> I agree with Edmund Meinerts here. There are minutes of pure Zanelli's
> thematic work that fits the original Overture like they are one whole.
> Giving a composer a famous melody with the task of developing its
> extension is more challenging than writing from scratch, because he'd have
> to keep up with the level of talent in someone else's universe (style).
> Zanelli walks in William Tell shoes without making a wrong step and I only
> wish Rossini could hear it.

> PS. Can you people list more examples of classics remade by modern film
> composers? Like this, and Hannibal by Zimmer...

I agree that the "Finale" track struck me, atleast on the surface, as a very intelligent and playful piece of writing. It maintains the pace and tempo, yet allows flourishes and themes to weave in and out.

It reminded me of one of my last real noteworthy Zimmer tracks, which is "I don't think now is the best time" from the 3rd Pirates movie. It has a similar constant pace and weaves themes in and out to hit action points in the movie.
This track, aswell as the Finale, are the kinds of tracks where if you play them alot, and then watch the movie, you get more enjoyment out of the scene they pair with, because you can sense coming moments on screen.

The mix on the Pirates track below however is really muddy and dense, and it loses alot of playfulness and energy from the flat mix that buries most dynamic elements.

https://youtu.be/B5IlxIzL8mw?t=4m53s