He was also named on the list of Top 100 Living Geniuses, published by The Daily Telegraph. He has received four Grammy Awards, three Classical BRIT Awards, two Golden Globes, and an Academy Award. His works include The Lion King (for which he won the Academy Award for Best Original Score in 1995), Crimson Tide, Gladiator, the Pirates of the Caribbean series, The Dark Knight Trilogy, Inception, Interstellar, Dunkirk, Blade Runner 2049, and Dune. Since the 1980s, Zimmer has composed music for over 150 films. His works are notable for integrating electronic music sounds with traditional orchestral arrangements.
Bravo.Hans Florian Zimmer ( German pronunciation: ( listen) born 12 September 1957) is a German film score composer and record producer. One does wonder what happened to the planned collaboration with Armenian duduk master Djivan Gasparyan, who isn't present, but it's a small question in the end. No matter what aural side projects are created as a cash-in, this original score will stand on its own and should - if there is any critical or commercial justice - become a classic. While this is to be expected in the larger cues, it's often in the incidental music a score falters, loses its place inside the bigger themes, yet Zimmer's control and vision holds firm and carries the listener on a journey that not only points toward the film it illustrates, but one of deep resonance that borders on the spiritual. It is a genuine creative force and pushes the music into the nooks and crannies where dimension is what makes texture and pace come together in an instructive and creative whole. The use of faux Gregorian chant here is ingenious it never feels contrived or simply layered in for authenticity. The longer pieces, the aforementioned "Dies Mercurii," "Ad Arcana," "Daniel's 9th Cipher," and "Rose of Arimathea" carry within them those necessary elements not simply to color the screen narrative, but to underscore its meaning, its emotional transference, its sense of confusion, terror, and the impending revelation of a truth long buried. The cues on "Fructus Gravis" that assert themselves about a minute in and carry it out on a swirl of strings, soprano voices and piano, provide for one of those moments in film scoring where the entire range of emotion and ambivalence is revealed. Even here, Zimmer holds some of his cards in check, because this theme gives way to more complex shades, colors, and emotions that don't so much resolve as lead the listener in further.
HANS ZIMMER THE DA VINCI CODE FULL
The first of these, "Dies Mercurii I Maritus," with its piano and hovering stings, does give way to a large pastoral theme a little over halfway through, but even it is re-introduced by eerie, sparse strings ( Hugh Marsh's solo violin playing throughout is his highest achievement yet in a career full of them) before they begin to pulse with suspense. The high degree of melancholy in the first three sections - "Dies Maercurii I Maritus," "L'Espirit des Gabriel," and "The Paschal Spiral" - creates a remarkably brooding tension and a speculative sense of foreboding. While the music here holds some of Zimmer's trademark dynamic and textural tropes, it is remarkably fresh and expertly nuanced. It is tempting to think that even Hans Zimmer, a composer who has written music for cinema projects large and small - mostly large - for decades, would be intimidated by the responsibility of composing an original soundtrack score for Ron Howard's film adaptation of Dan Brown's pulp fiction blockbuster The Da Vinci Code.
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