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Comments about the soundtrack for Crimson Tide (Hans Zimmer)

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Re: Zimmer and Goldenthal
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• Posted by: Pawel Stroinski   <Send E-Mail>
• Date: Monday, August 5, 2002, at 4:49 a.m.
• IP Address:
• In Response to: Re: Zimmer and Goldenthal (Kyri)

> Not a prob.
Is this a question? If yes, then i'm a piano performance
> student at the UT at Austin. My dream is to become a conductor and perhaps
> get involved with film scores some time in the future.

Irt was a question (I don't know why i forgot the question mark )

It is the only
> score that was written to be liked by

> Hmmmm...Tell you the truth, i've only listened to small sound clips from
> Hannibal. If you are sure the score is quite distinct then i would be
> happy to learn more about the particular score.

For Zimmer, it is distinct. He almost quit his synths (but this score is sampled). It has atonal fragments (one or two), but mostly it's elegant and classical. One of Zimmer's friends (Klaus Badelt) composed a parody of Blue Danube (yes! listen to it). Another one scored an opera piece and it is very likely that he'll write a whole opera (Zimmer and fans encourage him). And take a listen in Te Thin Red Line. This is a score you must listen into. It makes me very reflective it's distinct too. And another, definitely atonal Zimer for you Black Hawk Down. Now this is a score to discuss (very clever dicisions made by Hans himself).

> Oh, and have i mentioned
> that i actually like a Zimmer score?-As Good as it Gets.

I LOVE that score. He quit his synths here too. Very good use of pizzicatos here, isn't there? I forgot to give you this as an example of Zimmer's good writing (For me he's a genius) and great theme.

> And another thing: Don't take this wrong, please do not be offended, but i
> believe that if you were a music student you would have a different
> opinion on what you've stated earlier(that great music should strike you
> right from the beginning). Have you ever heard a Beethoven Symphony that
> was so easy to understand right from the first time? No. Music, like any
> other form of art has a certain philosophy in it. And this is what i find
> in Goldenthal. I feel there is something strong in his music. Goldenthal,
> like Beethoven, makes me feel tired when i listen to him. Not because he
> is overbearingly loud but because he makes me think (don't just stick to
> his Alien3 score-there are other examples of great music by the composer).
> On the other hand, i have nothing against music that makes you feel good
> that is plain enjoyable. I wouldn't give the definition of Art Music to
> that category though.
And if you are indeed a music student, then i
> suggest you start questioning yourself a bit more when you listen to music
> in general. I repeat, no offense man.

> k

I'm not offended and I'm not a student. I'm a self-taught composer (very, very weak, although I like some od my tracks). If you want I could send you some MIDIs with my compositions (and don't be too hard with it ). Zimmer inspired me to compose. I orchestrate myself. And one question. What exactly an euphonium is?

If you want to be a conductor, good luck (Maybe I'll be a score composer and I must have a conductor ))

Before this post I made my homework. I listened to Alien3 and I read all Goldenthal rewievs on this site and I'll be happy to share my opponions about it with you).

I liked the score. It is not "Abundance of noise with no substance", although it has its share of noise . Goldenthal is underrated. Let's hope Final Fantasy will change people's oppinion.

Synthesizers are used in a very clever manner. They build an eerie atmosphere (not uneasy - somehow i didn't find the score uneasy). Now I know why (in Poland at least) Goldenthal is called a master of orchestration (compared to Berlioz and Ravel). He is really good. He must have a great keyboard, because such notes can't be on a piano. Very, very good glissandos and arrangement.

My favorite track is, of course, Adagio. It has very powerful emotionally and brings the only cohesive melody in whole score, but it is a choice of writing and I won't bash the score for its atonality (actually I found it interesting.)

It has some flaws though: few fragments with score really sounding like sound effects (I agree with Christian here, sorry), a neat but unnecessary heavy metal cue (maybe it compliments the primality of the rape on Ripley, tell me) and a track name I can't agree with (Lento stops being lento at a time).

For me it is a weak 4 stars/very strong 3.5. My favorite Alien score is still Horner Aliens.

Does Golenthal give a classical track titl in every score (Adagio, Lento, Toccata, Dies Irae)?

Alien3 is the only Goldenthal's sore I've got (on an MP3 CD, I didn't know I have it.)

And one thing I haven't told you before. I don't agree with you about originality of Track 3 of Star Wars II, except the guitar of course. It sounds alot like Williams' The Lost World and sounds like Stravinsky's "The Rite of Springs".

I like discussing with you.

Thanks, Pawel

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