"Die Forelle" Written by Franz Schubert Tortured by Mel Wesson Performed by Ian Bostridge & Julius Drake
"To The Opera!" Orchestration by Matthew "Not Enough Notes" Margeson Contains "L'Ultima Prova", "Ah, Signor Per Carita" & "Don Giovanni A Cenar Teco" from "Don Giovanni" by Wolfgang Amadeus Mozart Performed by Janusz Monarcha, Regina Schorg, Bo Skovhus & Renato Girolami with the Nicolaus Esterhazy Sinfonia and the Hungarian Radio Chorus Conducted by Michael Halasz
Music by Hans Zimmer Music Produced by Hans Zimmer & Lorne Balfe
Additional Music by Lorne Balfe Score Wrangler: Bob Badami Music Production Services: Steven Kofsky Supervising Orchestrator: Bruce L Fowler Orchestrators: Walter Fowler, Rick Giovinazzo, Kevin Kaska, Carl Rydlund, Elizabeth Finch & Andrew Kinney Music Editors: Mike Higham, Peter Snell & Michael Connell Assistant Music Editor: Rachel Boot Music Supervisor: Karen Elliott Technical Score Engineers: Thomas Broderick & Chuck Choi Additional Arranging & Programming: Dominic Lewis Sequencer Programmer: Andrew Kawczynski Orchestra Conducted by Gavin Greenaway Score Recorded by Geoff Foster Vienna Recording by Slamm Andrews Vienna Assistant Engineer: Christofer Frank Score Mixed by Alan Meyerson Assistant Engineer: Satoshi Noguchi Album Mastered by Doug Sax & Robert Hadley at The Mastering Lab
Album Wrangler: Peter Asher Score Coordinator: Andrew Zack Digital Instrument Design: Mark Wherry Sample Library Development: Claudius Bruese, Sam Estes & Michael Hobe Technical Assistants: Jonas Peterson & Jasha Klebe Orchestra Contractor: Isobel Griffiths Assistant Orchestra Contractor: Charlotte Matthews Librarian: Jill Streater Coordinator: Becky Bentham Studio Manager for Remote Control Productions: Czarina Russell
Principal Cello: Anthony Pleeth Principal Bass: Mary Scully Principal Flute: Eliza Marshall Principal Clarinet/Bass Clarinet: Nicholas Bucknall Principal Contra Clarinet: Dave Fuest Principal Oboe: David Theodore Principal Bassoon: Daniel Jemison & Robin O'Neill Principal Contra Bassoon: Dominic Morgan Principal Horn: Richard Watkins Principal Trumpet: Andy Crowley Principal Tenor Trombone: Dudley Bright Principal Bass Trombone: Dave Stewart Principal Tuba: Owen Slade Percussion: Louis Sanou Bass: Georg Breinschmid
Studios: MG Sound Studios, Vienna & Air Studios, London
Executive in Charge of Music for Warner Bros Pictures: Paul Broucek Executive in Charge of Music for WaterTower: Jason Linn Album Business Affairs: Dirk Hebert Album Clearances: John F.X. Walsh
Featured Soloists: Aleksey Igudesman, Ann Marie Calhoun, Jeno Lisztes, Tristan Schulze, Nicholas Bucknall
Mnozil Brass Band: Thomas Gansch, Robert Rother, Roman Rindberger, Leonard Paul, Gerhard Fussl, Zoltan Kiss, Wilfried Brandstotter
Kokavakére Lavutára: Singer: Vladimír Sendrei & Janka Sendreiová Accordion: Tibor Kököny Guitar: Jaroslav Berky Clarinet: Roland Horváth Contrabass: Milan Deme Violin: Martin Horváth Cimbalom: Ondrej Radic
Cigánski Baróni: Violin: Patrik Ziga Contrabass: Július Ziga Accordion: Gustáv Girga Cimbalom: Július Hudy Clarinet: Miroslav Filko
