SUPPORT FILMTRACKS! CLICK HERE FIRST:
Amazon.com
Amazon.co.uk
iTunes (U.S.)
Amazon.ca
Amazon.fr
eBay (U.S.)
Amazon.de
Amazon.es
Half.com
Glisten Effect
Editorial Reviews
Scoreboard Forum
Viewer Ratings
Composers
Awards
   NEWEST MAJOR REVIEWS:
     1. Transformers: Last Knight
    2. Cars 3
   3. The Mummy
  4. Wonder Woman
 5. POTC: Dead Men Tell No Tales
6. Alien: Covenant


   CURRENT BEST-SELLING SCORES:
       1. Rogue One: A Star Wars Story
      2. Fantastic Beasts/Find Them
     3. Willow
    4. The Ghost and the Darkness
   5. An American Tail
  6. The Wind and the Lion
 7. Doctor Strange
8. 10 Cloverfield Lane
   CURRENT MOST POPULAR REVIEWS:
         1. Star Wars: Force Awakens
        2. E.T. The Extra-Terrestrial
       3. Titanic
      4. Avatar
     5. Nineteen Eighty-Four
    6. Gladiator
   7. Star Wars: A New Hope
  8. Animal Farm
 9. LOTR: Fellowship of the Ring
10. Harry Potter: Sorcerer's Stone
Home Page
Menu Options ▼
Comments about the soundtrack for Gladiator (Hans Zimmer/Lisa Gerrard)
Wow...still trying to figure it out?

Nate Jackson
(70-138-58-214.lightspeed.hstntx.s
bcglobal.net)


  Responses to this Comment:
Guy Noir
Wow...still trying to figure it out?   Monday, March 12, 2012 (10:01 p.m.) 

Wow...I have not visited this site in years. It astounds me to see people still trying to figure out the "language" Lisa Gerrard uses in Gladiator. Refer back to my previous posts, as well as a few people who have wised up and corroborated my evidence that proves she made up the words as she went along...you people are hilarious. Do a bit of research and you'll find Hans Zimmer stating that "you had better be recording because you never know what she'll sing." Why would he say that if they were using a language, or some carefully constructed/engineered language borrowing words from various languages? He wouldn't.


Post Full Response         Edit Post         Threaded display


Guy Noir
<Send E-Mail>
(198.208.251.24)

  In Response to:
Nate Jackson
Re: Wow...still trying to figure it out?   Thursday, August 22, 2013 (5:49 p.m.) 

> Wow...I have not visited this site in years. It astounds me to see people
> still trying to figure out the "language" Lisa Gerrard uses in
> Gladiator. Refer back to my previous posts, as well as a few people who
> have wised up and corroborated my evidence that proves she made up the
> words as she went along...you people are hilarious. Do a bit of research
> and you'll find Hans Zimmer stating that "you had better be recording
> because you never know what she'll sing." Why would he say that if
> they were using a language, or some carefully constructed/engineered
> language borrowing words from various languages? He wouldn't.

Re: the real language of the song

> What would be nice, if she would create a translation of her made up
> language into a known language, or at least provide the meaning so that
> one can sing this song with the meaning intact but in an existing known or
> dead language (latin, etc.). Other wise, its basically sung like an ariah,
> the voice as a musical instrument.

Mercifully, a lyrics website gives the English wording credit to Hans Zimmer:
HANS ZIMMER
Now We Are Free lyrics

Almighty Freedom
Almighty freer of the soul
Be free
Walk with me
Through the golden fields
So lovely
Lovely

We regret our sins, but...
We sew our own fate and
Under my face I remain feeble
Under my face, I smile

Aaahh)

Even alone/afraid
Under my face I will be waiting

Run with me now soldier of Rome
Run and play in the field with the ponies
Run with me now soldier of Rome
Run and play in the field with the ponies
Run with me now soldier of Rome
Run and play in the field with the ponies
Run with me now soldier of Rome
Run and play in the field with the ponies

Almighty Freedom
Almighty freeer of the soul
Be free
Be free
And imagine
Free with peace at last
It's lovely
It's lovely, this land
No one can believe or understand
How far I came just for my lovely family
I should have been there
with them when the world crashed down
But now they rest with me.

I'll never forget
How I felt that moment
I became free.

Per the lyrics website that gives Hans Zimmer the credit of the intended original English lyrics, we may have the answer every one is looking for.
So what we have here is the intended lyrics in English, but the genius was using Ms Gerrard's adlibbed/ideosyncratic/ idioglossia/ adult baby talk or what ever you want to call it. I would like to hear the English version one day. But Ms. Gerrard version caught everyone by surprise and Hans Zummer did not want to lose the priceless and unique sound emanating from Ms Gerrards voice. So he had to move quick and use what ever language Ms. Gerrard was using. Sort of the fear of the Lost Cord. You hear it once and never again. SO he said record it and use it. The one chance in an eternity.

Her voice is described as such:
Gerrard possesses the vocal range of a contralto, spanning from G2 to B5, a total of 3 octaves and one note.[6] Her voice has been described as rich, deep, dark, mournful and unique.[7][8][9]

She also has the ability to extend upwards into the dramatic mezzo-soprano range, examples of such would be on the songs The Host of Seraphim, Elegy, Space Weaver, Come This Way and One Perfect Sunrise.[10][11][citation needed] Gerrard however performs more predominantly in the dramatic contralto range in her other songs, Sanvean, Sacrifice, Largo and Not Yet.[12][13][14][15]

Gerrard sings many of her songs, such as "Now We Are Free", "Come Tenderness", "Serenity", "The Valley of the Moon", "Tempest", "Pilgrimage of Lost Children", "Coming Home" and "Sanvean" in idioglossia.

I hope this info puts to rest the whole dilema.
In Youtube, there are other beautiful and just as wonderful lyrics that attempt to explain the same song. But I feel the website that give Hans Zimmer the credit for the originally intended English lyrics as a best answer.
http://www.elyrics.net/read/h/hans-zimmer-lyrics/now-we-are-free-lyrics.html



Post Full Response         Edit Post         Threaded display



Copyright © 1998-2017, Filmtracks Publications. All rights reserved.
The reviews and other textual content contained on the filmtracks.com site may not be published, broadcast,
rewritten or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. Scoreboard created 7/24/98 and last updated 4/25/15.