There are moments where it all comes together, though, but they are fleeting. Unlike an album containing the complete score, it drifts from movement to movement, many times the previous track not melding perfectly into the next and vice/versa. As a result it's at times a bit disjointed, sounding like a bunch of cues from the movie tossed together. The final four tracks on the soundtrack include the dark, cloaked ambiance of "Rose of Arimathea," the grating string chops that create a skittish vibe on "Beneath Alrischa," the hopeful beauty of "Chevaliers de Sangreal," and finally the rich vocal angelicism of "Kyrie for the Magdalene." The main trouble with Zimmer's The Da Vinci Code Original Motion Picture Soundtrack is that it's a soundtrack. It's also one of the few examples where two tracks meld into one another with seamless grace, creating the illusion of a continuously flowing score. "Poisoned Chalice" follows suit, delivering some frightful, though again restrained, keyboard swagger that swells and builds until finally breaking into the downright positive sounding refrain of "The Citrine Cross," which comes as a stark contrast to the former piece.
Then it's back to the film's main themes of restrained intensity and foreboding mystery on "Daniel's 9th Cypher," which strives for continuous ambient toneology via quietly treated vocals and swirling strings, both of which create a thin mist of creepy apprehension. The overlapping female voices are intoxicating, especially when combined with the rich basso from the male section of the choir. Interestingly enough, it's one of the strongest inclusions on the album, causing one to wonder why it wasn't used in the film. More emphatic choral arrangements appear on "Salvete Virgines," a "bonus track" which does not appear in the film. The haunting voices return, this time in a much more angelic nature, on "Malleus Maleficarum," a track tinged with twinkling bits of harp and a swelling opulence. That it eventually turns into what can only be construed as a mild romantic interlude tainted with ominous elements (the deep bass lines derived from the string section) is all the more puzzling, though it probably fits perfectly into the appropriate section of the film itself. That it's followed up by the almost serene calm of "Ad Arcana" simultaneously keeps the listener on their toes and throws them off balance.
#The movie the da vinci code soundtrack playlist free#
There's little thrusts of unnerving strings tossed into the mix that bring to mind some of the work Herrmann did for Hitchcock it's all understated nail-biting intensity trying desperately to break free from the shackles of orchestral bombast. Zimmer shakes things up a bit with "Fructus Gravis," which seems to owe a small debt to the likes of Bernard Herrmann. the soundtrack plays out more like a loose grouping of cues from the movie rather than a continually flowing rendition of the score itself). Sadly the track fades into black, leaving a somewhat gaping hole of empty space between it and the next track and ultimately ruining any sense of transitional continuity to the album (i.e. While the first two pieces strive for a balance between subdued intensity, "The Paschal Spiral" really strains the limits as the first two minutes of the 2:49 track are all muted strings building up to the scathing crescendo that surges forth in the latter seconds of the piece.
"L'Esprit des Gabriel" continues in this vein, keeping a tight lid on the tension, allowing it to build slowly and relentlessly with such a sense of detached malevolence that you're hardly aware of the sinister undercurrent until it's almost too late. The opening strains of "Dies Mercurii I Martius" set the tone for the bulk of the soundtrack album, as haunting choral textures swirl around darkly brooding orchestral mist to create a sense of mystery, intrigue, and impending dread.
0 kommentar(er)
