Music Composed, Arranged & Produced by Hans Zimmer
Soundtrack Album Compiled by Bob Badami Executive in Charge of Music for Columbia Pictures: Lia Vollack Executive Album Producers: Ron Howard, Brian Grazer & John Calley Violin Solos by Joshua Bell
Additional Music by Lorne Balfe & Atli Örvarsson Ambient Music Design: Mel Wesson Orchestration: Bruce Fowler Music Supervision: Bob Badami Music Editor: Daniel Pinder Assistant Music Editor: Letitia Rogers
Soloists Guitar: Heitor Pereira Cello: Martin Tillman Percussion: Ryeland Allison & Satnam Ramgotra Synthesizers: Hans Zimmer
Music Arranged by Julian Kershaw Synth Programming: Matthew Margeson, Howard Scarr, Jacob Shea & Noah Sorota Music Conducted by Nick Glennie-Smith Music Recorded & Mixed by Alan Meyerson Sequencer Programming: Thomas Broderick & Peter Oso Snell Digital Instrument Design: Mark Wherry Additional Recording by Geoff Foster, Todd Whitelock, Slamm Andrews, Jeffrey Biggers & Greg Vines Music Production Services: Steven Kofsky Score Coordinator: Andrew Zack Sample Development: Claudius Bruese, Sam Estes & Michael Hobe Technical Assistant: Andrew Kawczynski Assistant Engineers: Katia Lewin & Adam Schmidt Music Preparation: Booker White Orchestra Contractor: Peter Rotter Music Recorded at Sony Pictures Studios, Culver City, CA & Clinton Recording Studio, New York, NY
Music Mixed at Remote Control Productions, Santa Monica, CA
Studio Manager for Remote Control Productions: Czarina Russell
For Sony Classical General Manager: Alex Miller A&R: David Lai Product Marketing: Leslie Collman-Smith Product Development: Jennifer Liebeskind & Laura Kszan Business Affairs: Tara Bruh
Hans Zimmer would like to thank: Suzanne Zimmer & the Mini Z's, Zoe Zimmer & Brigitte Zimmer
Ron Howard, Brian Grazer, Todd Hallowell, Dan Brown, Akiva Goldsman, John Calley, Louisa Velis, Dan Hanley, Mike Hill, Chic Ciccolini, Daniel Pagan, Tom Fleischman, Lia Vollack, Raul Perez, Tiffany Bordenave, Becky Bentham, Alison Burton, Scott Camilli, Ronni Chasen, Heidi Frederick, Teese Gohl, Esobol Gomez, Michael Gorfaine, Gavin Greenaway, Cheryl Howard, Kathy Keegan, Patrick Kim, Steven Kofsky, Kai Krause, Christina Mansky, Mike Rizzuto, Lee Rossignol, Jeff Sanderson, Sam Schwartz, Talley Singer, Shalini Singh, Chris Strong, Angie Teo, Nikki Walsh, Mindy Weissman, Andrew Zack & Matthew Zelle
Thanks to: Tim Ahlering, Shelly Bunge, Valerie Caton, Rod Davis & Paul Friedman
Release date : 05/12/2009
160 BPM (6:42) Hans Zimmer
God Particle (5:20) Hans Zimmer, Lorne Balfe, Atli Örvarsson, Mel Wesson
Air (9:08) Hans Zimmer, Lorne Balfe, Atli Örvarsson, Geoff Zanelli, Mel Wesson
Fire (6:51) Hans Zimmer, Lorne Balfe
Black Smoke (5:45) Hans Zimmer, Lorne Balfe, Mel Wesson
Science And Religion (12:27) Hans Zimmer
Immolation (3:38) Hans Zimmer, Lorne Balfe
Election By Adoration (2:12) Hans Zimmer, Nick Glennie-Smith
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I don't see the point in "breaking" a cue out of DVC to reimplement it in A&D. Orchestrations and instruments are different... this is not the same cue. Enjoy it as it is presented on DVC album... or wait for a true complete score ! No ? :D
Yeah Dawn, like I don't see the point in "cutting" tracks to put them in correct order... I mean, the album is buit as suites !
OK, if you get an album like Kung Fu Panda, with complete tracks isolated from each other, or Sessions with all the tracks, then OK I'd put them in the correct order...
But with albums like A&D or POTC 3, I don't get it !
Why not cut tracks? Well, A&D/ DvC would be quite difficuilt, but if you have a long suite like in POTC3, I don't think now is the best Time at (aprox) 3 minutes starts Atli's piece, which is quite different from the first part. And Atli out around 4:55... So you have a complete different piece there, right in the middle. I don't find cutting good for every suite, but this is in my opinion a textbook example of a track which you could cut with a proper argumentation.
Personally, I hate long suites... I find 10 mins too long for one track...
Long suite is the essence of the true zimmer's style. Remember 'Crimson Tide', 'Beyond Rangoon', 'Peacemaker'. I feel this way is the better for appreciate the globality of a score. Maybe these 30 seconds at the middle of the track (random track) will be bad if the author would cut them for another track.
Those were awefully compiled scores... Yes to make a track of 30 seconds is aweful too.. I prefer scores compiled like Gladiator or The Holiday, though the last one has some very short tracks...
I 'cut' tracks only to put them in chronological order. I prefer listening to a score as it was heard in the film. Though I only do this when I can do a proper fade in/out.
Timings: 1. Main titles (God Particle 0:00-1:05) 2. Antimatter (God Particle 1:05-end) 3. Sealing Conclave (Air 0:00-1:54) 4. To Raphael's Tomb (I60 BPM 2:09-4:26) 5. Air (Air 1:54-end) 6. Fire (Fire 0:00-4:57) 7. Cross Rome (Fire 4:57-end) 8. The Illuminati Church (Black Smoke All of it) 9. The Camerlengo's Destiny (Science and Religion All of it) 10. Election by Adoration (Election by adoration all of it) 11. The Cross Keys (H20 all of it) 12. Immolation (Immolation all of it) 13. The last Preferiti (503 all of it) 14. End Credits (I60 BPM all of it)
zimmer you re thwe greatest musiker , thinker about powerful stranger capacity of fantasic im a phd psychologist , everynight i m analysin' u re music i have explored things that i have been resarchi'always
4/5
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