The cues on "Fructus Gravis" that assert themselves about a minute in and carry it out on a swirl of strings, soprano voices and piano, provide for one of those moments in film scoring where the entire range of emotion and ambivalence is revealed.
Even here, Zimmer holds some of his cards in check, because this theme gives way to more complex shades, colors, and emotions that don't so much resolve as lead the listener in further. The first of these, "Dies Mercurii I Maritus," with its piano and hovering stings, does give way to a large pastoral theme a little over halfway through, but even it is re-introduced by eerie, sparse strings ( Hugh Marsh's solo violin playing throughout is his highest achievement yet in a career full of them) before they begin to pulse with suspense. The high degree of melancholy in the first three sections - "Dies Maercurii I Maritus," "L'Espirit des Gabriel," and "The Paschal Spiral" - creates a remarkably brooding tension and a speculative sense of foreboding. While the music here holds some of Zimmer's trademark dynamic and textural tropes, it is remarkably fresh and expertly nuanced.
It is tempting to think that even Hans Zimmer, a composer who has written music for cinema projects large and small - mostly large - for decades, would be intimidated by the responsibility of composing an original soundtrack score for Ron Howard's film adaptation of Dan Brown's pulp fiction blockbuster The Da Vinci Code.
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