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The Da Vinci Code Soundtrack

72 customer reviews

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Audio CD, Soundtrack, May 9, 2006
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Editorial Reviews

Product Description

Ron Howard and Akiva Goldman, the Oscarr-winning director and writer of A Beautiful Mind, reunite to bring Dan Brown's The Da Vinci Code , one of the most popular and controversial novels of our time, to the big screen with a cast headed by two-time Academy Awardr winner Tom Hanks, Audrey Tautou, Sir Ian McKellan, Alfred Molina and Jean Reno. Produced by Oscarr-winner Brian Grazer and John Calley, The Da Vinci Code begins with a spectacular murder in the Louvre museum. All clues point to a covert religious organization that will stop at nothing to protect a secret that threatens to overturn 2,000 years of accepted dogma. The Decca soundtrack will be released May 9 and features original music composed by Academy Awardr winner Hans Zimmer (Gladiator, Hannibal, Black Hawk Down).

For his adaptation of Dan Brown's megaselling book, director Ron Howard didn't take any risks, he called one of Hollywood's most popular composers, Hans Zimmer. Zimmer is a skilled craftsman, which is good and bad since he adequately delivers in a variety of styles, but usually misses the extra unexpected zing that makes a score truly memorable. His work for The Da Vinci Code is almost entirely muted. This may well be one of the quietest soundtracks to a blockbuster you've ever heard; only bursts of threatening-sounding strings occasionally break the quasi-ambient mood. The strategy is particularly efficient on "L'Esprit des Gabriel," which swells in a pleasantly ominous way. It's the kind of track that benefits greatly from blasting through a movie theater's multiple speakers. As a whole the score is as serious-minded as the movie's plot is preposterous. The most compelling aspect is Zimmer's use of a choir, especially on "Malleus Maleficarum," "Salvete Virgines" (paired with clanging metallic percussion), and "Poisoned Chalice," in which soprano Hila Plitmann takes eerie center stage. Yet overall it's often difficult to tell the cues aside, awash as they are in a sea of somber strings. Once upon a time, Hollywood took artistic risks on some of its bigger offerings. Is that time gone for good? --Elisabeth Vincentelli

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song TitleArtist Time Price
  1. Dies Mercurii I MartiusHans Zimmer 6:03$1.29  Buy MP3 
  2. L'Esprit Des GabrielHans Zimmer 2:48$1.29  Buy MP3 
  3. The Paschal SpiralHans Zimmer 2:49$1.29  Buy MP3 
  4. Fructus GravisHans Zimmer 2:49$1.29  Buy MP3 
  5. Ad ArcanaHans Zimmer 6:07$1.29  Buy MP3 
  6. Malleus MaleficarumHans Zimmer 2:19$1.29  Buy MP3 
  7. Salvete VirginesHans Zimmer 3:14$1.29  Buy MP3 
  8. Daniel's 9th CipherHans Zimmer 9:31$1.29  Buy MP3 
  9. Poisoned ChaliceHans Zimmer 6:19$1.29  Buy MP3 
10. The Citrine CrossHans Zimmer 5:21$1.29  Buy MP3 
11. Rose Of ArimatheaHans Zimmer 8:11$1.29  Buy MP3 
12. Beneath AlrischaHans Zimmer 4:23$1.29  Buy MP3 
13. Chevaliers De SangrealHans Zimmer 4:07$1.29  Buy MP3 
14. Kyrie For The MagdaleneVarious artists 3:55$1.29  Buy MP3 

Product Details

  • Composer: Hans Zimmer
  • Audio CD (May 9, 2006)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Format: Soundtrack
  • Label: Decca
  • Run Time: 149 minutes
  • ASIN: B000EPR7NE
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (72 customer reviews)
  • Amazon Best Sellers Rank: #15,918 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

59 of 61 people found the following review helpful By - Kasia S. VINE VOICE on May 18, 2006
Format: Audio CD
It took me about 2 seconds of thought whether I should buy this CD as I laid my eyes on it. All I can say is that the money I brought with me to get dinner was spent in a better way on music that literally fed the soul better than any food.

I'm a huge soundtrack lover and collector and movie scores are my favorite, especially grand movies that stay in my memory such as costume dramas and period pieces. Within 1 minute of having this music on half the hair on my body was standing pin straight. The choruses are out of this world, giving this a mythical, sacred sound that made me feel as if I was falling into the music itself. Hans Zimmer is a master of creating an environment with his music that envelops the listener and makes the movies on 100% more real than it can be.

The Da Vinci Code soundtrack sounds just the way you would imagine it to; rich, opulent, hypnotic mix of choruses that pick you up from ancient catacombs and shoot you straight up to heaven. Although I loved the score on the first listen, upon hearing it again a few times I felt like it sounded even better as I knew what to expect and learned to relish the glorious sounds and even though I don't read Latin the chapter titles from the back made more sense to me.

