Driving Miss Daisy and The Woman in Gold
I recently had the opportunity and pleasure to see one of the greatest composers of our time, perform some of his greatest hits. We all know Hans Zimmer as one of the most magical music makers of our generation, giving us classic music scores that will last a lifetime. Even now, his scores from over 20 years ago are coveted and loved by so many generations.
Witnessing live performances of these popular music scores is something that I will never forget. There is something so much more powerful and different about hearing these pieces performed live. And while the compositions are easily recognized when being performed live, Hans Zimmer does what every great artist does. He remakes the pieces as the moment dictates. There is always something a little different about each performance, some kind of new personalization and improvisation that occurs. And this is a reminder that each composition is a living piece of music. There will be infinite versions of the same piece, and each interpretation adds character.
Now there are a lot of pieces by Hans Zimmer that remains incredibly recognizable. But today, I wanted to highlight some of the pieces that are not as well known or pieces from films that are not as popular. This first composition is from one of the earliest films Hans Zimmer worked on. Driving Miss Daisy came out in the 80s, and it is very interesting to hear how much the score reflects that time in music. One of the characteristic elements of music in the 80s is the use of synthesizers and keyboards. This piece uses both, though in a way that is not necessarily conventional compared to the way the rest of the 80s employed the electronic instruments. The keyboards and synths are used more as back up instruments to provide the main piano melody some backup. Hans Zimmer also tends to employ a lot of live instruments, so we don't hear those electronic components very often. Most of what we get to hear is live instrumentation. I find that very interesting because as we progress through the timeline of Hans Zimmer's work, we get to hear more and more how he employs electronic elements. One thing to really point out is how different this composition sounds in comparison to Hans Zimmer's more popular pieces. There isn't an intensity here, which comes from the style of movie this is. But even if we compare this piece to some of the other upbeat and happier compositions, there is a different stylistic element we hear with this. Hans Zimmer has evolved his musical style, the genius brain ever churning out more and more incredible pieces.
This second composition is one that was composed for a film released last year. The score for this film, The Woman in Gold, is what I would consider very trademark for Hans Zimmer. The orchestral arrangement is a beautiful composition which reflects a multitude of emotions, something that Hans Zimmer is a remarkable at. He carefully combines the vulnerability of the film's subject with the intensity necessary to create a moving work of art. This piece sings of Hans Zimmer, with the strings maintaining a soft and melancholy beauty, supported by the rest of the calm orchestra. The piano makes for a heart-wrenching addition, something Hans Zimmer could never leave out of the score. Even between the two scores, one from the earliest of Hans Zimmer's pieces to one of the most recent, we get to hear how the genius never fades. Hans Zimmer is still able to deliver something masterful and wonderful. I hope you enjoy the music and please feel free to comment!
Witnessing live performances of these popular music scores is something that I will never forget. There is something so much more powerful and different about hearing these pieces performed live. And while the compositions are easily recognized when being performed live, Hans Zimmer does what every great artist does. He remakes the pieces as the moment dictates. There is always something a little different about each performance, some kind of new personalization and improvisation that occurs. And this is a reminder that each composition is a living piece of music. There will be infinite versions of the same piece, and each interpretation adds character.
Now there are a lot of pieces by Hans Zimmer that remains incredibly recognizable. But today, I wanted to highlight some of the pieces that are not as well known or pieces from films that are not as popular. This first composition is from one of the earliest films Hans Zimmer worked on. Driving Miss Daisy came out in the 80s, and it is very interesting to hear how much the score reflects that time in music. One of the characteristic elements of music in the 80s is the use of synthesizers and keyboards. This piece uses both, though in a way that is not necessarily conventional compared to the way the rest of the 80s employed the electronic instruments. The keyboards and synths are used more as back up instruments to provide the main piano melody some backup. Hans Zimmer also tends to employ a lot of live instruments, so we don't hear those electronic components very often. Most of what we get to hear is live instrumentation. I find that very interesting because as we progress through the timeline of Hans Zimmer's work, we get to hear more and more how he employs electronic elements. One thing to really point out is how different this composition sounds in comparison to Hans Zimmer's more popular pieces. There isn't an intensity here, which comes from the style of movie this is. But even if we compare this piece to some of the other upbeat and happier compositions, there is a different stylistic element we hear with this. Hans Zimmer has evolved his musical style, the genius brain ever churning out more and more incredible pieces.
This second composition is one that was composed for a film released last year. The score for this film, The Woman in Gold, is what I would consider very trademark for Hans Zimmer. The orchestral arrangement is a beautiful composition which reflects a multitude of emotions, something that Hans Zimmer is a remarkable at. He carefully combines the vulnerability of the film's subject with the intensity necessary to create a moving work of art. This piece sings of Hans Zimmer, with the strings maintaining a soft and melancholy beauty, supported by the rest of the calm orchestra. The piano makes for a heart-wrenching addition, something Hans Zimmer could never leave out of the score. Even between the two scores, one from the earliest of Hans Zimmer's pieces to one of the most recent, we get to hear how the genius never fades. Hans Zimmer is still able to deliver something masterful and wonderful. I hope you enjoy the music and please feel free to comment!
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