Angehem little pathos, clean processing - Good film music

You have to admit, a little went Ridley Scott Ritter epic "Kingdom of Heaven", which is about the 3rd Crusade, already in anticipation of the third "Star Wars" film under and also the journalistic criticism was more of a All kinds of benevolence to an annoyed Abwinken ,

When the musical program of the film a judgment is not made quickly because the Hans-bedroom pupil Harry Gregson-Williams has indeed certainly not rashly grasped at his score to crusade drama to score and his will is to break out of the Media Ventures sound template here quite tangible and honorable, but can be trip to the monumental staged battle between Christianity and Islam, unfortunately, miss a ultimately compelling personal style. The nevertheless not uninteresting guessed trip related to the liturgical Gregorian chants ("Burning the Past", "Crusaders") is reminiscent of similar bearing passages from Thomas Newman's "Angels in America" ​​and otherwise reminiscent of Newman's work are to be found more frequently. Besides Newman particularly in the unusually high number for an epic history material very intimate landscaped passages for smaller instrumental groups also James Horner Pate, a quieter desert wind called Goldsmith (whose music was used for 13 warriors in the film) blows by the Knights droves.

When it comes to it, to give a musical face of the Arab world, engages Gregson-Williams is not deep into the cliché mothballs, though still can not remember him, as although skilful but familiar fusion of oriental or African percussion with the in room Gladiator reminiscent duduk. Arabic vocals and a few strange-sounding e-violin and electric cello parts also somewhat reminiscent of "Black Hawk Down".

Now all this may seem like an unbalanced, rather makeshift score sound, but is intended to suggest thereby only the expectation to be taken on an otherwise positive surprising soundtrack something: Because after all the justified criticism can Gregson-Williams' contribution to film, Clash of Civilizations 'yet as successful call. On the one hand because the Briton is a truly excellent craftsmen and his handling of the orchestras, which are joined by two choirs here, is really determined by the interests of variety and complexity. The only two real action pieces of music - "The Battle of Kerak" and "Terms" - for example, are characterized by a pleasant unemotional gestures and impressive use of song or chorus.

Furthermore, the thematic foundation of the music is solid, almost without exception. Although featured in the first tracks subjects can all miss the great harmonic or melodic union, but pale and nondescript are no attributes that you want to give them. At least in "Burning the Past" presented topic wins after several Hördurchgängen even considerable charm. An attempt was made to hire compared to Hans Zimmer's "Gladiator", the often lies Gregson-Williams' music for Scott movie thus clearly ahead because what you miss on basic ingenuity, it makes for long periods by a much more careful and stylistically more closed drafting, thematic organization and noticeable attention to detail (not least in the choral passages) Bet what shines through especially after repeated listening. Bottom line on this conceptual although conventional, but beautifully prepared and great sounding music several times have his joy and also because - with due modesty - recommend most film music listeners.