This soundtrack was a mix of powerful orchestra music, some lovely violin solos, great chase music and wonderful choral tapestry of sounds. This music is not all heavy and ancient; there are some lovely romantic moments with opreatic arias ("poisoned chalice"), harphs, crying cellos and violas that transported me to a magical valley, with hurling winds and open spaces.

Overall it's a lovely soundtrack and a must have for anyone who enjoys original scores and can be listened to no matter what mood or time of the day because it's beauty stands true regardless of everything else.
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33 of 34 people found the following review helpful By Kaya Savas VINE VOICE on May 17, 2006
Format: Audio CD Verified Purchase
As a Hans Zimmer fan, I eagerly count the days till the release of a Zimmer score, or any Media Ventures score for that matter. Zimmer's work on The Da Vinci Code reunites him for the second time with director Ron Howard. It strikes me odd that Ron Howard didn't develop a continuing collaboration with Zimmer after Backdraft considering the success of that film. Hans Zimmer is known for establishing great working relationships with directors such as Ridley Scott, John Woo, Antoine Fuqua, Gore Verbinski, and Penny Marshall.

The score is unique and borrows elements from his previous scores to Hannibal, The Ring, and Batman Begins. It's not the bombastic action score we've come to expect from Zimmer, then again this is not a bombastic action movie. Zimmer creates tension with most of the tracks, and he adds a Latin choir to some tracks to set the religious tone of the film. In fact, the British Film censors said that the filmmakers had to tone down Zimmer's score in the film if they wanted to get a 12A rating versus a 15. I've never heard of a film's score affecting the rating of a film. Track 7, "Salvete Virgines", is a perfect example of the choir even though it is not used in the film. Another highlight of the album is track 10, "The Citrine Cross", where we get a little glimpse of trademark Zimmer in probably the most "action" oriented track. The second to last track, "Chevaliers De Sangreal", is my favorite cue on the album. Any Zimmer fan could pick that track out of a lineup and say 'that's Hans Zimmer'. It reminded me of "Journey To The Line" from his score to The Thin Red Line, not in tone but in structure. It builds slowly and continues to build into a full blown beautiful mixture of orchestration and digital synthesization.
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16 of 16 people found the following review helpful By John Vevers on June 18, 2006
Format: Audio CD
I must admit, I am not a major Hans Zimmer fan but do have a small selection of his scores on cd. However, I can honestly say that Zimmer's score for The Da Vinci Code is, without doubt, one of the best soundtracks avaliable at the moment; if not amongst the best ever written.

His score is simple, quiet and yet, at the same time, stirringly beautiful. I have read reviews on other websites stating that Zimmer has made no effort to create major themes for the different characters; I disagree. Having listened to it many times since I bought it, I believe there are several cues, motiffs etc that represent not only the characters of Sophi, Silas, but also different emotions etc.

The stand out track on this album, in my opinion, is Chevaliers de Sangraal - it is absolutely breathtaking. A simply brilliant piece of music; even before seeing the film, I could picture this music being played as the final resting place of the Holy Grail is located; the timing is correct, the sound is right - it's just perfect for such an event.

If you get one classical, or soundtrack album this year; make it this one.
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10 of 10 people found the following review helpful By Samuel Van Eerden on June 14, 2006
Format: Audio CD
The instant I learned that Hans Zimmer was replacing James Horner to score The Da Vinci Code, the soundtrack became my most-anticipated one of the year. Sure, Superman Returns will be quite the musical spectacle: broad and sweeping, no doubt. But the heroic motifs employed for that score must fit within the musical ideas that moviegoers already associate with the Man-of-Tomorrow (ie: the themes John Williams wrote). Composer Brian Ottman has creative license, obviously, but there's only so much room to move in a project like this. Same with other blockbusters this year, like Pirates 2 and Mission Impossible, for instance. Even the flop Posiedon had a musical niche already carved for it (which Klaus Badelt allowed himself to be "sucked" into). But with the Code, German composer Hans Zimmer (arguably one of the top 3 best soundtrack composers of all time) was able to create an entirely unique sound. He did not have to sound a certain way; HE got to decide how the music SHOULD sound.

And it is a beautiful sound!

The opening cue "Dies Mercurii I Martius" sets the pacing of the entire soundtrack. Heavy on the choir (this particular cut focuses on the female) with a steady underscore of violins (Hugh Marsh handles the electric violin). The soundtrack differs mightily from typical Zimmer fare in that it relies more on subtle harmonies and intricate string compositions than it does on heavy brass and wild synths. Still, this opening track contains the soundtrack's main theme, which is really a theme for the Grail, itself, and this is a powerful theme. While its full glory is never experienced till the second-to-last cut, "Dies Mercurrii" gives the general idea, before tailing off into Silas' motif.
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