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Is it fair to say Lorne Balfe was the primary composer here?
I think so. Considering it only says "Composer: Main Theme" next to Zimmer's name up there...I wouldn't be surprised if "Faith" was a largely Zimmer cue and the rest could be chalked up to Balfe, but that's purely guesswork on my part. The man in the green text probably will know better than I.
Hybrid, wonder if you could answer this:
So, a score like the Bible or Call of Duty MWFII says Hans Zimmer composer/main theme, Lorne Balfe composer, when I'm sure Lorne uses a majority of Zimmer's themes for the final score, then plays around with them for the cues. BUT then (as i've concluded from many comments on this site) a very similar thing happens on scores like Dark Knight Rises and Sherlock Holmes, yet only Zimmer is credited. Doesn't seem fair or Lorne?
Is this because of legal contract issues? or is there other reasons????
As much as I enjoy leisurely listening to the scores or Hans and RCP, I feel as if it's completely ruining the way film scores are made. It's no longer 1 composer spending hours and committing their life to the art, it's become a 'pop' album, where the credited person does basic work on themes and ideas, but then gives it to a million other people to 'do the work for them."
I'm all for collaboration, but this is completely ruining the art of film music.
I can answer that one, Anon. With The Dark Knight Rises, pretty much ALL the music comes from one of two sources: the suites Hans wrote for the movie or from the scores of Batman Begins and The Dark Knight (also by Hans). And even though Lorne arranged a whole lot of cues for the film, they're hardly changed from the way Hans wrote them, so you're truly listening to Hans Zimmer when you watch the film.
With Modern Warfare 2, Hans only wrote ONE piece, the Opening Titles. The other pieces are not only arranged by Lorne (as in TDKR) but COMPOSED BY Lorne (something not the case in TDKR).
While TDKR can truly be called a Hans score, however, I do understand the question with regards to Inception (which I mentioned on that page), where Lorne not only arranged the score as heard in the film but wrote a couple themes himself (Fischer's theme, Kick It Suite, and possibly even Saito's theme). In that case I would say he should be given credit as a co-composer.
In the Beginning is amazing! It's like a perfect mix of the love theme from POTC3 and the Da Vinci Code.
It is. I haven't seen the series, but I imagine judging by the track title that "I Am" plays during Moses' encounter with God in the Burning Bush. So I wonder how Hans felt having to score that a second time (the first time being "The Burning Bush" from "The Prince of Egypt").
Though perhaps this one was referring to the words Christ in John 8...But that seems unlikely.
Although not as good as either of those two things, plus the melody reminds me of Terminator somehow.
1 - In The Beginning (3:10) 2 - Belive Me (0:53) 3 - Hard Work (1:11) 4 - Faith (9:43) 5 - Sodom Down (7:32) 6 - Your Brother, Aran (2:32) 7 - Angel Of Death (0:35) 8 - "Let My People Go" (3:21) 9 - 10 Plagues Ahead (4:07) 10 - Death See Awakening (6:32) 11 - The Bravery Of My People (0:50) 12 - Joshua (4:49) 13 - "The Strength Is Not From Me" (1:57) 14 - Anointed (0:28) 15 - Journey (3:18) 16 - Zedekiah's Sons (1:55) 17 - Daniel Prays (5:53) 18 - We Won't Worship That! (3:43) 19 - Promised Land (2:50) 20 - A New King Will Rise (1:58) 21 - The Nativity (4:33) 22 - "Baptize Me, John!" (0:59) 23 - The Sea of ​​Galilee (3:56) 24 - You Sinners (2:20) 25 - Walking On Water (1:43) 26 - The Temple in Jerusalem (5:45) 27 - The Last Meal (4:42) 28 - Betrayal (1:56) 29 - Carrying The Cross (4:01) 30 - "You Will Be With Me In Paradise" (3:42) 31 - Persecution, Unexpected (6:54) 32 - "Who? Saul?" (2:56) 33 - Pentecost (2:15) 34 - Remain in the way (1:10) 35 - Opening (Alt. 1) (2:39) 36 - Opening (Alt. 2) (2:37) 37 - Opening (Final) (2:40) 38 - End credits (edited version) (0:46) 39 - End credits (final version) (0:59)
Highly doubt there's "only" 2 hours of music for a 7+ hour show. But I haven't seen it, so maybe there's not much music in it !(?)