Hans Zimmer would like to thank: Guy Ritchie, Joel Silver, Jeff Robinov, Susan Downey, Robert Downey Jr., Lionel Wigram, Bob Badami, Lorne Balfe, James Herbert, Steve Clark-Hall, Lauren Meek, Paul Broucek, Sue Kroll, Bonnie Abaunza, Larissa Abaunza, Nico Abondolo, Zoe Alexandra, Slamm Andrews, Robert Armstrong, Eva & David Balfe, Amira Ben-Gacem, Tiffany Bordenave, Siobhan Boyes, Thomas Broderick, Claudius Bruese, Chris Burdon, Ben Burfield, Alison Burton & the staff at Air Studios, Max Carlson, Van Carlson, Chuck Choi, Alice Crosby & the staff at De Lane Lea Studios, Ariel Emanuel, Sam Estes, Max Golfar, Isobel Griffiths, Dirk Hebert, Michael Hobe, Will Hyde, Andrew Kawczynski, Gregg & Gosia Kawczynski, Mike King, Steven Kofsky, Ny Lee, Dominic Lewis, Katia Lewin, Jason Linn, Christina Mansky, Lisa Margolis, Charlotte Matthews, Matthew Margeson, Alan Meyerson, Joe Meyerson, Amos Newman, Valeriu Nicolae, Satoshi Noguchi, Frank Osterley-Armstrong, Zuzana Palosova, Eli Pearl, Jonas Peterson, Graham Preskett, Satnam Ramgotra, Czarina Russell, Jeff Sanderson, Shalini Singh, Chris Strong, Oliver Tarney, Bobby Thornburg, Ryan Watkins, John Walsh, Ben Williams, Andrew Zack & Emma Zee
The Honorable Madeleine Albright, Robert Benjamin, Lubomir Chrkavy, Stanko Daniel, Zuzana Dzurikova, Tomas Hrustic, Ludmila Hristicova, Rastislav Husar, Timea Kardos, Noah Mamet, Piper Nelson, Catherine Messina Pajic, Milos Pajic, Adam Schiff, L’ubomir Skarek, Marian Telepka, Kenneth Wollack & Peter Zingor
We would also like to thank the Roma communities of Rudnany, Ostrovany, Markusovce & Roscovce for their friendship & hospitality
Suzanne Zimmer and the Mini Z’s
For my mum, Brigitte Zimmer, who taught me how to sing Schubert’s “Die Forelle” at age 5...
Thanks to: Peter Axelrad, Maria Belli, Jill Benscoter, Maritess Bonilla, Mark Cavell, Melissa Crow, Toby Emmerich, Kerrylyn Genetive, Ernie Johnston, Joe Kara, Kevin Kertes, Ny Lee, Lori Miyakawa, Genevieve Morris, Nicole Short, Rishi Shah, Bobby Thornburg, Raymond Walden, Robert Zick
Release date : 12/13/2011
Write your own comment here (in english please)
This zone is only to post comment, not to ask for CD downloading, copying or trading ! Each comment can be possibly edited or deleted to ensure it is suitable for public presentation.
In the movie, Sherlock Holmes: Game Of Shadows, there is one short piece that drives me nuts. It is only about 1 min long. When Sherlock opens the steel vault door and enters the laboratory at 1:17:35. The music turns to this deep, throbbing tuba music. It sounds so familiar. Did I hear it in another movie? Is it part of a larger piece? Does it have a title? Could you be so kind as to email me if you answer? TheBushwacker1947@gmail.com
This is an interpretation/variation/remix/whatever of about 1:20 into Shadows Part 3: Chess, from the soundtrack. Of course I'm basing that time stamp off of a version of the OST with the speed corrected
Hey, Hybrid. I wonder, who did the Romani Holiday (Antonius Remix)? There's no one single info/credit about that remix in the OST liner notes.
Antonius => Antonius Bernardus Johannes Holkenborg => Tom Holkenborg => Junkie XL
Nice, and thanks for the reply. Strange, JXL never mentioned a word about that (SH) remix on his (updated) website! When you can see there, his work as Score Remixer for (Inception, TDKR, Megamind, Madagascar 3 and Kung Fu Panda 2...).
Hey Hybrid, was the demo version of the Moriarity suite with the cool rough, raw version of "The Red Book" at the end ever recorded? Also is "Chess" a cue or a suite? It always confused me. It fits the scene so perfectly, but did they fit the scene around the music or vice versa?
I, too, noticed "The Red Book" in the demo suite, and that further confirms to me that, a lot of times, our "credits nitpicking" on HZ scores can be groundless. Since it was pulled write out of a fuller suite, HZ obviously wrote/arranged that part of the "Red Book" cue, which no one would have realized before. And Hybrid has said how, often, HZ will already have a lot of a cue written before the additional guys go to work on it.
