GOLD.

 

56787

 

After his success with the score for THE MAN FROM UNCLE composer Daniel Pemberton returns with another top-notch soundtrack to GOLD. At first many collectors feared that the soundtrack release would be a song album only, but thankfully the score has been issued. Of course, for anyone interested the songs are available on the Varese Sarabande release. GOLD is based upon actual events but of course many of these have been altered and somewhat expanded upon. Directed by Award winning filmmaker, Stephen Gaghan (SYRIANA), the movie stars Matthew McConaughey as Kenny Wells who is determined to follow in the traditional family business which had been established by his Father played by Craig T Nelson who we see in various flashbacks. Kenny is presented as a down and out of luck hustler who is desperate to re-enter the business of acquiring precious metals, but for this he needs money, which he is begging for from whoever will listen. He travels to Borneo to seek out a river walker Mike Acosta played so convincingly by Edgar Ramirez and the story builds from there, but I won’t spoil it for you go see it, although you may find McConaughey’s character a little irritating because of his incessant chatting. Pemberton’s score is filled with varied and alluring melodies and styles, and ranges from jazz sounding rhythms which are overrun with beats and frantic pulses to subdued and calming guitar solos. There is also apprehension, drama and a sense of hopelessness purveyed within the score. The composer utilising fast paced percussive elements at time to relay an urgent and anxious musical persona. One of my favourite cues is track number 19, THE DISAPPEARANCE OF MIKE ACOSTA, which for me personally evoked memories of the quieter moments in the score for the 1970’s western BLUE by Greek composer Manos Hajidakis, the combination of guitar with underlying strings and finally more pronounced use of the string section is effective, emotive and highly lyrical. Pemberton makes effectual use of the percussive instrumentation throughout the work, often this being the foundation of the various themes included within the score. Which is certainly more pronounced in track number 20, RING OF FIRE 3, THE REVEAL, which begins with bass guitar that is joined by various percussion including drums, shakers, and bells, he then introduces strings in the background which carry the percussion along punctuating and embellishing it, woodwind is also put into the mix guitar and bass guitar providing a throbbing and continuous back beat.

Another delightful cue is track number 21. BLUE SKIES, solo guitar once again takes the centre stage to open the track but soon becomes a lilting background for a charming chiming effect which picks out the four-note motif that is underlined by subdued strings. The final cue is KEEP DIGGING (GOLD). This is more up-tempo and has about it a Spanish Latin feel and to be fair could be out of a Spaghetti Western score. Overall, GOLD is entertaining and enjoyable listen and for me adds even more credence to Pemberton’s credentials as a composer of film music. Next up for the composer is KING ARTHUR, now that will certainly be interesting.

Advertisements

IL GRANDE FAUSTO.

 

61txd6tti4l-_sx425_

 

 

Movies about sport or sporting personalities more often than not contain a musical score that is inspiring, romantic, highly thematic and above all emotional. Just cast your mind back to ROCKY, HOOSIERS, RUDY, and their like. IL GRANDE FAUSTO (1995) is no exception to the rule. The screenplay for this movie is based upon the life of Fausto Coppi, born in 1919, Coppi went on to be a champion class cyclist and took part in over 600 races all over the world out of this number he won 118. He competed in tours of France and Italy, and won these in the years 1940, 1947, 1949, 1952 and 1953.Composer Franco Piersanti fashioned an excellent score for the movie, the work being packed with some truly haunting and emotive tone poems as well as the numerous action led cues. The music for me evoked memories of Ennio Morricone, the way in which Piersanti orchestrates and builds themes is very similar to that of Maestro Morricone. This style or approach is evident more prominently within track number 8, GRANDE VITTORIA-GIRO D,ITALIA 1949. Urgent and racing strings open the track but these soon melt away and segue into a softer and far more gentle piece which is performed by solo piano and then solo whistler, these are then supported by use of subdued choir and underlying strings which add poignancy and fragility. The composer utilises solo piano a great deal within the score which for me personally makes the work more appealing and entertaining. It is rich with vibrant and highly emotive themes and awash with romantic undertones, where the composer fuses both piano strings and choir to evoke the richness and lushness of vintage scores from Hollywood. Tracks such as STORY OF A SECRET LOVE are simply stunning, this is a score that could easily be overlooked as I do not think the movie was released outside of Italy, the compact disc which was issued on CAM back in 1995, is one that I would recommend.