@Per, maybe true, but there were a lot of places where the same music was tracked, looped and edited, as we witnessed in SURVIVOR, care of Landau's library music. The validity of this is so so, but the spelling mistakes worry me a little. I hope these are not fanmade titles...
Any info if this is a DVD-rip? Indeed there are a lot of scenes where the same music was tracked, but there is still a lot of great music in the series that has not been released yet, some great choral and orchestral passages and some nice variations of existing themes, so I do hope this is indeed real. The "Carrying The Cross" cue and the choral piece when Paul gets arrested in the end (also plays in the court of Pharaoh with Moses earlier on) are the ones I really wish were released.
@Bioscope: Spelling doesn't mean illegitimacy. On the cue list for Empire Strikes Back, John Williams consistently misspelled "Vader" as "Vadar". :P
Here who claims this is the complete score for you know 'Pentecost' film version is not 2'15.. this is the album version...
The use of "Faith" on screen is fantastic (Crucifixion scene)... :)
I'll have to watch this series. :)
I'm loving this score and some of the great variations of the themes throughout the series. What's the possibility more score will be released?
at Lorne Balfe's Youtube-Site exist more tracks from the serie
Great, Beautiful, Literally god music from Hans :) EPIC, best historic series i've ever seen. The last scene made me cry altought i am an atheist :)
Both my wife and I cried when we watched the scene, and I listened to the score underneath. I only now appreciate what this man went through for me, someone he had never even met as a human walking on Earth. Beautiful and wise that FAITH was also used with dread overlays for the Abraham and Isaac sequence. (Sacrificing your own son.
The most poigniant sequence since THE PASSION OF THE CHRIST as would be allowed for television viewing...
Our souls need a complete recording sessions. Terrific mini-series and divine score!!! The official album is also fantastic. I love this masterpiece *__* cheers
That would be awesome. It shouldn't be hard, as Lorne himself is lately so generous with his own material. SWEENEY and RESTLESS both offer legal complete scores, so why not THE BIBLE? It seems it is up to Hans Zimmer's views regarding his contributions...
Also, it feels like this score was done with sampled orchestra and live players, so the re-use should be minimal.
@Bryan: I TOTALLY agree! This score is very well done and anyone who says otherwise is ignorant at recognizing a great piece of work. It's like a mix of Da Vinci Code and Gladiator. Good mix.
I do not think I'm a ignorant. I heard more than 200 works of Hans Zimmer, and I would like to say that this one is Ok, but a disappointment in regards of what Zimmer has done many years before. The musical structure and the themes are not very original, i was expecting more, sorry.
On a "Faith" theme, I prefer to come back to the "Prince of Egypt" 15 years before...
So anyone who disagrees with you, Jimmer, is ignorant and incapable of recognizing "true art"? As Chandler would say, could you BE any more arrogant? :/
And @Jonathan...are there even 200 works of Hans Zimmer out there? Unless you're counting individual cues...
@ Edmund: Yes 200 is a bit exaggerated ;) 155 different works counting one track work such that "Who are the Roma?" Officially this is around 130 soundtracks for movies. More than 200 is with complete release...
Ah, gotcha. I don't tend to count completes and OSTs of the same movie as two different "works", so my count is somewhere around a hundred. Of course, it's hard to know whether to include something like Crysis 2 or Megamind where HZ only contributed a theme or some additional music.
this is masterpiece! one of the best work from hans and lorne in last years, who doesnt hear in this massive huge epic melodies is probably deaf...
Of course, if we do not count score like the one you mentioned, I'm not sure we will reach 40 or 50 by hans himself... ;) This is not a surprise to see that Hans is one the composer with the most credited film music comparing to the majority. But yes, maybe the half has not been written by him.
Personally, one of the last time I put more than **** stars to a Zimmer's score was back to 2006 with the Da Vinci Code , which seems to be one of the last real Zimmer score, a sign? ;)
And then you're getting about Da Vinci... But as usual you have no clue about how things are going on ! Just "I think" !
