Art of the Score: The Music of Hans Zimmer
Today, when you go to the movies, you’ll hear Hans Zimmer.
You might hear the composer himself, who is surely one of the most prolific creatives in any field working in Hollywood today. In 2021 alone, Zimmer released the soundtracks for six major films, including No Time to Die and Dune, while he worked on another two scores for the following year, as well as music for four television series. Today, especially when you’re seeing the biggest productions Hollywood has to offer, chances are they’ll be scored by Hans Zimmer, who along with John Williams is one of the few film composers to become a genuine household name.
But even if you don’t hear Zimmer himself at your local multiplex, you’re still likely to hear his influence. Hollywood directors, videogame studios, and even reality television producers today all want that Zimmer sound. If you go to a movie like Mission Impossible: Dead Reckoning (2023) you’ll hear music by Lorne Balfe, a protégé of Zimmer’s and a long-term collaborator at Zimmer’s Remote Control studios. If you go and see Aquaman (2018) you’ll hear a soundtrack composed by Rupert Gregson-Williams, another Remote Control associate. Or, on the small screen, tune in for an episode of Game of Thrones, Westworld, or House of the Dragon and you’ll hear yet another Zimmer mentee, Ramin Djawadi. Each composer has their own ability, their own skill, and their own sound—but each also follows in the footsteps of Zimmer, as do many who have never officially collaborated with the man himself. Zimmer is everywhere.
So how did Hans Zimmer become the man who changed the way we hear the movies?
Born in Frankfurt in 1957 to a musician mother and an engineer father, Zimmer grew up with “one foot in the music camp and the other foot in the technology camp,” as he told an interviewer in 2013. It was to prove an auspicious beginning. Despite only sustaining interest enough for two weeks of piano lessons as a child, Zimmer quickly took to synthesisers in his twenties and meandered his way through several rock bands in 1970s London including The Buggles, and Zimmer can to this day be seen on keyboards at the back of their music video for “Video Killed the Radio Star”. Falling in with veteran film composer Stanley Myers (The Deer Hunter ), Zimmer apprenticed in the UK film industry before breaking into Hollywood first with his music for Rain Man (1988) and then Driving Miss Daisy (1989). He was a man in-demand in the 1990s, with his mixture of slightly dorky early digital music-making and the familiar film orchestra giving the movies he wrote music for, like Thelma & Louise (1991), Crimson Tide (1995), and The Rock (1996) a burst of fresh energy (and, in the case of The Lion King, an Academy Award for Zimmer along the way).
The new millennium, and a string of critical and financial successes in the form of The Thin Red Line (1998), Gladiator (2000, co-composed with Australian Lisa Gerrard), and then the Pirates of the Caribbean (2003) and Batman Begins (2005–2012) franchises cemented Hans Zimmer as Hollywood’s musical man of the moment. This Hans Zimmer was a long
ZIMMER | 3–4 May 6
ART OF THE SCORE: THE MUSIC OF HANS
way from the man who composed the very 1980s beat of Driving Miss Daisy This Zimmer’s music was muscular and powerful, delving into a musical vocabulary informed by rock and pop, German art music of the likes of Wagner and Mahler, and the digital tools Zimmer used and developed along the way.
Zimmer’s music has always been negotiated through technology. Not content with the usual electronic synthesisers used by composers in the 1980s, Zimmer quickly moved on to writing music for samplers and virtual instruments, where highly sophisticated digital technology is deployed to create an orchestral sound on a single computer. Gone overnight, it seemed, were the days where a director would hear their score for the first time with hundreds of musicians at the recording studio. For Gladiator, director Ridley Scott and editor Pietro Scalia moved into Zimmer’s music studio to cut the film while Zimmer composed next door, with ideas shared, tested, and debated in real time. Today, Zimmer writes at least partly as much for computer as for orchestra.
“Hans is a minimalist composer with a sort of maximalist production sense,” says director Christopher Nolan, one of Zimmer’s most significant collaborators. From the mid-2000s the Zimmer sound became exactly this—simple musical ideas suffused into extremities. His Batman theme from The Dark Knight trilogy, for example, is just two notes, like a musical bat-signal illuminating the clouds above in its sign-like simplicity. Zimmer’s beloved ‘Time’ from Nolan’s Inception (2010) is also a case in point, with just four simple chords repeated in the same order over and over from the beginning of the piece to its conclusion. It’s Zimmer’s sense of epochal scale that makes the track: we begin ‘Time’
whisper-quiet on piano, and over the course of four-and-a-half minutes reach the full might of fortissimo symphony orchestra and Zimmer’s bag of digital production tricks. It is breathtaking. “They can just turn the music louder and louder and louder,” says Nolan, “because you realise the momentum of the film is entirely defined by the structure of the music.”
