlight of the album is track 10, "The Citrine Cross", where we get a little glimpse of trademark Zimmer in probably the most "action" oriented track. The second to last track, "Chevaliers De Sangreal", is my favorite cue on the album. Any Zimmer fan could pick that track out of a lineup and say 'that's Hans Zimmer'. It reminded me of "Journey To The Line" from his score to The Thin Red Line, not in tone but in structure. It builds slowly and continues to build into a full blown beautiful mixture of orchestration and digital synthesization. When I first listened to that track it sent chills down my spine, it did the same thing to me in the film.
Hans Zimmer is my favorite composer of all time, he is truly a gifted artist who continues to be the leader in modern film music composition. Zimmer's first score for 2006 is a beautiful subtle piece of music, and it will please Zimmer fans till we get his score release for Pirates Of The Caribbean: Dead Man's Chest in July.
His score is simple, quiet and yet, at the same time, stirringly beautiful. I have read reviews on other websites stating that Zimmer has made no effort to create major themes for the different characters; I disagree. Having listened to it many times since I bought it, I believe there are several cues, motiffs etc that represent not only the characters of Sophi, Silas, but also different emotions etc.
The stand out track on this album, in my opinion, is Chevaliers de Sangraal - it is absolutely breathtaking. A simply brilliant piece of music; even before seeing the film, I could picture this music being played as the final resting place of the Holy Grail is located; the timing is correct, the sound is right - it's just perfect for such an event.
If you get one classical, or soundtrack album this year; make it this one.
And it is a beautiful sound!
The opening cue "Dies Mercurii I Martius" sets the pacing of the entire soundtrack. Heavy on the choir (this particular cut focuses on the female) with a steady underscore of violins (Hugh Marsh handles the electric violin). The soundtrack differs mightily from typical Zimmer fare in that it relies more on subtle harmonies and intricate string compositions than it does on heavy brass and wild synths. Still, this opening track contains the soundtrack's main theme, which is really a theme for the Grail, itself, and this is a powerful theme. While its full glory is never experienced till the second-to-last cut, "Dies Mercurrii" gives the general idea, before tailing off into Silas' motif. The latter is a series of brooding chords which suddenly crescendo into a wild 6-note violin theme used to accentuate the on-screen rites of the albino monk as he tortures himself (in the name of God).
The second track is primarily a mood setting. Strings play steadily throughout, and an 8-note brass motif adds some power. Track 3 opens like the first cue did, slowly building off of intermittant choral bursts until the music launches into Silas' theme. The electric violin here is haunting, and the images of self-flagellation--as Silas beats himself yet again--are intensified by the music.
The fourth cue "Fructus Gravis" is a discovery piece, and certainly one of the CD's highlights. At 2:49 it is the second-shortest on the CD, but I would have appreciated more. Unlike the longest cue "Daniel's 9th Cipher" at 9 1/2 minutes, "Fructus Gravis" is very interesting. It contains a splendid female soloist, and a riveting bit of chase music that gives us the Zimmer brass explosions he's famous for.
At just over six minutes "Ad Arcana" is a delightful piece. Mysterious and full of wonder, the piano variation of the first track's opening motif is a nice touch, and is beautifully enhanced by a harp. A Schindler's List-type violin solo adds a mournful voice, but it is distinctly religious--like the rest, and paints vivid pictures of towering cathedrals and large stain-glass windows.
Tracks 7 and 8 consist mostly of choirs, though the latter cue offers the first re-emergence of the Grail theme since track #1. "Poisoned Chalice" is the next one, though, and it is gorgeous. Religious, to the core, with a soaring female chorus. Half-way through, two female voices pick up the underscoring, and do it beautifully, showing once again, how the human voice is the world's most powerful, emotion-engendering instrument known to humanity!
"The Citrine Cross" contains a "jerky" stop-n-go variation of Silas' theme, as we are treated to its brazen motif for the third time. The choir is also more percussive here than at any other time; roiling with intensity, perhaps echoing the undying, ruthless passion of Silas, the misguided monk. Chimes distort the chorus at times, making for a more "chilling" sound, but it is applicable to the soundtrack.
"Rose of Arimathea" is dominated by the male chorus (a first in this score), and there is a somber bit here that is reminiscent of The Shining's classic horror soundtrack. Again, the religiousity of the movie's musical score is highlighted.
The second to last instrumental cue is entitled "Beneath Alrischa," and it really only serves as a 4 minute, 23 second build up to the last cut "Chevaliers de Sangreal" which is the re-occurence of the "Grail Theme." It is a loud and powerful outburst of brass and violins; an amazing "last hurrah" to a powerful soundtrack.
Filmtracks' review commented that "The best ... moments of awe should be credited to the chorus, which exists in both the higher ethereal female ranges and the deep chanting male depths that resurrect the broad scope of Crimson Tide. Zimmer's thematic development is subtle at every turn."
In the end, I highly recommend this score, especially to the soundtrack purist.
RATING: **** 1/2 (out of 5)
Hans Zimmer is quoted as saying, he has not put as much work in recent years into scoring a movie as he has with the Da Vinci Code. And what pains me is that people constantly attempt to give other people credit for his work. If credit is due to other people, then credit would have been given. On the inside CD cover, Ron Howard (the director), does not cite and give praise to Graham Preskett or Richard Harvey, but instead lauds Zimmer for his work and creativity, and cites him as being one of the best in the industry at what he does, and I think it is wrong for individuals to publicly attempt to dish out credit under false pretences. Hans Zimmer composed the soundtrack, where his name is the only to appear on the cover. If I am correct, only one track was not composed by Zimmer and that was track 14 (Kyrie for the Magdalene), and yes, others did CO-compose on some of the other tracks by mostly adding words to the vocals or very limited orchestral composition. And for a fact, track number 13, one of the best tracks on the album, was composed by Hans Zimmer and Hans Zimmer only (watch the interviews with Zimmer and Howard and how track 13 was developed). There is no clear departure from Zimmer's normal work on this album, simply listen to The Last Samurai or Hannibal and an unknowing individual would say the same.