I'd love to get a fuller release of this score...The album situation makes it look like crap, but as I recall, it was actually a fairly strong score (at least in context). Definitely better than some of Hans' sequel scores... :P
1m1 Open 1m1A Whistle Fight 1m1B The Fight 1m1C At the Restaurant 1m3 Coffee, Tobacco and Cocoa Leaves 1m4 Web Room 1m4B Web To Car 1m5 Meet Mycroft 2m7 Meet Simza 2m8A Fight With Cossack part 1 2m10 To The Wedding 2m12 Wedding 2m12A Moran At Wedding 2m14 Holmes Confronts Moriarty 3m15 Honeymoon Begins 3m16A Train Opening 3m16C No Accident 3m16C No Accident ALT 3m16D Holmes Plan 3m17 Mycroft and End of Train/Paris 3m17 Mycroft and End of Train/Paris ALT 3m18B Find the Fortune Teller 4m21 Gypsy Fortress 4m22A Find the Fortune Teller 4m22B Ravache 4m22C Imperator 4m24 4m25 Paris Bombing Investigation 4m26 Nude Mycroft 5m28-29 Consider What We Know 5m30A Outro 5m31 Holmes Captured by Moran 5m32 Holmes Tortured 5m34 Escape the Factory 5m35 Forest Battle 5m35 Forest Battle ALT 6m37 6m38 I'm Going Home...Via Swiss 6m39 We Don't Know What He's Planning 6m42-43 Waltz 6m42-43 Waltz ALT 7m45 Little Red Book pt 1 7m45 Little Red Book pt 2 7m45A Pre-Vis Finale 7m46 Final Confrontation 7m47 Case Re-Opened Chess - Dead Brother Chess Memories of Sherlock Mycroft Strings One Minute Rise Opera Map Opera Map ALT INSERT Shush Club Tango
Where can I find?
I would like to know that too. I never knew how to find the music online.
Jay the Dinosaur
These are just the cue sheets from the full orchestral score, not the sessions. :(
While I'd love the score to leak, the cue sheets are really cool to read through as well. I actually transcribed (is that the right word?) a tune or two into my piano roll just to muck about. I did the part of 'Chess' that starts with the melodic D minor repeating over and over. It's pretty fun.
Incidentally reading the cue sheets kind of just reinforced how truly hideous the CD release really is.
Yeah...what the hell happened with this one, anyways? It's not like with Pirates 4, where they had to shorten the length of the score portion to cover up how much rehash there was in the score (didn't work, guys!). And then there's the sped-up thing...how do amateur mistakes like that even happen to the release of a professional film composer's score to a big Hollywood movie? Just baffling.
Yeah, the sped up CD makes the orchestration seem very cheap and nasty. There surely was a rationale behind it but I can't fathom what it was. Time constraints?????
There is a vast amount of interesting, or at least notable content missing, 'Fight with Cossack' is a cool piece (seemingly Lorne), and I think I would've taken that over some of the source stuff. 'Holmes Confronts Moriarty' stitches together quite a lot of themes from 'Chess' quite well. Being able to read through the sheets and hear in your head as written is nice, but the actual release would be far sweeter.
Pirates 4 just sucks. Sherlock 2 is a score that I initially wasn't that fond of, but grew to quite like, and appreciate the differences between it and the first one. But with P4, it gets worse with age. In a way I'm almost glad the release wasn't that full, because not only are all the old themes rehashed, but they're rehashed in a really hollow, static way that makes them sound cheap and lifeless. Hearing all my favorites being systematically ruined in the movie was enough.
OK, so I'm trying to find the song "Die Forelle" from the film in it's purest form, pre-distorted, And after looking around for a bit I'm just not convinced that the song is the same one done by Ian Bostridge or Julius Drake. In fact I can't seem to find any hints to who the actual singer is.
I don't think there is a "pure" version of the song, because it was written almost 200 years ago. We've only got the notes, and these can be interpreted different. But I found the version you named pretty good.
By "Pure" I was mostly focusing on the song without the distortion used in the music which gave it that eerie feel throughout. While I will admit it gave the proper atmosphere in the film, I myself would also like to know of the true artist. It can be easily assumed that the artist/singer used was a recent recording so this 200 year old pure form assumed eludes me. I will say that the Bostridge & Julius Drake version is "pretty good", but I am after the sample used rather than simply making due.
I think the voice itself was distorted. The track was probably specifically recorded for the movie, so there is likely no other version of it out there. Though it could be that they used an existing recording, like in Inception. You could write an email to the admins. They are directly in contact with Hans.
^^^Yeah, but don't expect a response. I don't think that's the kind of information they'll just give out, even if in private.
That's a tough call. The vast majority of this OST is just Zimmer experimenting with imitating the styles of music that are popular in the places they traveled through. Some of it appears as music played by people in the film, hence it could be considered a source cue. And some of it just plays like normal score. And then there's the third category: the music that doesn't appear in the movie at all. So I guess I would categorize the tracks this way (but I'm open to alternative explanations):
Source music: tracks 6, 10, 12, 21 'Experimental' music that was used: tracks 5, 11 'Experimental' music that was not used: tracks 7, 8, 18?, 19, 20
And that leaves only tracks 1, 2, 3, 4, and 9 as 'suites' and 13, 14, 15, 16, and 17 as actual score cues that appear in the movie.