Well this is not the very large list of all people that are working on a Zimmer's soundtrack since 2006 that tends to think the opposite in fact. :D
I really enjoy Zimmer in general, but the last years were in my opinion the worst of his career, even if there were sometimes very good moments. Just a thought.
But "the Bible" is finally quite good, juste not very original. I still expect a lot for "Man of Steel" :D
It astounds me how synthy and cheap the whole thing sounds. Honestly, how does Hans Zimmer - the most popular, famous and probably rich composer working in Hollywood these days - always end up with scores that sound like the demos rather than the real thing? Comparing the brass samples from Black Rain and Days of Thunder to those you hear in his work today, there's hardly a difference despite 20-25 years of progress. They still sound tinny and laser-beam-like, and it's really annoying. I wish he'd go back to the more organic sound we heard in At World's End.
That aside, The Bible is rather a nice score, nothing special or memorable but easy to listen to.
I agree: it's a nice listen, but it isn't astounding, and I'm sure it serves its purpose in the series greatly.
I also could not agree more with the At World's End thing and sound quality. Perfectly said.
I think the soundtrack is nice enough, like a mix of prince of egypt and gladiator (mainly due to Lisa Gerrard of course). I didn't expect anything ground-breaking new of a mini-series about the Bible, tbh. This will keep me above water til Man of steel drops ;)
After a first listening of the score, I am mitigated. We really have the feeling to listen to a score 100 % " Lorne Balfe ". Not that I don't appreciate the talents of the second of Zimmer, but I believe that it will be necessary to wait for " Man of Steel " to have a really personal work of Zimmer.
The album is in any case very pleasant to listen to, mesmerizing, and which arouses a certain nostalgia listening the voice of Lisa Gerrard, always so magnificent.
"Faith" remains the cornerstone of the album because it really puts the orientation taken by the accomplices during the putting in music of this series: a purely dramatic style with ethnic tones.
I note that "In the Beginning" shares many notes with "Terminator" main theme! Weird... It will not prevent it from becoming, in my opinion, the most popular track of the album thanks to its epic and majestic side. Furthermore, it is, I think, the track which sounds most "Zimmer" on this album (even if Hybrid Soldier will doubtless say to me that it is the 100 % Balfe ;-)).
The tracks which I shall associate then are "Roma's Lament" (theme without Lisa) and "The Nativity" (Theme with Lisa) and who calls back to what extent the album is very done made (10 tracks separate them). Moreover, in "The Nativity", we can wait for madam Gerrard's best contribution. It is also the track which we could listen in one of the trailers.
Many tracks are more atmospheric moments, other side very representative of the album. It will be necessary to wait to listen to the soundtrack entirely to see if Zimmer&Cie didn't sacrifice more crunchy cues.
To conclude, this new album of Zimmer (And Balfe or the opposite:)) arrive appointed where we didn't really wait for it. Being focused on "Man of Steel", I had personally darkened it and the result is very promising. An album maybe less catchy because of its less memorable themes and its orchestrations sometimes a little bit lazy.
Nevertheless, it is with the guilty pleasure that I found one more time this association " Zimmer-Balfe " which, even if sometimes uneven always rests an interesting moment. He holds this flavor which makes that in my opinion, we can listen to it longer.
Whaaooo! I managed to speak about a score of Zimmer without quoting Gladiator, Da Vinci, the prince of Egypt, pearl to harbor, the red line (shit, mischief managed! :D). You will understand well the influences (or rather the resemblances) emanating from this score. I shall add a resemblance with "The Passion of the Christ" (or then it is the subject which disturbs my judgment).
To finish, buy it and listen it while waiting for "Complete" which I hope will be born!
Note-3,5 / 5
Ps- Sorry for my indistinct English.
