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Totally phoned in...I got nothing from this...Y'know, up until recently, I also thought Lorne was one of the least interesting RCP composer next to Junkie XL. Then I listened to Genius: Picasso (because of that one Balfe troll's recommendation interestingly enough), and now I see enormous potential in him. That is one of the most interesting television scores I've heard so far. The orchestrations and overall complexity is an enormous achievement for Lorne and shows that he can do much more than generic sample composition. <br><br>I'll probably skip this score because I have no interest in Mission Impossible, but I have a lot more interest in Balfe's career now thanks to his work on Genius: Picasso. If he continues on that level of composing, he may actually get some notoriety.Um.....guys, why are we acting like Kraemer doesn't have the skill to do a different sort of score? I'm fairly positive Jack Reacher doesn't sound anything like RN. Really, the reason he wasn't brought in was because, apparently, McQuarrie was pissed that he was overruled in how he wanted the film to sound, so be deliberately chose not to hire him this time. Purely a thing of spite. And a lot of the disappointment lies in those who normally don't pay attention to film music, which shows just how special that particular score was.<br><br>Really, I'm confident that had McQ had his way this time, and with Kraemer on board, he would've made something that did fit the new tone of the film. Composers should be able to challenge themselves to do something that is out of their comfort. Which is likely why a lot of Zimmer scores are the way they are, since he's allowed to differentiate every once and a while.<br><br>As is, with this logic, Cruise should not have hired McQ again if he wanted a different kind of movie for Fallout.Hot take: Cruise saying that Fallout is the best score in the franchise is the equivalent of Danny Elfman saying there is only one Batman theme. Just marketing tricks to get one more excited.<br><br>Me personally, the general M:I sound isn't something I tend to get excited for, though I definitely acknowledge it's objectively well done. With M:I-2 though, while it's technically dated and incredibly cheesy, I admire it for those reasons, and is incredibly fun for me. Not to mention that the Spanish guitar is a lovely touch, and Injection is proof that there is more to Zimmer than some might think.<br><br>Balfe as a composer, to me, seems like tbe sort of guy who's told to get synth that fit the film well enough, and call it a day. Sure, there's one or two scores that go above and beyond to actually be something of note, but otherwise he's among the least interesting of the RCP bunch. Feel free to feel however you want, but that's my two cents.<br><br>It's frustrating that you have to deal with some of the touchier fans Edmund, but I'll admit that I do get a laugh everytime it happens. I love music, but I don't feel the need to get overly defensive about. I would just enjoy it and leave it like that.Meh on this one...Listening to it doesn't really do much for me. Maybe because I dont care for Cruise, or MIssion Impossible, or maybe because I already heard better from Inception and Fury Road....
Even on last year's Dunkirk Hans wrote 90% of it. Unless you are born in the last few months there is plenty of music which Hans wrote and many can remember.Interstellar is barely 3 years old.SamualPF - there people go again misconstruing my comments about some of the posters here as negative comments against Balfe or his music. I didn't say anything about the score. But sure, keep pushing that agenda.<br><br>George, you make fair, well-articulated points and for what it's worth, I never included you among those who have, shall we say, aroused my suspicions. I'm looking forward to checking out the score for myself and rest assured I'll give it a fair shake when I do. I've liked plenty of Balfe scores in the past, I swear I'm not a hater! :pNone of Kraemerís music is reused! Thematic consistency says what?I actually always listen to a new score with an open mind. If I start expecting something and the score doesn't sound like it or doesn't have a certain thing in it I will always be dissappointed. If I don't expect anything and it turns out a score is a dissappointment, it's not such a big deal.