Yet the moment you think that the rest of the film industry has cottoned on to Zimmer’s style, he moves on. “You have to learn how to deal with the technology so it doesn’t drive you,” says Zimmer in a lesson that some of his imitators have never learnt. Today, Zimmer’s career spans as wide a variety as the church organs of Interstellar (2014), the reverb-drenched synths of Blade Runner 2049 (2017), the rumble of Dune (2021), and the musical nostalgia of No Time to Die (2021).
In all cases, what you remember is more than music. You remember the power of the soundtrack and the overwhelming emotion of Zimmer’s score. You remember music that is bigger than you are, that is bigger than the moment. You remember music that is bigger, even, than Hans Zimmer.
© Dan Golding 2023
SCORE: THE MUSIC OF HANS ZIMMER | 3–4 May 7
ART OF THE
Melbourne Symphony Orchestra
Established in 1906, the Melbourne Symphony Orchestra is Australia’s pre-eminent orchestra and a cornerstone of Victoria’s rich, cultural heritage.
Each year, the MSO engages with more than 5 million people, presenting in excess of 180 public events across live performances, TV, radio and online broadcasts, and via its online concert hall, MSO.LIVE, with audiences in 56 countries.
With a reputation for excellence, versatility and innovation, the MSO works with culturally diverse and First Nations leaders to build community and deliver music to people across Melbourne, the state of Victoria and around the world.
In 2023, the MSO’s Chief Conductor, Jaime Martín continues an exciting new phase in the Orchestra’s history. Maestro Martín joins an Artistic Family that includes Principal Guest Conductor Xian Zhang, Principal Conductor in Residence, Benjamin Northey, Conductor Laureate, Sir Andrew Davis CBE, Cybec Assistant Conductor Fellow, Carlo Antonioli, MSO Chorus Director, Warren Trevelyan-Jones, Soloist in Residence, Siobhan Stagg, Composer in Residence, Mary Finsterer, Ensemble in Residence, Gondwana Voices, Cybec Young Composer in Residence, Melissa Douglas and Young Artist in Association, Christian Li.
The Melbourne Symphony Orchestra respectfully acknowledges the people of the Eastern Kulin Nations, on whose un‑ceded lands we honour the continuation of the oldest music practice in the world.
ART OF THE SCORE: THE MUSIC OF HANS ZIMMER | 3–4 May 8
My first experience with the MSO was when I was very young....We were taken to a school concert, in the Melbourne Town Hall, conducted by Sir Bernard Heinze.… and I can honestly say that the MSO has never been out of my life since.”
Musicians Performing in this Concert
FIRST VIOLINS
Tair Khisambeev
Assistant Concertmaster
Di Jameson and Frank Mercurio#
Kirsty Bremner
Amanda Chen
Sarah Curro
Peter Fellin
Deborah Goodall
Anne-Marie Johnson
Kirstin Kenny
Eleanor Mancini
Mark Mogilevski
Michelle Ruffolo
Kathryn Taylor
Michael-Loftus Hills*
SECOND VIOLINS
Matthew Tomkins
Principal
The Gross Foundation#
Mary Allison
Isin Cakmakcioglu
Freya Franzen
Cong Gu
Newton Family in memory of Rae Rothfield#
Andrew Hall
Isy Wasserman
Philippa West
Andrew Dudgeon AM#
Patrick Wong
Hyon Ju Newman#
Roger Young
Shane Buggle and Rosie Callanan#
Madeleine Jevons*
VIOLAS
Christopher Moore Principal
Di Jameson and Frank Mercurio#
Lauren Brigden
William Clark
Gabrielle Halloran
Fiona Sargeant
Isabel Morse*
Molly Collier-O’Boyle*
Karen Columbine*
CELLOS
David Berlin Principal
Angela Sargeant
Michelle Wood
Andrew and Judy Rogers#
Jonathan Chim*
Nils Hobiger*
Erna Lai*
DOUBLE BASSES
Rohan Dasika
Benjamin Hanlon
Frank Mercurio and Di Jameson#
