With a live album and after three concerts which were a hit at the Accor Arena in Paris, Hans Zimmer is the most sought-after composer of film music today.
Musician for the cinema since the 80s, but signatory of soundtracks since 1990 (Miss Daisy and her driver), Hans Zimmer gave in concert on June 23, 24 and 25 in Paris his compositions for Dune, Inception, Wonder Woman, Gladiator, The Dark Knight… More than a concert, the Odessa orchestra led by the master gave a show with the firepower of a rock concert, which can be found on the double album, Hans Zimmer Live (Sony Classical) in stores.
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progressive-rock
With a full capacity of 20,300 people over three concerts, that’s 60,900 music lovers who came to listen to and see Hans Zimmer in Paris. Considerable for a country that has long neglected film music. The first impression is that of an optimal orchestral scale, mixing strings, brass and woodwinds with a powerful rhythm, where drums, percussion and bass drums support electric instruments. Zimmer alternates very orchestrated tracks with more sober and softer intros. He likes rhythm breaks and breaks, and does not play melodious, but dodecaphonic. He can move us to tears with the whispered theme of Gladiatorparticipate in the mystery ofInceptionsing the music of the spheres ofInterstellarand invent the epic of a Dark Knight or a superwoman.
The orchestration is not stingy with guitar fuzz, with the aerial solos of Mile Mare, while Zimmer plays bass with Juan Garcia-Herreros, and the synthesizer hovers in the background, and a rhythm machine makes a stealthy appearance. The composer uses the traditional or invented flutes of Pedro Eustache, as well as lyrical voices, including that of Lisa Gerrard, also a composer for the screen. Zimmer achieves the alchemy of progressive rock: combining symphonic and electric. Both come together in a musical dramatization, the project of telling a story.
Kaleidoscope
Hans Zimmer is supported for this by a light show of a sophistication worthy of Pink Floyd, master in the field. Very rhythmic, but dodecaphonic, the music of Hans Zimmer lends itself to the visual, cinematographic for which it is written, but also to an ambitious play of light. Punctuated with flash, swirls of ramps, light spindles, projections, not of film extracts but of original montages, sometimes abstract, the show has nothing to envy to the kaleidoscope of Floyd. Dance and aerial acrobatics are also invited, as in the concerts of the group Prog Hawkwind.
Hans Zimmer takes up space on a triple stage where the soloists line up, then the strings and brass, surmounted by a platform where performers take turns. The musicians are mostly female musicians, including a drummer (Holly Madge), a percussionist (Alexandra Suklar) and an electric cellist, Tina Gua, to which are added many voices, including that of Lobo M. During for The Lion King.
Hans Zimmer makes this world tour for the release of the double album of the live recording of the same concert. The composer brings together his scores over two hours in several suites. He often starts from traditional themes (Pirates of the Caribbean) to become repetitive and ascending in scale, or it gives rhythm to a march that follows that of its heroes (The Dark Knight). Playing harmonies without being melodious, the orchestral breadth reaches new heights, with powerful dramatization. Grand.