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Comments about the soundtrack for The Da Vinci Code (Hans Zimmer)

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Quite Disappointed
• Posted by: Gary
• Date: Saturday, June 10, 2006, at 9:24 p.m.
• IP Address:

I must say, though I am not suprised, that Zimmer's score is highly disappointing. I don't follow Zimmer very closely, but I do notice that his scores typically sound quite similar to one another. This statment brings me to the question I wish to raise: does Zimmer actually capture the magnitude of The DaVinci Code?

Throughout the movie, I heard almost no music that showed the religious nature of this film. Yes, there was a choir here and there. But most of the film consisted of his usual sound effects. I honestly don't see how an electric cello(I believe that was the electronic sound I heard) fit stylistic into this film, this being only one of my complaints. This film is centered around events that have been around since before written music, why would one choose to score an instrument/instruments that would typically represent a somewhat futuristic element. (By the way, this was also a concern of mine in Pirates of the Caribbean). His instrumentation hardly fit the style of the film.

I know I only briefly touched on orchestration, but I'd like to move quickly to actual music. As I have noticed in other Zimmer works, the tonality typically neglects to represent the era of which the film takes place or represents. I think it would have been fitting to delve deeply into the music DaVinci and Newton (these are just two brief examples) might have heard in their time. I think a more effective use of the church modes would have been suitable for a film that deals so deeply with...the church. I tire of Zimmer's somewhat staic use of the Aeolian mode. I think the many churchs seen in this movie would have been quite well filled with sounds similar to that of Palestrina. But then again, it is more difficult to study music and write in different styles.

On a brighter note, Zimmer is good at using his synthesizers.

To everyone who reads this post, please feel free to refute with any of the statements I have made. I think this is a wonderful topic to discuss, and intellegent discussion is good for the mind, correct?

One last comment, does anybody else feel that many film composers could afford to look to the orchestral predecessors who have built the foundation of western music? (Palestrina, Bach/Handel, Mozart/Haydn, Beethoven, Berlioz, Brahms, Mahler, Sibelius, Wagner, Schoenberg/Berg/Webern, Copland....and I know I've left off hundreds)

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