The Da Vinci Code (2006)
Track Listing
| 1. | Dies Mercurii I Martius | 06:05 |
| 2. | L'Esprit des Gabriel | 02:49 |
| 3. | The Paschal Spiral | 02:49 |
| 4. | Fructus Gravis | 02:49 |
| 5. | Ad Arcana | 06:07 |
| 6. | Malleus Maleficarum | 02:19 |
| 7. | Salvete Virgines | 03:17 |
| 8. | Daniel's 9th Cipher | 09:32 |
| 9. | Poisoned Chalice | 06:20 |
| 10. | The Citrine Cross | 05:21 |
| 11. | Rose of Arimathea | 08:11 |
| 12. | Beneath Alrischa | 04:23 |
| 13. | Chevaliers de Sangreal | 04:07 |
| 14. | Kyrie for the Magdalene | 03:57 |
| Total Time: | 68:06 |
Awards
- Golden Globe - Best Original Score - Motion Picture (2006)
- Broadcast Film Critics Association (BFCA) - Best Composer (2007)
- Grammy - Best Score Soundtrack Album for Motion Picture, Television or Other Visual Media (2007)
- Satellite - Best Original Score (2006)
- International Film Music Critics Association - Film Score of the Year (2006)
- International Film Music Critics Association - Best Original Score for an Action/Thriller Film (2006)
- International Film Music Critics Association - Best Single Cue of 2006 ("Chevaliers de Sangreal") (2006)
Ratings
|
User Average Rating:
5 Stars
Review Average Rating:
3.71 Stars
Reviews
3.71 StarsMike Brennan (SoundtrackNet)
"Much of the score has a tense, low string-dominated feel, like the cue from Gladiator, 'Patricide'. Oddly enough, despite the lack of a prominent main theme, the score remains very cohesive due to the consistent tone. The dark mood is only broken a few times by a solo piano."
Christian Clemmensen (Filmtracks)
"Buy it... if you appreciate Hans Zimmer's very consistent styles for the usage of choir, strings and synthesizer."
"Avoid it... if you'd rather hear music for the sacred feminine that doesn't sound like Crimson Tide and Batman Begins."
Jonathan Broxton (Movie Music UK)
"In many ways, Zimmer’s The Da Vinci Code is a re-working of the heavy string stylings he previously incorporated into scores such as Hannibal and The Ring, albeit with a slightly more spiritual flavour this time around. Zimmer’s intent here, though, is not to elicit feelings of fear or dread, but feelings of uncertainty, discovery, wonderment, and above all intelligence. This is a high-brow score for a film with a high-brow concept. For the most part, Zimmer adequately achieves all these aims, and writes a score which is dramatically appropriate, and perfect for the tone of the film, with several moments of dramatic power and great beauty. Unfortunately, in broad terms, it’s just not satisfying enough as an overall listening experience."
James Southall (Movie-Wave.net)
"He proceeded to listen with much pleasure to an hour's music which was classical in concept, if simple in execution; his favoured passages included a remarkable sequence for soprano and orchestra, some dynamic choral writing, and even some stirring dramatic writing for orchestra. He couldn't help but notice the similarities with both Hannibal and The Thin Red Line, but was unconcerned: 'this is driving, evocative, emotional music,' thought the professor, as yet another piece of impassioned choral music came through the speakers."
Read Full Review »Christopher Coleman (Tracksounds)
"Hans Zimmer's score THE DA VINCI CODE is a brooding work, well-matched to the religious and conspiratorial tones of the story. Hans Zimmer crafts a score that parallels the film's ominously mysterious atmosphere. Truthfully, one could easily sit down and read Dan Brown's novel with Zimmer's score playing in the background and probably find it an equally accurate pairing."
Mike Lyons (Cinemusic.net)
"In all honesty, The Da Vinci Code bears great resemblance to the style Zimmer used in scores such as Invincible and Hannibal. You could even call The Da Vinci Code extensions of those scores. As a result, is it more of the same? Nothing truly groundbreaking? Perhaps. But, all that aside, the music really is good. A rewarding listen, especially for fans of Zimmer's previous, elegiac writing."
Randall Larson (Music from the Movies)
"The music for Ron Howard’s adaptation of Dan Brown’s best-selling novel, The Da Vinci Code, is a sombre, affecting, and quite sobering composition. Far more in the vogue of Hannibal and Batman Begins than much of Hans Zimmer’s hybrid action-oriented material, the music is attractively arcane and sorrowfully sumptuous. It’s a striking and very varied score, built around layered melodies and recurring orchestral figures; the music is reverent in its tonality but at the same time resonates with a dark and passive cynicism.