The Journal
Eternity, Conducted
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DISCOVER A UNIQUE PERFORMANCE OF HANS ZIMMER’S “TRIBUTE TO ETERNITY”
When Hans Zimmer composed “Tribute to Eternity”, it already had a sense of vastness—like the universe stretching into infinity. Now, played on period instruments by the Amsterdam Baroque Orchestra, that scale takes on new depth. Conducting a composition is much like IWC’s engineering: a balance of precision, structure, and flow. Just as every note is deliberate, every watch mechanism is designed for perfect harmony.
We spoke with Dutch Countertenor and conductor Maarten Engeltjes about the technical challenges of bringing Zimmer’s vision to life, the connection between conducting and watchmaking, and what it’s like to perform in an IWC boutique instead of a concert hall.
— Maarten Engeltjes conducting his orchestra in the “Grote Zaal” (Great Hall) of Amsterdam’s Concertgebouw
CONCEPT OF ETERNITY
What was your first thought when you heard Hans Zimmer’s “Tribute to Eternity”?
When I first read the score of “Tribute to Eternity”, I was immediately struck by its timeless quality. Zimmer has this remarkable ability to blend simplicity with emotional depth, and the piece feels like a musical meditation on the concept of eternity itself. It evokes a sense of vastness, like gazing at the night sky and feeling both small and connected to something infinite. When you listen closely, you can hear a sense of expansion—like the universe itself unfolding into infinity.
What sparked the idea to record this piece with your orchestra?
The idea came from a desire to explore how music can express the intangible—time, memory, and the eternal. “Tribute to Eternity” fits that vision perfectly. It’s not just a beautiful composition; it resonates with the craftsmanship and precision that mirror the artistry of IWC’s Eternal Calendar. We wanted to bring that sense of timelessness to life through our performance.
WHEN PRECISION MEETS INTUITION
The score echoes IWC’s Eternal Calendar – an engineering marvel and GPHG (Grand Prix d’Horlogerie) “Aiguille d’Or” winner. Can you hear the precision?
Absolutely. Zimmer’s music often has a structural precision that feels almost mechanical, but in this piece, it’s woven with a natural, organic flow. The rhythmic patterns mirror the intricate gears of a watch, turning with exactitude while serving a greater emotional narrative. You can hear that precision, especially in how the recurring motifs return, like the reliable ticking of time itself.
Which part of the piece was the most challenging for you and the orchestra to perform?
The most challenging part was capturing the subtle shifts in dynamics and timing. Zimmer’s music often demands precision while maintaining emotional warmth. Achieving that balance—particularly in the quieter passages where every nuance matters—required deep focus from everyone involved.
How are watchmaking and the art of conducting an orchestra related?
There are remarkable parallels between watchmaking and conducting. Both art forms require absolute precision, but also creativity and intuition. A conductor must ensure every section of the orchestra moves in perfect synchrony—just like the components of a watch must work in flawless harmony. And both disciplines share a deep respect for time: one measures it, the other gives it emotional expression.
This connection feels even more special with our orchestra, as we play on period instruments—the oldest instrumental sounds you can find on the planet. These instruments carry the resonance of centuries past, creating a musical bridge between eternal time and the present moment.
— The Portugieser Eternal Calendar IW505701 is IWC’s first secular perpetual calendar, precise for 400 years, with a moon phase accurate to 45 million years
— Member of the Amsterdam Baroque Orchestra playing a theorbo in the IWC Boutique
FROM GRAND STAGE TO IWC’S AMSTERDAM BOUTIQUE
What’s it like playing this piece in an IWC boutique versus a grand concert hall?
Performing in an IWC boutique creates an intimate, immersive experience. The audience is closer to the musicians, and the connection feels more personal. In a grand concert hall, the sound has space to expand, creating a sense of grandeur. Each setting offers something unique: one is like appreciating the fine mechanics of a watch up close, while the other feels like experiencing time unfolding on a grand scale.
What’s next for you and your orchestra?
Looking ahead to the 2025/26 season, we are planning concerts in some of the most renowned halls in Europe, including the Concertgebouw in Amsterdam, Salle Gaveau in Paris, Tonhalle Zürich, Konzerthaus Wien, Herkulessaal Munich, Elbphilharmonie Hamburg, Flagey Brussels, and many others. Our mission is to continue bringing the timeless wonders of Mozart, Bach, and Händel to audiences across the continent.
— The Amsterdam Baroque Orchestra
— Maarten Engeltjes conducting his orchestra in the ‘Grote Zaal’ (Great Hall) of Amsterdam’s Concertgebouw
