ALL EARS ON: Hans Zimmer | Vienna 2020. Captital of Music

If there is one place on earth that I think is incredibly
inspiring for musicians, it still is Vienna. My personal relationship
to Beethoven is that I’m forever trying
to make people understand that he is truly the
greatest genius in any form of music. Just the opening to the
5th, the ‘Da da da daaa’. Those few notes, every kid can walk
past the piano and go ‘Da da da daaa’. It takes genius to realize that you can make
a firework of a symphony out of it, that those few notes
can mean so much. How deeply this music still touches us. I hate him for the middle
movement of the 7th because it is so brilliant
in its simplicity. But that turnaround is just so … … amazing. I know I am supposed
to mention the 9th but I am just not going
to mention the 9th as being an absolute masterpiece. I come from film music,
or I come from pop music really. You are talking about trying
to find the ‘perfect hook’. Beethoven always knew that. He always knew he had to have a hook. Middle movement of the 7th
symphony – you can’t do any better. The passion that is in that music,
the constant giving his life to that music. Thank God that Vienna
at the end of the day let him stay and gave him a home. Thank God he existed,
thank God he created. Thank God his music is
there for us on a daily basis. Vienna sounds to me like … … music. But music that can be dissonant,
music that can be passionate, music that can be romantic,
music that can be beautiful, music that can be light,
music that can be disturbing, music that can start a revolution,
music that makes you dance, music that makes you
want to live forever. How can you not love Vienna? How can you not,
as a musician first of all, just be in awe walking down the streets and every street corner
means something to you. It managed to embrace a forward thinking, revolutionary ‘Weltanschauung’ and at the same time
to maintain the beauty, the culture and
everything from the past. Vienna is probably
the last place on earth where musicians
are properly respected. You just think about the thinkers,
poets and philosophers, writers, musicians and filmmakers. I mean in my world,
where would we be without Billy Wilder. I am not sure about Ernst Lubitsch
if he was Viennese or not. There would be
no Hollywood without Vienna. It’s an extraordinary place. The way the architecture of
these beautiful buildings in Vienna influences the acoustics and the acoustic on the other hand
then influences the performance which influences the music
you want to write for the place has become timeless because a lot of us got to music
not by being in Vienna, hearing live music but by hearing a recording. So many of these recordings were done
at Abbey Road or any of the other studios that were just copies of the architecture
of a Viennese concert hall. When the Synchron Stage got renovated, we might have been one of the first
to actually do something there. We recorded ‘Inferno’ with Ron Howard. Of course we did many episodes
of ‘The Crown’ with Peter Morgan. It was very important for me
that it would be Viennese musicians with Viennese technicians
in a Viennese space. I don’t know if it is
Hollywood’s pomposity that someone wants to bring in
their own engineer or something like this. Or if it is the insecurity
of the new place that says: Oh no, we’ll bring in
an engineer from Hollywood. For me it was very important that
it would be the team from Vienna. Because how can we start having
an international conversation if we don’t train our people
to speak internationally. I love Vienna because of
the friendliness of the people. Of how I get received in Vienna. I love Vienna because I love the food. I love Vienna because
I love going to see Egon Schiele. I love Vienna because
I love hearing music in a sophisticated environment. If you are a composer and
you have your music performed in Vienna by the Viennese, it doesn’t get any better than that.

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