<br><br>For example:<br>A lot of people wanted/expected a lot of individual hero themes in Infinity War. I didn't think it was necessary and I'm absolutely in love with the score.<br><br>And in the cause of reprising themes from 30+ different character in a score of 2 hours would have been chaos. If you're talking about LOTR and themes, that's different story. Those scores were almost all 3 or 4 hours.<br><br>But all and all. I don't think this is a better score than RN, but I don't think it's a bad score. It fits the movie, and I think that's what a score is all about
Edmund ........<br><br>Yet again another negative comment about Balfe based on no fact . Sums you up really . The fact Tom Cruise who has produced the franchise has said he thinks is the best means something .we all get it that you donít like his music but simply contain yourself for always wanting to make pointless comments about him .<br><br>The reviews have been amazing for he filmmand Balfes scores . This may irritate you but at least watch the film and listen to the score then give a proper opinion.give it a goNo offense, Edmund, but if you havenít listened to it then donít make a judgement call on those of us that like it. Fallout in my opinion is the only really good RCP blockbuster score this year, and Iím going to voice my opinion on that. Pacific Rim, Tomb Raider, wrinkle in time, and Skyscraper have all been disappointments for me so when this surprisingly came out two weeks early, and I surprisingly liked it, then of course Iím going to ďflock overĒ and tell you all about how I feel. <br><br>Reviewers liking it is fun for those of us that like it. Tom cruise, who actually IS known to like film scores and has been to concerts for film scores (like Brian Tyler, even though Iím not crazy about him), liking it is also exciting for those of us that like this score and also for us who were excited to hear an updated RCP take on Mission Impossible. I root for all the RCP composers to succeed and create something memorable, and when others seem to like that too then Iím going to comment on it.<br><br>Whether it was Lorne Balfe, Henry Jackman, Ramin Djawadi, or Hans himself who scored this I would have been one of the first to tell you all if I liked it. And if I hated it I would also have voiced my disappointment... but simply put I was not disappointed and Iím glad that others are liking it, including reviewers and Tom Cruise.Once again, and not for the first time on this site, I can't help get the feeling that a Lorne Balfe score page is getting brigaded. Seems like every time he puts a new score out, a bunch of people flock to the page with glowingly positive comments (and brooking not even the slightest criticism), frequently from irregular users with very generic names who don't ever post in threads by other composers. And then using weak, tired arguments like "the reviewers love it" (I trust film reviewers on scores about as far as I can throw them) or "Tom Cruise said it's the best" (and since when is Cruise an authority on film scoring?) or "this is a new/modern/DARK M:I movie" (no excuse for a bad score). It feels, quite frankly, like shilling.<br><br>Disclaimer: haven't actually heard the score, I'm making no judgment on the music itself here. This is merely an observation of the posting patterns here.Iím right there with you. I definitely think Balfe is very talented, although heís far from one of the best composers out there. Especially compared to Zimmer.<br><br>That being said, Iím not crazy about MI:2. The highlights are solid (Injection and Bare Island especially) but I find most of the score either schizophrenic or just not as developed as the scores that influence it. Sorta like how everybody loves ďThe RingĒ but I canít personally canít help but hear it as a lesser version of Hannibal.Right, which is why Iím ok with this. Look, I love the score for Rogue Nation as much as everyone else, but I still kept an open mind and was surprised that I enjoyed Fallout as much as I did, regardless of the influences.