It still pisses me off that they offered three amazing bonus tracks that you could download when you purchased the OST, and it was all just that (mostly unused) 'experimental' music, instead of, you know, good music like the bits during the opening scenes or the train scene!
Thanks. That sounds really crappy.
The Dark Knight Rises had the same problem, Areozz. There were six bonus tracks available in total, but only 3 were score cues, 1 was a remix, and 2 were suites which were basically just regurgitations of stuff already present on the album. And one of the three cues was way different, and much worse, than the film version of the same cue. And as for the suites Hans wrote, they were only made available in an app, and one of the suites, a really cool one, wasn't released anywhere. Too bad, really, because if you ask me, the suites from TDKR were way better than the score in film.
It seems like Zimmer releases have picked up to some degree, though. Man of Steel and Lone Ranger both had very solid album presentations, and Rush did, too, or so it seems (though I've not actually done much listening to that one). And Winter's Tale seems similarly well-put together.
@Areozz "The End? was actually never used in the movie. It's a more aggresive version of the end credits music. And actually, to be exact, tracks like "Romanian Wind" and "It's So Overt It's Covert" appeared in the movie but not in full length.
You sure about that, Zimmer? I'm pretty darn sure "The End" is the closing and end credits music from the movie (though it's somewhat sped up on this poorly-done release).
"The End?" was used in the film, albeit it was a different take than the version appearing on the OST. The arrangement is similar, but I would agree that it is more aggressive. And you are right about those two other tracks. On the OST, "It's So Overt It's Covert" is over three minutes long. But in the film, I think they cut it down to under a minute.
In "The Bible" for example, all action tracks were out (except "Pentecost"). Pitiful! :/
I couldn't place the wedding music in the score. Any help?
^^^What do you mean? You can't find a place to put the wedding music in-line with the rest of the OST or you can't find where the wedding music is on this paltry presentation which they dared to call an OST?
The answer to both of those situations is: because it's impossible. The OST is arranged thusly: suites first, 'experimental' music second, a bunch of short cues from the end of the film jammed together'. And the wedding music is not on the OST.
It's a sad thing because aside from "to the opera"and Memories of Sherlock. That was my favorite cue.
Hans should have released the wedding music as a bonus track, but I don't think it would fit the album. It really stands aside from the rest of the tracks. And as Areozz already said: The album arrangement goes from the suites to the Roma stuff and then to a mix of the remaining cues. That's it. Oh and btw, I accidentially typed Zimmer instead of Zimson above in the namefield. So it wasn't Hans. ;)
Yes and no. It's arranged like a suite, but several parts of it can be heard throughout the film, and most of them are arranged differently, and/or have a different instrumentation selection.
Can someone explain the difference between a suite, theme, and some other words that are thrown around a lot on this site? thanks!
I may be off here, so I'll gladly take correction, but here's the situation as I understand it:
A theme is a piece of music which envelops the whole film or series of films, often a sizable piece of music that plays during opening/closing credits and usually tied to the main character (so in the case of Sherlock Holmes, the main theme is what plays during the opening/closing credits of the films—"Discombobulate" on the previous album).
A leitmotif is a short snippet of the theme which will pop up throughout the score, which is enough to be recognizable as the theme but doesn't go into the whole thing (so in the case of Sherlock Holmes, the main leitmotif is that "Dun dun da dun...." in the first 10 seconds of Discombobulate).
A motif is less bound to a specific character and generally accompanies a recurring type of circumstance (so take Zimmer's Batman scores as an example—whenever Batman does something sudden, you'll hear that loud, sudden "DUN DUN DUN" motif, like when we saw him for the very first time in TDK and TDKR, and many times elsewhere. It's not the theme of the films, but it always denotes similar circumstances).
A suite is essentially a compilation of various pieces of music, whether written that way originally or put together that way later on. A cue is a piece of music written specifically for an individual scene in a film.
*hopes he's not totally off and showing absolute idiocy* ;)
And I should add that, lest it sound by my comment like only main characters get themes, that isn't true. Often multiple characters will have their own.
Thanks Mike! Helped a lot :D
Shadow Part 1 & Part 2 are the original "Moriarty Suite" written by Hans before the score was done. NOT the contrary...
A Suite is written beforehand...
When you have a medley of cues to make a suite, I prefer to call that a Montage... ;)
"Shadows - part I and II" (with "I See Everything" and "Shadows - Part III") are the best tracks in this score. Irrelevant I know, just wanted to say it!
Shadows Part II is truly awesome. The rest of the score isn't that great, IMO, but that one track is really quite good.
