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“Hans Zimmer and Lisa Gerrard
combine their talents in producing a unique score that hints of the
familiar spanning several genres and ages of music.
The listening experience ranges from refreshing to exhilarating and
is well worth the investment.”
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Musicus Maximus
Review by Christopher Coleman
Gladiator by Hans
Zimmer
Some would say the era of the
great Roman-Empire films are long gone. Not since Ben Hur, Spartacus, or Quo
Vodis, has there been an impacting film about the
formidably complex Roman Empire. Director Ridley Scott, actor Russell
Crowe, and composers Hans Zimmer and Lisa Gerrard have combined to bring
the glory and passion of the Roman Empire back to the big
screen.
Already with a successful score
for the animated feature film, The Road to El Dorado,
where he collaborated with John Powell, Hans Zimmer, this time
collaborating with Lisa Gerrard (The Insider), brings his
unique talents to this “throw-back” film, Gladiator.
The prospect of being able to
write a score for a film filled with epic, bloodbaths, lovable, rough, good-guys and twisted, detestable villains, would make any composer
lick their musical chops. With
standards for such film scores being set by the likes of Miklos Rosza and
Alex North, among others, measuring up to such a high level of quality
while injecting one’s own unique signature is a difficult tight rope for
any composer to walk.
Han Zimmer has by most accounts
taken a direction that has, to one degree or another, surprised his fans
and critics alike. Most knew
that a rehash of The Rock probably wasn’t going to fit the bill
nor would a small ensemble orchestra a la
As Good As it Gets for such a large scale, high
impact film like this. The
internet-release
of a
few
promotional
tracks,
in
April
of
2000,
helped
to
end
the
speculation.
Ethereal,
Clannad-like vocals and music
that, at times, walks the line of Gustav Holst’s, highly influential, Mars:
Bringer of War or Wagner, make their mark upon this score while Zimmer makes
sure some of his more familiar elements are worked in as well.
The militaristic percussions, strings, and brass accents found in
such Zimmer favorites such as Crimson Tide and the aforementioned
score for The Rock, rage in a battle all of their own with the
classic Holst stylings making for an intriguing musical experience- well
exemplified in The Battle,
Barbarian Horde (track 3, 15).
This
release is comprised of several suites of music, comprised of two to seven
tracks each. The suites, many times, make transitions at a very low
volume level and are difficult to hear if one isn't listening very
closely. Still, the individual pieces are assigned respective track
numbers.
Suite
one, composed of tracks 1-3 begin the film and CD alike. The
suite
begins with the mystical Progeny, continues with co-writer, Lisa
Gerrard’s vocalized piece,The Wheat,
and concludes with the fierce and heroic piece of
The Battle. Track 3 makes up the majority of the suite lasting some ten
minutes and truly demonstrates the range of Zimmer as he lets loose with
all of his musical fury. The
track ebbs and flows from heroic, full orchestral explosions to simple
echoing trumpet, to
whirling strings. Fans of the
Zimmer's familiar bold, sometimes brash music certainly have plenty to love
here, while each will likewise find subtle and not so subtle complexities in his
music.
Collaborator, Lisa Gerrard is not
a complete unknown when it comes to film music. She composed the
Golden Globe Nominated score for The Insider and also worked with
composer Graeme Revell on the rejected score for The 13th Warrior.
Lisa Gerrard’s contributions to
this score lay along the lines of the more mellow, melancholy, or even
magicale as found in The Wheat, Sorrow, Reunion, Elysium.
Her voice is soothing with a Middle-Eastern-chant flavor.
This same taste can be found in To Zucchabar where Hans
Zimmer collaborates with Djivan Gasparyan, only this time Lisa Gerrard’s
voice is replaced by the exotic Duduk, played by Gasparyan.
Lisa Gerrard's touch compliments the "other worldly" elements
that Ridley Scott incoporates into the film. The intruiging
photography, time lapse, and slow motion effects, provide a contemporary
shot in the film's arm. Those scenes which depict the Roman
after-life, Elysium, are greatly enhanced by Gerrard's heavenly voice.
Yet another mini-suite is made up
of tracks 8 and 9, The Emperor is Dead and The Might of Rome.
The bulk of which comes from Hans Zimmer once again in the ninth
track. This is only followed
by another four tracks that flow seamlessly one to another.
Tracks 10 through 17 provide a wide range of emotion, force,
and style, concluding with one of the best tracks of the entire release- Am
I Not Merciful.
Hans Zimmer and Lisa Gerrard
combine their talents in producing a unique score that hints of the
familiar spanning several genres and ages of music.
The listening experience ranges from refreshing to exhilarating and
is well worth the investment. If
there is a failing with this release, it is that it did not go the
double-CD route that both Zimmer and Gerrard had hoped for. The
music is certainly deserving of a more complete release. With
any luck Hans Zimmer and Lisa Gerrard will, at the very least, receive
several prominent award nominations for their musical labors.
Rating: 9/10

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“More
Music from the Motion Picture Gladiator is a fine production. It
makes for a nice companion to the original soundtrack in every way. ”
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Are
You Not Entertained .
. .Yet?
Review by Christopher
Coleman
More Music from the
Motion Picture:
Gladiator
With
the commercial success of the top grossing
movie of 2000, Gladiator, it was
little surprise that a second volume of
music from (or inspired by) the film was
announced. Decca Records initially
provided a more than adequate original
soundtrack - capturing the essence of the
film and the scores main highlights.
Some nine months later and after numerous
award nominations for the film and score,
even a couple of wins, More Music from
the Motion Picture: Gladiator, is
poised for release.
