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Media Type: CD
Street Release Date: 04/25/2000
Top Customer Reviews
Hans Zimmer and Lisa Gerrard work together (composed by and arranged by these two) in this soundtrack to bring a myriad of heart-pumping brass and percussion and ethereal ancient (or old-style) sounding music. The contrasting music of these two work magnificiently in the score, weaving the two types together fluidly into one another... I was most impressed with the four scores (The Wheat, Sorrow, Reunion and Elysium) written and sung by Gerrard, which sets the mood for the movie from the very beginning to the final scene. These scores deeply reflect the sorrow and loss of life and the earning for something one can't have. Her dreamy and woeful voice captures just that. Heitor Pereira on the solo Spanish guitar in "The Battle" adds to the old-style. Zimmer's orchestral and dramatic scores sincerely tell the heart of the movie, which is vastly memorable.Read more ›
As soon as the movie starts, one is surprised by the subdued tone that the musical score seems to be taking. Knowing that Hans Zimmer was the composer, I was expecting his usual rousing, booming and very pleasant music, as seen (or rather, heard) in other movies like 'Crimson Tide', 'The Peacemaker', and 'Backdraft'. However, what we get, as a friend of mine remarked, is something like a cross between Vangelis and 'The Rock' (which also includes participation by Zimmer). Which is fine.
While not as melodic as, for example, a James Horner score like Braveheart, Hans Zimmer's score, with Lisa Gerrard's participation, perfectly complements the action on screen. When battle music is required, the score returns to a classic, if somewhat more mature, Zimmer feel; totally classical in style and paying homage to Gustav Holst's Masterpiece - The Planets, particularly 'Mars - Bringer of War'. Very appropriate, given that Mars was the Roman god of War!
This, added to Zimmer's trademark rousing passages, and Lisa Gerrard's moving, lyrical contributions, makes Gladiator a memorable score. Gerrard's participation, in particular was a very pleasant addition, because it adds an ethereal element which is necessary for such concepts as Elysium (the Afterlife) and Freedom. Throughout the movie, the Hero, Maximus, constantly weaves between the 'here and now' scheming and battles, and a longing to join his family, in the afterlife. The score reflects these concepts with an excellent treatment of both dimensions.
Which leaves us listeners with a score that is not exactly easy to listen to.Read more ›
I identified the quotations from Holst's "Mars, Bringer of War," Wagner's DAS RHEINGOLD (I'd add Siegfried's funeral march), and some of the rest. Perhaps it's simply the way the film's narrative moved, but I'd add Berlioz' HAMLET, and some hints of orchestral requiem masses for solemnity.
One of the things I listen for in a score like this is sheer sweep, and Zimmer can handle not just grandeur, but a dark, martial music suitable for Rome's legions in their decline. I liked the counterpoint of Lisa Gerrard's vocals and woodwinds, playing up Maximus' longing for the fields of home, with the horns and drums of Rome never far from the listener's consciousness.
The music works as music, as part of a tradition, and as the background for a powerful and unsettling film that I plan to see again.
Most Recent Customer Reviews
Hans Zimmer is 2nd-favorite film score composer (James Horner being #1). This collaboration with the angelic voice of Lisa Gerrard is as emotional as the film itself. Read morePublished 1 month ago by Liam Green
I just love the background music of this music. I enjoy listening during dinner because even though it is beautiful, you're not tempted to 'sing along'! Read morePublished 9 months ago by Susan M. Thompson
I have watched this film so often I have memorized the script and roles of each character! I have used it to teach leadership at the MBA level coupled with a book Leading from the... Read morePublished 10 months ago by C.G. Parker