Suzanne Lee
Stephen Newton
Sophie Galaise and Clarence Fraser#
Luca Arcaro*
FLUTES
Prudence Davis
Principal
Anonymous#
Sarah Beggs
PICCOLO
Andrew Macleod Principal
Correct as of 24 April 2023
Learn more about our musicians on the MSO website
ZIMMER | 3–4 May 10
OBOES
Emmanuel Cassimatis* Guest Principal
Ann Blackburn
The Rosemary Norman Foundation#
COR ANGLAIS
Rachel Curkpatrick* Guest Principal
CLARINETS
David Thomas Principal
Craig Hill
BASS CLARINET
Jon Craven
Principal
BASSOONS
Jack Schiller
Principal
Natasha Thomas
Dr Martin Tymms and Patricia Nilsson#
CONTRABASSOON
Brock Imison Principal
HORNS
Saul Lewis
Principal Third
The late Hon Michael Watt
KC and Cecilie Hall#
Abbey Edlin
Nereda Hanlon and Michael Hanlon AM#
Rachel Shaw
Gary McPherson#
Rebecca Luton*
TRUMPETS
Shane Hooton
Associate Principal
Glenn Sedgwick#
William Evans
Rosie Turner
John and Diana Frew#
TROMBONES
Richard Shirley
Mike Szabo
Principal Bass Trombone
TUBA
Timothy Buzbee
Principal
TIMPANI
Scott Weatherson
Acting Principal
PERCUSSION
Shaun Trubiano
Acting Principal
John Arcaro
Tim and Lyn Edward#
Robert Cossom
Drs Rhyl Wade and Clem Gruen#
HARP
Yinuo Mu Principal
Robert Allan*
Lara Wilson*
KEYBOARD
Louisa Breen*
Laurence Matheson*
* Denotes Guest Musician # Position supported by 11
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ART OF THE SCORE
Art of the Score is a Melbourne-based podcast that explores, demystifies and celebrates some of the greatest soundtracks of all time from the world of film, TV and video games. In each episode hosts Andrew Pogson, Dan Golding and Nicholas Buc check out a soundtrack they love, break down its main themes, explore what makes the score tick and hopefully impart their love of the world of soundtracks.
Art of the Score has enjoyed time in the iTunes Top 10, What’s Hot and New & Noteworthy lists and is listened to by soundtrack geeks all around the world. Head on over to artofthescore.com.au for more nerdery and tomfoolery.
NICHOLAS BUC conductor
Nicholas Buc is an Award-winning composer, conductor and arranger. As the recipient of the prestigious Brian May Scholarship, he completed a Master’s degree in Scoring for Film and Multimedia at New York University, receiving the Elmer Bernstein Award for Film Scoring.
He recently completed work on the new Australian feature film Slant, starring Sigrid Thornton and Pia Miranda, which won Best Australian Feature at Monster Fest 2022. He also scored the Ukrainian documentary Slava, which won Best Short Film at Byron All Shorts Flickerfest 2023.
He has worked with Wynton Marsalis and the Jazz at Lincoln Center Orchestra, Nick Cave and Warren Ellis, Chris Botti, Amanda Palmer, Ben Folds and Australian pop sensation Tina Arena. He has written arrangements for Birds of Tokyo, Missy Higgins and Vera Blue as well as working on Junior MasterChef, The Voice Australia and the 2021 AFL Grand Final.
Nicholas is highly sought after as a conductor for live film concerts, having conducted the world premieres of Star Wars: The Last Jedi, Close Encounters of the Third Kind, The Lion King (2019), Beauty and the Beast (2017), Shrek 2 and Harry Potter and the Deathly Hallows Part 2.
He is also the only person in the world to have conducted all three original Star Wars films in concert...in one day!
ART OF THE SCORE: THE MUSIC OF HANS ZIMMER | 3–4 May 12
A/PROF. DAN GOLDING host
Associate Professor Dan Golding is Deputy Chair of Media and Communication at Swinburne University, the host of Screen Sounds on ABC Classic, and an award-winning composer and writer.