Why do some of you say that the constellation of the album is horrible? I've just found a playlist on youtube where some guy conducted and mastered the whole movie, so you can hear the music with a little SFX. I realized that all the relevant music of the score was put on the album and more! The gypsy music parts where all part of the film and in an extended version on the album. The score fits the movie perfectly, there's no way Zimmer and his team did a bad job. But I have to admit that when you hear the music alone without the movie, it sounds pretty underchieving and boring but in cinema film and music fit perfectly together. So the problem is Zimmer hadn't got more material that he could release on the album. That's why people might think they got tricked.
"all the relevant music of the score was put on the album and more"
FALSE. The majority of the big action scenes don't have any music featured on the OST.
And approximately 40% of the OST is comprised of Zimmer's "experimentations" in different styles of music--which is all stuff that never even got used.
What do you mean a guy "conducted and mastered" the whole movie?
First of all, I'm not a native speaker, maybe that's why there is a confusion about it. I meant that somebody mastered the audio of the film, so that you can clearly the music that's playing in the background. You didn't hear much of the soundeffects. The thing is I couldn't find any piece of music that would have suited an album but these which are actually on the album.
First Of all i was bummed that they didn't put the wedding piece on the album. of all the music that was in the film, that one stood out the most to me and I really liked it. although I do agree with Zimson. The Music fit perfectly for the film. I disagree that it was not fun to listen to outside the score. I enjoyed it. Especially "To the Opera". "That is my Curse" and "Memories of Sherlock" followed by the two before that. all in all I think that this score was very good not Zimmer's best, but still very good.
I didn't meant that it sounded bad on the album, I like it, but if you listen to the music that plays during the film alone, it sounds pretty boring but not if you watch the movie to it. The wedding music was pretty sweet but I think he left it out because it doesn't fit the mood he creates within the album. It goes from serious to funny to sad and to awesome! :D But he wouldn't create a new mood for 30 sec of music I guess.
The suite is so full of crazy arrangements sounds effects !!! Incredible when you listen to what was already done on Sherlock 1 complete score !
"...he left it out because it doesn't fit the mood he creates within the album..."
Very interesting point. Am I the only one who wishes Zimmer albums were different in this regard? Zimmer wants to create a "specific mood" with an album, and so we get albums like The Dark Knight Rises where a ton of good stuff is missing. The idea of having a "mood" in an album seems cool enough on paper, but doesn't the score itself convey a "mood"? I like my soundtrack albums to be a good presentation of the overall score, where I feel like the album contains the music of note in the film (Gladiator, Crimson Tide, The Last Samurai, Man of Steel, and from what I've heard, The Lone Ranger all do that very well). I don't hear those soundtracks and then, after seeing the film, come away with several tracks in my head that I want to be on the album.
I see your point there. I do like the Idea of Zimmer creating a mood for the film, it makes sense. But I could see that if he put the Wedding suite on the album it could have given us a nice feel. especially after all the action cues and then gypsy music.
Oh and with the Dark Knight Rises what was missing from that that wasn't in the Film. I just heard it in small pieces.
Well, let's see...The cue "Take Me to Bane" was really cool, but is nowhere on the album. The track "Gotham's Reckoning" (a.k.a., Prologue) was slimmed down on the album and so doesn't have the epic percussion after Bane says, "The Fire Rises", the track "Necessary Evil" on the album was only about half the cue used in the film (and they cut it off on the album right when it got intense in the movie!), the motif heard in cues like "Gordon Arrested" and "Gordon to Foley" isn't on the album (it was on the second half of the bonus track "All Out War", but that was only available briefly), and also, the "Risen From Darkness" bonus track used the original cue for the Batpod chase scene, and not the much, much better film version.
I also am so disappointed that the Wayne Manor suite wasn't on the album. It's one of Zimmer's most epic suites. 22 minutes of greatness from beginning to end.
Got you. I just thought that it was used in the film just in different cues. Big fan of Batman so I have watched the movie several times. I suppose for the Bonus tracks you can Download them off youtube. Then turn them into a Track song. since they are not available for purchase. And where do you get the Bonus track All out War Mike there wasn't a code for it when I bought the Soundtrack.
"All Out War" was made available when the movie hit theaters, and you could get it by purchasing tickets for TDKR off movietickets.com
It's not, it's not, it's really REALLY not. I would put it in his bottom third or so, actually.
It definitely is. For me, I'd put this and Pirates of the Caribbean at the top, then followed by TDK Trilogy.
It definitely is. For me, I'd put this and Pirates of the Caribbean at the top, then followed by TDK Trilogy.