In reading all that is here, I must admit the criticisms of Hans and Lorne are quite strong, and I'm not certain as to why. It seems like if the output is not some bombastic output, or if his (Hans') work is not singular, it's a disappointment. What gives? I personally think this is a wonderful, inspired and spirited work. Seems like the quotient for Hans has been set unreasonably high. This score is the eventual outcome of a terrific collabation between Hans, Lorne, and Lisa, written to underscore a profound religious film. It fits the series perfectly, so far. For those that "expected more", what does that mean? There are themes, variety, collaboration, structure, and a musical spirit that connects to the religious aspects -- who said it must be overtly precise.....rather, quite profound in just about every place so far, simple in others, and overall, the just right match to the scripture it was meant to support.
Hans (and Lorne, by extension in this example) has an evolving style. Everyone was slobbering over TDKR. This is just as excellent -- shame the score on CD is only a small representation of the larger work. Certain if that was available, the critics would be at bay.
Yes, this is a wonderful, inspired and spirited work, like you said. I believe that it is really necessary to look at the series to be made an objective opinion. In spite of the negative points, warning, this score remains a success. Indeed, there are themes (not rather memorable in my humble opinion but appropriated by the way).
To finish, last two minutes of the track "Faith" are simply fabulous!!!
Only for that, the score deserves to be listened to!
just downloaded this off iTunes and the times posted here are wrong
1. Faith (12:49) 2. In The Beginning (3:47) 3. Roma's Lament (5:31) 4. Hope (2:22) 5. Journey (3:18) 6. Zedekiah's Son (1:56) 7. Daniel Prays (2:12) 8. The Road to Jerusalem (2:06) 9. Pentecost (2:16) 10. King David (1:42) 11. I Am (3:45) 12. Pray For Us (1:51) 13. Free Us, Save Us (2:28) 14. The Nativity (4:34) 15. Creation Choral (2:14) 16. Rise Up In Faith (2:45)
Maybe somebody had previously forgotten to eliminate those lengthy silences from the beginning and end of the cues?
Yeah I think so I was probably given the length of a pre-master version or something... :P
What a disappointment. I expected so much of this. Hans Zimmer, Lisa Gerard, Lorne Balfe, epic story material, lyrical writing...
What I expected was an album full of tracks like cue 15. But unfortunately most of the album is atmospheric filler and no action material. I've should have known if Hans is involved all cool action music is scrapped, are bonus tracks or end up in an app instead of the album...
www.youtube.com/watch?v=urR8muDTkD0 The Bible Series Soundtrack - Faith
at 0:30 you can hear the score of TDKR part of "deshi basara" :o
Ha, I didn't even notice that.
while i'm liking the direction of the score, that it goes more into that emotional epic sound and they're moving a bit again into the beautiful and typical rcp sound, i have to say, that this track is so uninspired. they're trying to build up emotions and beautiness in that track, but there's no structure, no melody, nothing at all in it. everything sounds so randomly...
please don't get me wrong, i already said, in fact i'm liking what i'm hearing, but this could have been soooo much better then what we got. because of that what i said, that there is no structure or melody in it. it sounds more like lorne has done this, and having had only 5 minutes to do something "epic".
with zimmer, balfe and lisa, i've expected at least some more elaborated cues...
I don't really expect too much elaborate stuff from Zimmer these days. He's not really into that anymore, it seems.
I completely, completely, completely agree with you, tim. Twelve minutes of nothing, basically.
I think on the contrary it's a good balance with, say, an overstructured score like Sherlock.
Then again, it's just 13 minutes of HOURS of music written for the show. And from clips we heard, it has more "defined" themes & cues.
I just fear the OST will lack the action material and focuse on the more spiritual material. We'll see !
But I really like that suite, even if it's not built like Moriarty, Bane or the Gladiator Waltz... ;)
@ hybrid: if "faith" is one of the less interesting cues of the whole score, then i can live with that :D
but still very sad to hear the final result of the cue, as it has such a high potential to be a masterpiece cue. it began very epic, but that's it ^^ followed by random notes, which are getting louder and louder.
as much as i love lornes work, he's a huge talent and hope to hear from him more in the future, i think hans is letting him doing TOO much of his own work. lorne still needs that "little bit" that gives a cue a recognition or a melody you can remember of. his work always sounds to me like being only half ready. i can feel how he wants to put so much love and so many ideas in a cue, but in the end, there's not much to be find sadly. but i still have hope that his lump is being cracked...