Dan is the author of Star Wars After Lucas (University of Minnesota Press, 2019), and the co-author of Game Changers (Affirm Press, 2016). He also created the soundtrack for the BAFTA, DICE, and GDCA winning Untitled Goose Game (2019), which became the first game soundtrack to be nominated for an ARIA award in history.
Other composing includes the soundtracks for Push Me Pull You (2016) and the Frog Detective series, for which his score for The Haunted Island (2018) won the APRA-AMCOS Australian Game Developer award for Best Music. Dan recently composed the theme for the ABC’s flagship podcast, ABC News Daily. Find him on Twitter @dangolding , or online at dangolding.com.
ANDREW P OGSON host
Andrew Pogson is a producer, director and jazz musician who has worked in the music industry for over 20 years. He is the founder and Creative Director of Concert Lab, a concert producing and production company, and was previously the Head of Presentations at the Melbourne Symphony Orchestra.
He has worked with artists such as Sting, Randy Newman, Tim Minchin, Ben Folds, Joe Hisaishi and Studio Ghibli, Kate Miller-Heidke and Flight Facilities, along with creating and producing world premieres with the MSO such as The Doctor Who Symphonic Spectacular, Video Games Unplugged, Babe in Concert, Symphonica featuring Armand Van Helden, The Film Music of Nick Cave & Warren Ellis and This Gaming Life with music comedy trio Tripod (where he also hosts their podcast Perfectly Good Podcast). Find him on Twitter
@JazzNerd
L R: Dan Golding, Andrew Pogson and Nicholas Buc. Photo credit: Melanie Hiluta
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Anonymous (4)
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18
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Anonymous (12)
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20
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Anonymous (19)
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Michelle Wood
Glenn Sedgwick
Tiffany Cheng, Shane Hooton
Dr Martin Tymms and Patricia Nilsson
Natasha Thomas Anonymous
Prudence Davis
HONORARY APPOINTMENTS
Life Members
Mr Marc Besen AC
John Gandel AC and Pauline Gandel AC
Sir Elton John CBE
Harold Mitchell AC
Lady Potter AC CMRI
Jeanne Pratt AC
Michael Ullmer AO and Jenny Ullmer
Anonymous
MSO Ambassador
Geoffrey Rush AC
The MSO honours the memory of Life Members
Mrs Eva Besen AO
John Brockman OAM
The Honourable Alan Goldberg AO QC
Roger Riordan AM
Ila Vanrenen
22 SUPPORTERS
MSO ARTISTIC FAMILY
Jaime Martín
Chief Conductor
Xian Zhang
Principal Guest Conductor
Benjamin Northey
Principal Conductor in Residence
Carlo Antonioli
Cybec Assistant Conductor Fellow
Sir Andrew Davis
Conductor Laureate
Hiroyuki Iwaki †
Conductor Laureate (1974–2006)
Warren Trevelyan-Jones
MSO Chorus Director
Siobhan Stagg
2023 Soloist in Residence
Gondwana Voices
2023 Ensemble in Residence
Christian Li
Young Artist in Association
Mary Finsterer
2023 Composer in Residence
Melissa Douglas
2023 Cybec Young Composer in Residence
Christopher Moore
Creative Producer, MSO Chamber
Deborah Cheetham Fraillon AO
MSO First Nations Creative Chair
Dr Anita Collins
Creative Chair for Learning and Engagement
Artistic Ambassadors
Tan Dun
Lu Siqing
MSO BOARD
Chairman
David Li AM
Co-Deputy Chairs
Di Jameson
Helen Silver AO
Managing Director
Sophie Galaise
Board Directors
Shane Buggle
Andrew Dudgeon AM
Lorraine Hook
Margaret Jackson AC
David Krasnostein AM
Gary McPherson
Farrel Meltzer
Hyon-Ju Newman
Glenn Sedgwick
Company Secretary
Oliver Carton
The MSO relies on your ongoing philanthropic support to sustain our artists, and support access, education, community engagement and more. We invite our supporters to get close to the MSO through a range of special events.
The MSO welcomes your support at any level. Donations of $2 and over are tax deductible, and supporters are recognised as follows:
$500+ (Overture)
$1,000+ (Player)
$2,500+ (Associate)
$5,000+ (Principal)
$10,000+ (Maestro)
$20,000+ (Impresario)
$50,000+ (Virtuoso)
$100,000+ (Platinum)
23 SUPPORTERS
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Redeem online or at the distillery bar in Southbank.
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