Album presentation was probably the worst from RCP in the last 10 years. Score in the film was average.
Personally I think the Shadow cues are among HZ's more entertaining tunes.
Yes indeed it's the worst album in 10 years... come on what happened to the whole opening music? or why did those bloody songs go on there???
Seriously, Madonna could've been on the album...LOL
The music as written for movie is one the greatest by Zimmer :) Better than the score of the first one in my opiniom, BUT the soundtrack release is horrible :(
I like how even when they put an actual song from the movie on there (Die Forelle), they change the vocals (from male to female)
@Medigo: False. What you just stated is a result of the OST being sped up by nearly 10% compared to the film audio. Speeding up a male's voice can make it start to sound female. Speed up a female voice or a male voice too much, and then you get Alvin and The Chipmunks.
I agree with Kusi: I watched the two films back-to-back and was struck by how badly the music worked in the first movie, yet it fit the second much better. With that said, I haven't listened to this one in its soundtrack release.
my godness a crazy powerful score!! please the recording sessions !!!
the recording sessions are out there somewhere....
56 cues, 2.8 hours...... we need these sessions to leak! D:
JUST NOT FOLLOW FAKE ASS
Oh, I'm sorry. You NEED these sessions to leak? What, is your life dependent on it? Is there some number of people out there being held at gunpoint and will only be set free someone shares these sessions?
Nice one, Areozz.
Thank you! Thank you! *bows* I'm here all week!
But seriously, at Rene: certainly anyone can make up a random number of tracks and a random run time.
"The recording sessions are on the verge of leaking! There are 72 tracks. It's over 3 hours long!!!"
See? I just did it right there. Any expanded edits (DVD rips) that I am aware of and are circulating (possibly being traded illegitimately) do not match the run time that user148 stated.
I seem to remember seeing this person post before. I wonder if there is any truth behind his simple statement. Probably not, but you have to believe in something, right?
I have an expanded score for this movie... It has a different track list from what "I see Everything" wrote...
1 Strasbourg (4:54) 2 Moriarty's Theme (2:53) 3 Main Theme (3:23) 4 Sherlock's Room (0:52) 5 Professor James Moriarty (2:45) 6 Crossing The Streets (3:37) 7 Mycroft (2:25) 8 Cosacco's Chase (0:45) 9 Professor Wants To Meet Holmes (0:51) 10 The Game Begins (3:14) 11 Shadows I (5:41) 12 Follow Meinhard (0:52) 13 Romanian Wind (4:32) 14 Whatson's Dance (2:07) 15 Don Giovanni (4:25) 16 Two Mules For Sister Sara (2:50) 17 The Factory (3:11) 18 Die Forelle (3:42) 19 Moriarty's Theme (Reprise) (3:32) 20 Shadows II (5:28) 21 Shadows III (1:57) 22 Hopes Are Lost (3:32) 23 Just Follows My Lead (4:45) 24 Shadows IV (5:56) 25 Chess Game (8:28) 26 The End? (3:03) 27 A Game Of Shadows (6:12) 28 Sherlock Holmes Suite (2:09) 29 Simza Suite (2:13) 30 A Cenar Teco (Suite) (17:27) 31 Discombobulate II (2:06) 32 Romani Holiday (Antonius Remix) (6:10)
Total lenght: 2:05:39
Sfx Sfx Sfx
Oh...thank you, "Expanded Sfx" for clarifying on that. I unfortunately have no knowledge about this track list so I had no way of leaving my stamp of approval (or disapproval) in concerns of its legitimacy/quantity of SFX.
Sorry... but it hasn't any sfx... It also contains some unreleased things anyways it is not something that Will make you mad... It is only an EXPANDED SCORE WITH NO SFX.
Totally agree with Mycroft, and the Tracklist have many mistakes..... and F.A.K.E indeed...;-)
jokerxxx is the guy who use to run the hans zimmer complete scores blog until it (thankfully) got shut down. notice how he says' it hasn't any sfx' JUST like the guy from the blog. GTFO joker... you're a JOKE.
Could Someone expalain me why everytime that Someone talks about some unreleased score must everytime be the creator of hans zimmer blog? Or thet it only has a fake... Well you Made a big mistake... I know what I have And I'm the first to say that what I have is nothing of amazing... It only has some unreleased cues like the train sequence or the scene of the meeting between holmes And moriarty... Anyways I'M NOT INTENDED TO SHARE IT WITH YOU... you are the first to say that it is a fake so IT DOESEN'T MATTER OK?? JUST PLEASE SHUT UP!!! And begin to talk about something else...
Guess what, Joker? I have the train sequence, too. "3m16a Train Sequence", as it's labeled on the sessions. And I know 4 other people who have as well. For all I know, you could be one of those 4 people....