and as for hans, for gods sake, do your music alone. i'm missing the times where i've been shocked by the beautiness of your music. it's been just too long now since the last score, which wowed me away :/
@tim: Asking Hans Zimmer to do his music alone is like asking James Horner not to rip bits out of his older scores, or like asking John Williams not to use a crapload of brass fanfares. It isn't going to happen...in fact, the last time it happened was probably the early 90s. Sorry. ;)
Then again, I agree with your sentiments on Lorne Balfe, who has yet to write the one score that proves beyond a doubt his full talent. Maybe if he wasn't so busy writing half of Zimmer's scores he'd have more time to focus on his solo projects (seriously, does the man sleep?). And, I also agree with your sentiments on Zimmer himself...the last time I was TRULY amazed by a score of his was Angels & Demons.
@ edmund: ha, yes i'm aware that zimmer is using a LOT of proteges who are writing for him etc. but still, his "older" scores had that sound which gave you the feeling, that at least the themes and melodies are from zimmer himself. nowadays, every score doesn't sound anymore if zimmer is really involved in these scores, but only others - not even anymore any themes at all etc.
i'm agreeing with you, if lorne would have taken his time for his solo-projects, then he could grew out of his role i think. but still, hearing all the new zimmer scores, gives me the feeling i'm hearing lorne all the way and not zimmer at all, so zimmers score ARE lornes solo projects ;P
On the contrary, HZ is much more involved since Begins than he was after Thin Red Line... ;)
And Lorne has tons of solo projects, just check his filmography on this very site !
I partially agree with you that there is not a really theme in it. However the music is beautiful. Just like faith itself: It's not concrete (like a theme) but it's miraculous at the same time. So I think the music perfectly reflects to the topic. And that's the key thing, this is film music after all.
I'll be honest here, as an avid Zimmer, I find it difficult to get into these new pieces. The rush track seemed pretty lazy as well.
@Hybrid: I know Lorne has a lot of solo projects...hence why I said he ought to FOCUS on them rather than having to do so much legwork for Zimmer! And also why I asked whether the man ever sleeps...last year he did (if I'm not missing anything) The Sweeney, Assassin's Creed 3, Skylanders: Giants and significant amounts of additional music (co-composition, really) for The Dark Knight Rises and Madagascar 3 (for the latter one I'd risk saying he probably did more than Hans himself, though that's just a hunch). That's a ridiculous amount of work for one guy to do! And I'm not saying any of it was bad, but I'd rather have him devote more time to perfecting his solo works and have Zimmer go it alone for once...despite it never going to happen.
If it's any consolation, Edmund, I don't think Lorne worked on Man of Steel... :P
@Al Bundy: yeah. i was the one who pointed that out. check the comments.
@Mike: No...but I know that Atli Orvarsson is for certain (serves him right after his laughably weak Hansel and Gretel score!), and probably some others too. But damn, how long has it been since the last Zimmer score with NO Balfe involvement? Da Vinci Code or something?
Samples from "The Bible"
The end of "Faith" (11:00 to end) is is really magnificent! Sounds like Thin Red Line/Pearl Harbor/Da Vinci big drama cues with a small of pinch of Lisa Gerrard ! Splendid...
And a cool making of video showing Hans and Lisa in the studio:
Thanks Elegy! Too bad it's so short.
I believe Hans incessantly lets Lorne do stuff because, as he said once, he "wants everyone to know Lorne Balfe is a good composer"...
That's all well and good, but if Lorne is gonna be doing half of Hans' projects like TDKR, he should get co-composer credit (not just "additional music"). I'd say the same about Geoff Zanelli for the Pirates movies.
First and last tracks are good ("Roma's Lament", "Nativity", "Creation Choral"). The rest is boring. Better than last Zimmer's work, but far far from "Da Vinci" or "Prince of Egypt"...
It kind of pisses me off that Lorne Balfe has always gazillion projects to do, but other composers of RCP have merely two or three every year. Where is the justice in that? How does this system even work?