This
second volume, like most second volume
soundtracks, contains dialogue (see More
Music from Braveheart and Back to
Titanic). Aside from that,
Decca's latest Gladiator
installment also contains a host of cues
which were composed for, but not used in,
the film. Lastly, included are a
couple of remixes of Now We are
Free. Together these combine to
actually make this second volume a
worthwhile and enjoyable release,
particularly for the Gladiator-fan.
Departing
from the direct-quote-from-the-film style
of dialogue found in More Music from
Braveheart, the producers of this album
layer some of the more poignant and
memorable lines from the film over
selections of score that were not chose
for use in the film. Music and
dialogue are paired here to produce a
specific emotional response from the
listener. For the most part,
this little experiment seems to
work. The downfall of such a
production choice is that the music
accompanying the dialogue would be a gem
to have on its own. Many who
disliked Decca's Hannibal release
due to the dialogue will probably be
frustrated with this release as
well. On the other hand, those who
are just plain fans of Gladiator
will find the dialogue and musical edits
entertaining.
There
is actually a good deal of Gladiator
music never heard before, in any context,
on this disc. This is an interesting
approach to a second volume soundtrack as
almost all of this music was composed for
use in the film, but, in the end, more
suitable takes or versions made the final
cut. In the detailed liner notes,
Zimmer comments on each track as if
writing in a journal. His words
prove very enlightening as one
listens. More Music from the
Motion Picture Gladiator, offers
alternate takes from Djivan Gasparian on
the duduk, Zimmer's "Earth"
theme, sung by and played on the yan ching
by Lisa Gerrard (13, 17), and even an all
synth-demo of the music from the opening
battle scene, The Gladiator Waltz
(12). This release not only
spotlights Zimmer's fine work but also
more of Lisa Gerrard's, Klaus Badelt's,
and even Jeff Rona's contributions.
To praise this soundtrack in bit
underhanded way, this is the absolute BEST
"music inspired by the motion
picture" album to date!
The
final composite of this release are the
remixes. Remixed score pieces
generally rank pretty low on my
list, but the two remixed tracks
offered here are, at the very least,
interesting. The first, Now We are
Free (Juba's Mix) is a performed in a
different time signature than the original
performance and at quicker tempo.
Lisa Gerrard performance is decidedly more
upbeat and hopeful as accompanying
guitars, percussions and additional vocals
make this a more "celebratory"
version of the memorable song. By
the end of the track, it takes on a much
more natural, North African or even Native
American feel. It works and works
well, almost as if Lebo M go ahold of the
piece and added his trademark sound to
it.! The second remix is once again
of Now We are Free. This time we
have a clear dance-mix, subtitled Maximus
Mix. This track is much less
enjoyable than the first mix. This
mix appears to be the original Now We are
Free performance of Lisa Gerrard with the
typically vanilla dance rhythms that
plague all too many remixes these days,
along with quirky synth-accents laid over
the top of it.
More
Music from the Motion Picture Gladiator is
a fine production. It makes for a
nice companion to the original soundtrack
in every way. The music included is
not redundant, as alternate cues,
dialogue, and remixes keep the album
fresh. The liner notes are quite
extensive, being penned by Hans Zimmer
himself (a good portion seems to come from
his interview on the DVD). This is a
wise commercial release as Gladiator fans
are reinvigorated by all the attention the
film will receive throughout the
Award-season. If the general film
music fan can get by the so-called
"distractions" on the CD, namely
the dialogue, they will find this a most entertaining
experience.
Rating: 8/10

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Track |
Track Title |
Track Time |
Rating |
| 1 |
Progeny |
2:13 |
**** |
| 2 |
The
Wheat |
1:03 |
**** |
| 3 |
The
Battle |
10:02 |
***** |
| 4 |
Earth |
3:01 |
**** |
| 5 |
Sorrow |
1:26 |
**** |
| 6 |
To
Zucchabar |
3:16 |
*** |
| 7 |
Patricide |
4:08 |
**** |
| 8 |
The
Emperor is Dead |
1:21 |
*** |
| 9 |
The
Might of Rome |
5:18 |
***** |
| 10 |
Strength
and Honor |
2:09 |
**** |
| 11 |
Reunion |
1:14 |
**** |
| 12 |
Slaves
to Rome |
1:00 |
**** |
| 13 |
Barbarian
Horde |
10:33 |
**** |
| 14 |
Am
I Not Merciful? |
6:33 |
***** |
| 15 |
Elysium |
2:41 |
***** |
| 16 |
Honor
Him |
1:19 |
***** |
| 17 |
Now
We are Free |
4:14 |
***** |
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Total
Running Time |
61:31 |
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Track |
Track Title |
Track Time |
Rating |
| 1 |
Duduk of the North |
5:35 |
**** |
| 2 |
Now We Are Free (Juba's mix) |
4:39 |
***** |
| 3 |
The Protector of Rome
* |
1:28 |
**** |
| 4 |
Homecoming
* |
3:38 |
**** |
| 5 |
The General Who Became a Slave |
3:05 |
**** |
| 6 |
The Slave Who Became a Gladiator * |
6:14 |
**** |
| 7 |
Secrets |
2:01 |
**** |
| 8 |
Rome
is the Light |
2:46 |
**** |
| 9 |
All
That Remains |
0:57 |
**** |
| 10 |
Maximus |
1:11 |
***** |
| 11 |
Marikesh
Marketplace |
0:44 |
**** |
| 12 |
The
Gladiator Waltz * |
8:27 |
*** |
| 13 |
Figurines |
1:04 |
*** |
| 14 |
The
Mob |
2:25 |
*** |
| 15 |
Busy
Little Bee * |
3:50 |
**** |
| 16 |
Death
Smiles at Us All * |
2:32 |
**** |
| 17 |
Not
Yet * |
1:33 |
*** |
| 18 |
Now
We Are Free (Maximus Mix) |
3:49 |
*** |
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Total
Running Time |
56:22 |
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