Thank you, Alex.  I appreciate it...Ohhh, nothing......Just here to remind folks what is the best M:I score. *cough*Balfe is not Zimmer*cough*<br><br>Seriously now.......Balfe seems to be turning into a film score version of Christopher Nolan. There are people who think he's the best thing since sliced bread, the next Jesus, and there are people who hate his guts. Personally, I don't mind him and I'm glad he gets to work on these big movies. But on the other hand, his score for the new MI movie is not even close to the greatness of Zimmer's MI2 score. At least in my opinion.I think most people listen to this score with a Rogue Nation kind of movie in their heads. But it's a very different kind of movie en the score works perfectly in the movie i.m.o.The purists than keep moaning missing Joe Kramer have not got a clue.they are living in the past and not thinking about the film.Fallout sound big and Epic and watching the HALO jump scene the music works perfectly .The reviewers have raved about the score and the film makers think at the best score from the franchise .One thing I can definitely say about this is, while the instrumentation sounds synthetic most of the time (something in most Balfe scores) there is more energy in the 95 minutes on album than most action scores nowadays, probably the most since Fury Road.<br><br>And of course the ďtraditionalistsĒ are really hating it, which means it must work wonders in context.
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Hans ZimmerLorne BalfeMatthew MargesonDominic Lewis
ComposerAdditional MusicAdditional ArrangementsAdditional Arrangements
Sherlock Holmes - A Game Of Shadows (Complete Score)
Label: Unofficial Release
Length: 159'25
HZimmer.com rating:        Not yet rated
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   2/5 (233 votes)
  1. Open (2:54)
  2. Street Fight (0:58)
  3. Auction Room (3:37)
  4. At The Restaurant (3:33)
  5. Coffee, Tobacco & Cocoa Leaves (2:20)
  6. Web Of Conspiracy (2:24)
  7. Web To Car (0:56)
  8. Drive (1:20)
  9. Meet Mycroft (1:10)
  10. Meet Simza (3:30)
  11. Fight With A Cossack (Part 1) (0:30)
  12. Fight With A Cossack (Part 2) (3:10)
  13. To The Wedding (0:34)
  14. Wedding (1:14)
  15. Moran (0:40)
  16. Holmes Confronts Moriarty (3:22)
  17. Honeymoon Begins (0:50)
  18. Train Opening (2:30)
  19. Implementation (1:02)
  20. No Accident (1:58)
  21. Holmes Plan (1:01)
  22. Mycroft Saves Mary - On To France (2:22)
  23. Find The Fortune Teller (2:59)
  24. Gypsy Fortress (1:18)
  25. Romanian Wind (2:08)
  26. Mycroft Is Naked (0:38)
  27. To Paris, Ravache & The Opera (1:43)
  28. Ravache (1:18)
  29. Imperator (1:49)
  30. To The Opera (4:25)
  31. Paris Bombing Investigation (1:35)
  32. Consider What We Know (2:16)
  33. Outro (0:57)
  34. Holmes Captured By Moran (4:05)
  35. Holmes Tortured (4:41)
  36. Escape The Factory (4:47)
  37. Forest Battle (2:01)
  38. Watson Revives Holmes (2:23)
  39. We're Going Home... Via Switzerland (0:34)
  40. We Don't Know What He's Planning (1:51)
  41. Cosmetic Surgery (4:46)
  42. Chess Match (5:51)
  43. Little Red Book (4:10)
  44. Pre Vis Finale (2:25)
  45. Memories Of Sherlock (2:17)
  46. Case Re-Opened (2:58)
  47. Moriarty Suite (13:34)
  48. Mycroft Suite (1:51)
  49. Did You Kill My Wife (Idea) (2:57)
  50. He's All Me Me Me (Idea) (2:09)
  51. Shush Club #1 (Source) (5:48)
  52. Shush Club #2 (Source) (3:54)
  53. Shush Club #3 (Source) (4:32)
  54. Beautiful Eyes (Source) (2:13)
  55. Open (Alternate) (3:29)
  56. Drive (Alternate) (3:38)
  57. Fight With A Cossack (Part 2) (Alternate) (3:12)
  58. Holmes Tortured - Die Forelle (Alternate) (3:42)
  59. Little Red Book (Alternate Ending) (0:52)
  60. Memories Of Sherlock (Alternate) (2:13)
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Edmund Meinerts reply Replies: 1 || 2018-06-09 13:25:40
So am I right in thinking that the "Shadows" cues on the album are a combination of "Moriarty Suite" with "Chess Match"? Those two run 19:25 together, and the Shadows cues are 18:17, so if you factor in the OST's 8% speed increase it could fit. I ask because those two cues are missing from the sessions leak and I'm trying to put together as complete an album as I can (shame two such important cues weren't included in the leak so as to have them at the right speed and pitch, I can slow it down myself but it still doesn't sound quite "right").


