Probably his most unified orchestral work,note thanks in part to the contributions of John Powell the album flows seamlessly with the visuals from beginning to end. But that is easily the most famous snippet from the film and can be heard in other film trailers.
Black Hawk Down has a great score from start to finish, but the climax is with the last two pieces. The first is a beautiful song sung in Gaelic, and you can tell that it's a song of grief and loss even without understanding the lyrics (and they play it as they show the flag-draped coffins of the dead soldiers, the epilogue appears on screen, and an unknown soldier tells his wife to "be strong, tuck the girls in bed, and give them a kiss from daddy"). The second is "The Minstrel Boy", which runs as the credits begin. It has to be heard to be appreciated.
Another music piece that stands out is "Tribal War", which is a more action-oriented piece. However, it subverts the typical "awesome" battle music by becoming immensely menacing in tone. It sounds less like an epic battle is happening and more like a monster is on the loose.
Gladiator's musical finale is also extremely touching, climaxing with the track Now We Are Free, which is sung in a language that no one can understand but conveys the exact message as the title.
Other notable tracks include the Bach-esque "The Kraken", particularly the moment where the leviathan smashes the Edinburgh Trader clean in two; and the love/adventure theme from At World's End, presented up-tempo in "Up Is Down, and more sedately in "One Day."
(Captain!) Jack Sparrow has an especially fitting theme in part 2: alternatively tense and sedate, somewhat ambiguous, and slightly drunk.
At Wit's End, an epic song when the crew of the Black Pearl undertake the journey to save Jack Sparrow. There is also a heartbreaking and dramatic rendition for Davy Jones theme as he is forced to destroy other pirate vessels under command of Lord Beckett.
Finally, a small but beautiful motif from the "parasail" scene in At World's End: Here at 2:37 from the "Marry Me" suite which sadly hasn't seen nearly enough of the light of day. It was a crime to leave it off the soundtrack...
Also heard in the above track (and elsewhere in the soundtrack; it essentially makes up the backbone of the score) is Will and Elizabeth's theme. Just... God damn, Will and Elizabeth's theme is just heart-swelling. Anakin and Padmé have got nothing on these two. That theme alone could play on loop for several hours and the soundtrack would still be awesome.
Also in the grand finale of "One Day". First heard on the voyage to World's End, and then completed with the Big Damn Kiss, it's basically the unifying song of the third movie.
Sadly the music from the climactic scene mentioned above ("Part of the Ship"/"Hold On") is only used once in World's End, and not in any other track. Zimmer said he had come up with a musical cue so good, he kicked himself for using it in an existing work.
The wonderful Morricone hommage "Parley" from the At World's End Soundtrack.
And the background score for the Battle of the Maelstrom (track listing; 'I Don't Think Now Is the Best Time') is a Moment of Awesome all by itself.
Mission Impossible 2 had a pretty fantastic score, and not only because of Zimmer's badass reworking of the main theme. "Mano-A-Mano" is pure epic, and the track "Injection" made the scene it was used in surprisingly moving - especially considering the silliness of the plot.
Spirit: Stallion of the Cimarron is an animated movie about a horse. The horse, amazingly, never speaks more than a bit of narration. It doesn't matter, because Hans Zimmer wrote the soundtrack, and it is AWESOMELY expressive: "Run Free" and "Homeland". Bryan Adams wrote the lyrics, and while they don't work for some, "You Can't Take Me" is a rousing anthem for freedom.
It's one of the few scores to use heroic marches and victorious music performed exclusively by traditional African choirs. Simba's King Theme, known unofficially as "Busa Simba" bookends the movie during the end credits.
"Election by Adoration", carried by violin virtuoso Joshua Bell's solo, and an awesome backing on the organ. 'ere we go.
Zimmer divided the score to The Prince of Egypt with Stephen Schwartz, who wrote the vocal tracks while Zimmer wrote the instrumental music. Both sides of the soundtrack have many awesome moments.
On the instrumental side, Red Sea's masterful use of tempo and instrumentation make the listener feel every emotion present in the film, and while Cry isn't particularly famous, Zimmer's use of motif and vocals accentuates the pain felt by the slaves.
Among vocal tracks, there is the powerful opening piece, "Deliver Us," sung by Ofra Haza.
The Sherlock Holmes soundtrack, especially "Psychological Recovery...6 Months", which gets bonus points for being more than eighteen minutes long. If you haven't got that kind of time, Discombobulate manages to encapsulate pretty much everything you need to know about the Downey Jr.'s portrayal of Holmes, the setting, and the music for the rest of the film in one quirkily awesome two and a half minute package. And while it's more sedate at the beginning, the last three minutes of "Catatonic" build up to an absolutely furiously paced climax that must have set a more than a couple violins on fire.
From Rango, "Bats." Pretty interesting use of public domain music.
"Coward" sounds like Hans Zimmer had a child with Mike Oldfield's "Tubular bells" AKA the theme from The Exorcist, and that child proceeded to fall asleep on his father's organ. You really start to hear the similarity at around the 5 minute mark.