Oh...I see my first post has been censored and my second post has been removed entirely. JokerXXX: you suck ass at the English language, as did the owner of that blog (which has thankfully been shut down).
@Angelica: trust us all. It is not worth the trouble to get this, regardless of what it is.
If anyone saw the deleted post, in which I described the unacceptable ways for this hilarious Joker to go about proving his point, you may have noticed that I forgot to include the ONE path that JokerXXX, here, chose to take. And that one would be:
"You guys think it's a fake? Go ahead and call it a fake; I wasn't going to share it with you losers anyway. Just please shut up. (And I'm a little whiner.)"
LOL, you're clearly delusional and also: you suck. Bye bye.
Mr. Charles: be careful what information you waggle around here, okay?
"Angelica" as you can see NO ONE cares about my score so i don't think that I'll share it so easely...
As For "Microft" I'M NOT AMERICAN This is the reason For my bad english... You may don't know that there Are billions And billions of peoples like me in the world... So take it easy if Someone DOESEN'T speak english very well...
Funny how the owner of the HZ blog WASNT english either. I'm sorry, but the bad phrasings, the way it's orginized... this wreaks of a return of our old 'dear friend'. Do us a favor and leave us alone, please. I'm being nice right now. Get off the internet and try to stalk down Hans if it bothers you THAT much to get the music.
@Julia: his blog was shut down many months ago; but there is now another one that only offers track lists but no download links. We pray that the download links do not return.
@JokerXXX: My name is spelled with a 'y' not an 'i'. And what do you know? The name "Microft" appears in that track list I posted here way back January 5...which originated from the blog that got shut down.
And, yes I know that there are many other people in this world that speak a different language and thereby have to run their posts through a translator. Approximately 375 million people speak English as their first language, and it is often considered the world language as it is the one most studied by non-English speaking countries. However, you cannot quite say billions and billions of people are just like you. There are only roughly 7 billion people on the entire planet.
But I digress...Your style of just-a-little-bit-off grammar is identical to the owner, or our dear little friend, of that blog that got shut down.
And when people post track lists just to be assholes about them--I'm sorry, but you're getting what you deserve. You are just being a tease; it doesn't even matter at this point if what you have is legitimate or if it's just another variation of that shit edit you posted samples of on your blog several months ago. You have come to the wrong place and unless you decide to shut up or if the admins of this site delete this entire conversation, things can only get worse for you.
I mean... Really ?
I'm pretty sure it's a fake BUT if it is, it's a quite impressive fake. Not a single instance of unintended SFX, all the tracks that sounded sped up on the regular album sound to be played at their regular speed here, yes instances of obvious rear channel utilization of a DVD/Bluray 5.1 track do occur but as I've stated there isn't a single instance of unintended SFX and there is a lot of music I don't recall hearing on the official album on there that sounded clearer than a mere Bluray/DVD rip can produce. Overall apart from a very small handful of fan-made instances, this release is one I'd recommend grabbing if you can find it. It should quench your thirst until the sessions eventually make their rounds.
This is legit... it's probably an edit but it's a really good one. One track has slight SFX but that's the only one.
It's definitively better than the OST
Nope. Fake. Got this, some tracks have weird cut offs, and even hiss and sfx. Don't listen to anyone else, this isn't legit at all. Sorry :(
I heard there was problems with the tempo of some tracks...Is that true, and if so, how bad is it? Should I not buy it?
Its bad to the point where the music itself isnt even the same as in the film. The pitch is off key completely, and on top of that, sped up. the clock ticking is completely off. Just wait until a complete score leaks, or WB wises up and releases one. I rather doubt it. but we can try.
tempo + pitch = speed. The whole soundtrack is sped up compared to the film. It is, relatively speaking, the same music as what's heard in the film, only sped up. It is an inexcusable flaw, and like Chicken Joe said, the best thing we can do really, aside from making our own custom fixes, is wait for something better to come along.
No Mike, DO NOT buy it. Don't support WB. It's a horrible representation of the film. Perhaps Hybrid can shed some light as to why this happened?
Anyone know what song is used during the fight with the cossack, that's a great song but doesn't appear to be on the album...
Whatever it is, it's on the recording sessions that we probably won't ever get :(
What make you shure, that the recording sessions won't ever get out ?
My instincts :p But believe me, I pray everyday they get released.