mpolonest123 2018-06-09 15:36:22
They are, although the first 2 minutes of ďChessĒ seem to be a mix of the complete Moriarity Suite and possibly ďHolmes Captured by MoranĒ

Bibi reply Replies: 0 || 2018-06-07 15:29:41
THIS is the score I was looking for ! Finally... after 6 years lol

Poe reply Replies: 1 || 2018-05-18 04:34:41
Why is Romanian Wind not sequenced after Case Re-Opened? Is not the former 7M48 and the latter 7M47?


Medigo2018-05-18 10:11:09
Probably for chronological purposes
even though the movie uses a shortened version of Romanian Wind at that time

thearmusicgroup reply Replies: 0 || 2018-05-16 08:15:56
Just listening to the first three tracks, it reminds me of how disappointed I was when the OST first released. This is one of my favorite scores by Zimmer, so this is like discovering it all over again!

Hari Haran reply Replies: 1 || 2018-05-16 01:21:55
Man, what is it with Hans and expanded releases? Between this and Batman v Superman earlier this year, it's like discovering one goldmine after the other. :D


badbu2018-05-16 07:18:40
hahahah so true :D

mpolonest123 reply Replies: 9 || 2018-05-13 17:51:09
So happy these are finally out!

Alongside At Worldís End, this is not only one of Zimmerís best sequel scores but one of his best scores in general. Between the Moriarity theme(s), the Romanian Gypsy influence, and all of the new ideas thrown in you really get a sense that Zimmer put a lot of heart into this one. And that train fight sequence? Definitely on par with the 18-minute action cue from Sherlock 1.

Itís also pretty cool to see the evolution of Moriarityís theme start off all proper and composed, only to gradually disintegrate as the music progresses. By ďPre-Vis FinaleĒ the theme is boiled down to only three notes. There is so much genius here, and the score never resorts to temping in numerous cues from the first film to pad it out (hereís looking at you TDKR/On Stranger Tides).

Honestly, I still canít understand why the album was such a mess? Between the pitch being off to missing important cues, that release was a disgrace. Now, if I had a major complaint with the score, itís that Simza never receives a proper theme. You have the gypsy sound for her, but no established identity.


kingfannypack is the MILFcommander2018-05-13 18:50:12
Hans' goes over this score a lot in his Masterclass, you can tell it's something he is very proud of. Rightly so!


Mike (OTM)2018-05-14 03:30:56
This is a pretty good score. I look forward to digging into it properly.


mpolonest123 2018-05-14 03:42:11
The alternate ďFight With A CossackĒ track is pretty cool, I can see where they got the beat for the remix album track. As for the unreleased material, I really love ďParis Bombing InvestigationĒ, something about that cue....


Mike (OTM(2018-05-14 21:15:55
Out of curiosity, what are some of the things he says about this score in the Master Class? I have no reason to spend money on it, cause I'm not an aspiring composer, but he doesn't talk about this particular score in interviews much...


Mephariel2018-05-14 22:50:20
He used some of the footage with the music as an example of creating the right tempo for a score. He also demonstrated the composition experimentation and work process he went through as he created the score's music diary.


Mikefilm82018-05-15 00:03:49
Is Balfe mentioned in the masterclass ?


Mephariel2018-05-15 00:19:36
I don't think so. I can't remember him mentioning other RCP composers (he didn't mention John Williams a couple of times I think). He mostly talked about directors not other composers.


mpolonest123 2018-05-15 01:42:13
He uses the Moriarity Suite (Tick Tock) to show how he uses his workstation to come up with ideas and assemble the music...


lol2018-05-15 09:11:36
sorry, the best sequel score?
TDK and Angels & Demons would like to have a word with you
lol

Mike (OTM) reply Replies: 0 || 2018-05-14 03:32:24
That Train Opening cue is ferocious. I love it.

T-Mann036 reply Replies: 0 || 2018-05-13 18:24:35
Kudos and thanks for sharing the complete score list, Soldier!

NM reply Replies: 1 || 2018-05-13 18:16:41
Thanks! Hybrid, did Hans write "Chess" as a suite and they fit the scene around it?


Medigo2018-05-13 18:18:54
the complete red book track is also not there, but it does have the film version of the outro

Felix reply Replies: 0 || 2018-05-13 16:51:23
Finally!!!

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Sherlock Holmes - A Game Of Shadows (Complete Score) soundtrack - Hans Zimmer 2011