![]() And for those of you who like this score, do check out An Everlasting Piece, which is also quite good and may have slipped under the radar for many Hans Zimmer fans. The score for Sherlock Holmes is a refreshing sound from Zimmer and there is plenty for traditional Zimmer fans to enjoy as well. Zimmer found his favorite soloists and went from there so the score would feature the emotion of the players in ways a large ensemble cannot. Music can still sound massive without being massive, while bringing out solo performances as individuals make their instruments sing. In the interview mentioned above, Hans Zimmer says that he has given up on large orchestras because it puts a blanket over the music. Again like Angels & Demons and An Everlasting Piece, the music is performed by soloists and a very small orchestra, moving away from the well-known large Zimmer orchestra and synth scores. Relatively, Sherlock Holmes is a small score. The end of the cue features a very slow, but heavy statement of the theme, then picks up the pace, racing to the end of the album with whirling strings and the main theme as the rhythmic pulses of the underscore. The final track, "Catatonie" is quieter and slower, but maintains the music-box style of the melody. As the cue progresses, the brass kicks in for some of its limited presence in this score as the main theme takes an underlying, rhythmic role. 6 Months" is an epic 18-minute track featuring a range from solo accordion to pounding bass strings. A slower cue at the end of "My Mind Rebels at Stagnation" features this more restrained pace and solo cello. Some of the slower parts to the score are reminiscent of the Angels & Demons style, yet maintain the Sherlock Holmes feeling. The versatility of this tune is such that it is able to be utilized as both a main melody and a rhythmic component of other cues. The Holmes theme is a cousin to the style of the Jack Sparrow theme from the Pirates sequels, but has its own identity through the further variation in orchestrations. Zimmer intentionally wanted a lack of melodic presence for scenes when Watson was alone without Holmes. There is no theme for Watson, just one for Holmes. The main theme from Sherlock Holmes is quirky and is performed by an odd arrangement of instruments, usually an assortment of plucked and bowed strings, but also including the cimbalom, banjo and accordion, such as in "Discombobulate" and "My Mind Rebels at Stagnation". Yet while there may be a number of similarities, the score as a whole is a step sideways from many of the projects Zimmer has undertaken in recent years and is a very interesting score to listen to. Fans will also note a common use of the trilled acoustic guitar often heard in the North African scenes from Gladiator. For example, "I Never Woke Up In Handcuffs Before" features racing strings, both acoustic and electric, over a light percussion rhythm, and backed by tubas. His father, Charles Altamont Doyle, a talented illustrator, was born in England of Irish descent, and his mother, born Mary Foley, was Irish. Rather, we get somewhat of an amalgam of the Jack Sparrow themes from Pirates of the Caribbean and An Everlasting Piece, Zimmer's Irish score from 2000. Sir Arthur Ignatius Conan Doyle was born the third of ten siblings on in Edinburgh, Scotland. Granted, it is not at all what one expects when he scores an action film. However, there is plenty of familiar territory here for Hans Zimmer fans. The score matches the humorous, quirky style of the film and employs Irish and gypsy-influenced instrumentation, including banjos, fiddles, accordions, and North African percussion, all performed by soloists. The composer also says that it doesn't sound like anything else. ![]() According to Zimmer, this score is experimental and, like the movie, a little out there. Highly implausible at times, but also powerfully effective.In a recent interview on .uk, Hans Zimmer admitted to intentionally moving as far from the sound of The Dark Knight as he could for Sherlock Holmes, partially on director Guy Ritchie's request. Tense scenes of a young girl on a plummeting aeroplane turned out to be a metaphor for Eurus’s fear and isolation. The much-mourned Redbeard wasn’t the family dog but a little boy: Sherlock’s childhood chum with whom he played pirates, until jealous Eurus threw him down a well. Sherrinford, hinted to be a third Holmes brother, wasn’t a person but a place. Twists kept on coming in this Chinese puzzle of a story, co-written by series creators Gatiss and Steven Moffat. Louise Brealey also shone in her sole, heart-wrenching scene as pathologist Molly Hooper. Actor Andrew Scott swaggered, chewed scenery and palpably relished his return. Now she set her estranged siblings a string of life-or-death dilemmas, aided by recordings of Moriarty from beyond the grave. The lunatics had literally taken over the asylum. Except rather than being imprisoned, Eurus turned her guards (led by guest star Art Malik) into captives themselves.
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