It's by far the best song in the whole movie, and I have no clue why it is not in the OST. I don't know who plays the banjo, but the violin player is Ann Marie Calhoun; watch and listen on youtu.be/_LM4o-4XPh0 (unfortunately I'm not allowed to post the full link here; title is "Sherlock Holmes Soundtrack - Ann Marie Calhou - Hans Zimmer")
I would like to publicly thank the guy who fixed up the OST for me. He's very clever and smart when it comes to this sort of thing. He discovered the OST was sped up and the pitch / tone were off. So he worked on it through trial and error, and nailed it.
Sherlock Holmes: A Game of Shadows is now a thoroughly enjoyably listening experience for me. He shall rename nameless for the sake of keeping his anonymity, but he knows he is once he sees this message!!
Does this person, or yourself have the specs available so I can fiddle with Audition?
I believe this person may. I know the exact speed he slowed it down by, but I think I'll keep mum on it. He worked hard to figure it out. Maybe he'll pop up here and share, maybe not
I hear talk that the correction to be made on the OST is between -8.2% and -8.3% with the most accurate value being much closer to -8.2%. I also hear talk that this modified version of the OST may or may not soon find its way to a public location.
Keep it private, Mycroft. You worked hard on it. People are so selfish on this public place. AND they steal other people's works. Enjoy it for yourself, and the few others it's available to. We appreciate it
Thank you for making that realization for me, dear Gladstone. After a period of inactivity, my mind has sort of forgotten how cruel, rude, and ungracious this corner of the world can be.
Never mind what I said before. Okay...the numbers are correct but you will not be seeing this correction publicly available. Go figure it out for yourselves.
Why publically thank someone? Oh wait, its to get everyone rallied up and frothing at the mouth, of course.
As for "keep it to yourself" and all that nonsense - what a farce! Anyone can figure this out with Goldwave and a bit of time. Ridiculous! You think you'd had something truly special the way you're acting.
Haha, I got you talking, didn't I? I got you frothing at the mouth, eh? Truly, I have nothing special: just the OST rearranged to make it actually listenable (and, mind you, tolerable). Sure, anyone can do it, but likely nobody can or will do it the way I did it.
A "You're welcome!" is, of course, due to Gladstone, and to everyone else: "Cheers!"
me too' I Can fixed the album 'The Pitch Speed' with myself and it is very interesting now, but i wondered why WaterTower released this version in such high speed pitch and not the normal speed ?
CD1 01 Prologue (1891) 02 Explosion In Strasbourg 03 Holmes Fight 04 The Gift 05 Moriarty First Appearence / Main Titles 06 Sherlock's Room 07 'Do You Like My Spider Web?' 08 'What Have You Done To Gladstone?' 09 Crossing The Streets 10 Mycroft 11 Meeting Simza 12 Breackfast Is Ready 13 The Way To Marry Mary 14 Professor Wants To Meet Holmes 15 The Games Begin 16 This Is My Honeymoon 17 A Perfect Orchestration 18 'Where Are We Going?' 19 Follow Meinhard 20 Romanian Mind 21 Mary And Microft 22 To The Opera 23 Examination
CD2 01 Trip To Germany 02 Moriarty's Factory 03 In The Operations Room (Die Forelle) 04 Escape 05 Chase In The Forest 06 The Castle Over The Mountain / Chess 07 Final Confrontation / Memories Of Sherlock 08 The End? 09 End Credits 10 A Game Of Shadows (Suite) 11 Sherlock Holmes (Hans Zimmer Version) 12 Microft Suite 13 Die Forelle (Extended Version) 14 Trip To Germany (Extended Version) 15 Did You Kill My Wife? 16 Romani Holiday (Antonius Remix) 17 Beautiful Eyes 18 Spanish Club
Old and Wrong Track list and it is fake and unavailable anywhere ? it is not Complete score or Recording sessions or Bootleg and there won't be..
Fan Made - Fan Made - Fan Made :) not official
Really? It's a track list made by you? Scroll down this page far enough and you'll see when I posted this list back in January. Back then, it even had track lengths. What happened to them on your list?
Also, this is fan made, inaccurate, and the samples that were posted for it sounded like shit. Sorry; try again. Or rather, please don't; people posting fake track lists to falsely expanded, horribly inaccurate, crappy edits is only getting slightly tiresome.
Wait, so people posting fake track lists and then other people saying how fake those lists are is totally acceptable behavior? BUT as soon as someone comes along and says "Are these the real recording sessions?", their post gets removed. Makes no sense.
If this website was a train, then I'd say it'd been derailed for a good while now. All that's happening here is bootleg discussions; an opportunity for wannabes and elitists to make fun out of fans. How very deplorable.
Hi! After my battleship review, you can read on bsospirit.com my Sherlock Holmes: Game of Shadows review in english. I just made the translation. You can read about HZ Charitable fundation there. A hug, Jordi.