![]() “503” isn’t the only thing that is frustratingly short. Still, though, if you appreciate a) the theme and b) Bell’s gorgeous performance, you’ll have this track on repeat. Part of the magic of “Chevaliers de Sangreal” was the extended build-up to the climax of the piece, but with the brevity of “503” and the quicker tempo, some of that magic is lost. Joshua Bell returns with a dazzling violin solo, and the magic captured in “Chevaliers de Sangreal” is back, but the track is frustratingly short. This track is extremely gratifying yet blisteringly disappointing. ![]() …but in the penultimate track, “Election by Adoration,” the mood lightens up, and we hear another motif from The Da Vinci Code score, again performed by Bell.įinally, in the ultimate track, “503,” we get the “Chevaliers de Sangreal” theme unleashed to beauteous heights not achieved elsewhere on the album. In “Immolation,” the mood becomes frighteningly dark with this brooding piece… The music features Joshua Bell again to terrific effect as he accompanies the camerlengo’s flight and aftermath. We then get to another highlight, “Science and Religion.” This over-twelve-minute piece features gorgeous religious-esque choir and is nothing like the mood of the preceding tracks. “Black Smoke” gives us some more action with some synth layers. Two great additions here are the choir and the tolling church bells that chillingly break the silence throughout the brooding and action. “Air” is followed up with “Fire,” another solid track. Part brooding, part propulsive, part haunting, this track returns to the excitement that began with the opening track and features some familiar-sounding material from The Da Vinci Code. Next is another highlight of the score, the nine-minute track “Air” that accompanies the second Illuminati killing to great effect (nerd alert: there’s a close-up shot of a car headlight in the film, and when the headlight turns on, a sudden and forceful burst of choir fills the theater with masterful visual and aural effect). The track continues with a markedly different mood, one of more technical-ish sounding tones and textures but concludes with a haunting piano solo of the “Chevaliers de Sangreal” theme. In the film, there is a soft, religious-toned choir interlude between the Bell solo and the rest of the track, but sadly this piece is left off the album. This is the first track to feature violin solos by Joshua Bell, and he doesn’t disappoint (this is the actual musical opening of the film). ![]() Only during the end credits do we hear this extended piece.įollowing said explosive opening, the score slows down a bit with “God Particle,” in which we’re treated to a lovely rendition of the “Chevaliers de Sangreal” theme from The Da Vinci Code. This music accompanies Robert Langdon’s pursuits around Rome and is thus split-up throughout the film. The track has an almost-dueling quality to it with the different layers of chorus as bells punctuate the action and organ undertones propel the energy. A definite highlight of the score, this track serves as a fantastic opening and sets the mood for a great listen. The score opens with an exciting and frenetic action-packed choir piece humorously titled “160 BPM,” as in 160 beats per minute, or the tempo of the piece. And of course, Zimmer’s happy band of goons (this time it’s Lorne Balfe, Geoff Zanelli, and Atli Örvarsson) assist him here as usual. Most of his Angels & Demons score is purely orchestral, but a few tracks employ synth textures that, fortunately, do not detract from the score. ![]() Zimmer often is heavy on synth sounds and frequently employs the use of ghostwriters while taking full credit for his scores. Zimmer, much like composer James Horner, instantly sparks controversy amongst film score collectors. One’s enjoyment of this score, however, is likely predicated on one’s opinion of the composer. For his Angels & Demons score, Zimmer brings all that and more to create a score more enjoyable and better composed than his The Da Vinci Code score. Zimmer’s score for The Da Vinci Code was terrific the score included tension, elegy, brooding gothic chants, and a magical theme for the revelation scene at the end of the film. Ron Howard and Tom Hanks are back in this The Da Vinci Code sequel (even though the novel Angels & Demons was released first), and they again bring along Hans Zimmer and his usual band of goons to provide the score.
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