 

 
https://www.amazon.com/Grande-Fausto-Piersanti-Soundtrack-Audio/dp/B0000AIT08

PALLA DI NEVE.

61dfx1i237l-_sx425_

 

Carlo Siliotto is a composer whose name has made regular appearances on many film and TV credits since he began to write for the cinema in 1984 with his debut score CHI MI AIUTA? It was probably his score for FLIGHT OF THE INNOCENTS that threw him into the collecting fraternity’s and since then the composer has attained quite a following. Going back a few years now well more than a few to 1995, to an intimate and rather pleasing work for a comedy entitled PALLA DI NEVE or SNOWBALL as it was titled outside of Italy. The film focuses upon an entertainer who works on board a cruise ship and his relationship with a young boy and a rather cute Beluga whale. This is as one can imagine a tale filled with many emotional and heartrending scenarios and situations plus there are also as many comic and madcap occurrences as the story unfolds. Siliotto provided the movie with a varied and vibrant soundtrack, his score elevating and underling each moment. It is a score that is filled with melodic and poignant pieces which stand alongside and combine with as many lighter and more comedic thematic material. Throughout the work the composer attaining just the correct balance of each. The compact disc opens with THE MAIN TITLE THEME which begins with Whale song, or the sound of the Beluga, this is fleeting and short live with the composer bringing into play an introduction on solo piano, this is soon joined by the string section which take on the central theme and develop it into a rich and romantic sounding piece that eventually is performed by full orchestra, wind and brass sections melt away and give the stage to the string section as it performs a waltz like arrangement of the scores main theme. The cue then slows in tempo and strings gradually make way for lilting woods which bring the piece to its conclusion. The composer makes effective and positive use of solo piano throughout the score and it is this instrument that features in track number two with a particularly pleasant rendition of Siliotto’s core theme, it is a motif that is repeated throughout but is indeed kept fresh by the composer’s inventive orchestrations and arrangements. There is also a secondary theme heard at times, again performed in the main on piano, which is mirrored by a chiming effect giving the music an almost childlike sound. I am not going to say that this is the greatest score ever, but it is however an entertaining and highly melodic one. The composer acquitted himself admirably on this assignment and incorporated many styles into his score, which include, Jazz, and a scattering of dramatic and action cues. Released originally on the CAM label this is a score that will be a nice addition to any collection.

VICTORIA.

 

victoria-series

 

Right from episode one of VICTORIA which was screened last year (2016) on the ITV network in the UK, I was immediately struck by the musical score. At first I was not aware of the whom the composer was, but was not surprised the music was so good after I saw the credits for Ruth Barret and Martin Phipps, both have written some wonderful music both for TV and movies and have also diversified and reached out into other musical genres. I first became aware of Martin Phipps via his score for the movie BRIGHTON ROCK and it was earlier in 2016 that we experienced his music on the little screen for the BBC production of WAR AND PEACE. He has also provided the music for projects such as PEAKY BLINDERS, WALLANDER, WOMAN IN GOLD and worked with Ruth Barrett on a handful of assignments. Ruth Barrett too has been involved with several successful movies and TV programmes, HARRY BROWN, for example the 2009 Michael Caine movie on which she collaborated with Martin Phipps and the WHITECHAPEL series as well as more recently the delightful soundtrack to THE DURRELS. VICTORIA being a historical biopic about one of England’s most well-known Monarchs obviously called for music that was regal, epic and had to it special a appeal within its make-up. Phipps and Barrett I am glad to say succeeded in creating a score that superbly supported and underlined all the scenarios that unfolded in the first series and I am hopeful that the composers will return for the second series when it hits our screens later this year. I must admit that I wrote to Ruth Barrett enquiring if there would be a soundtrack release, to which she replied “hopefully” well it’s taken a while but it is now available as a digital release only, whether there are plans to release a compact disc or even a vinyl edition I am not sure, but the digital release age is upon us I suppose even though we are told that the old vinyl record is making a comeback, VICTORIA is available on Amazon, I Tunes and Spotify, and I for one do not mind putting up with listening to the score this way, it is a work that is imposing and certainly haunting thanks mainly to the composers use of the excellent voices that are THE MEDIAEVAL BAEBES, which are an all-Female musical ensemble which were formed in 1990 by Dorothy Carter and Katherine Blake. The sound achieved by this talented group is stunning and well suited to the drama of VICTORIA. The soundtrack opens with VICTORIA-THE SUITE, which is a full working of the central theme for the series that features he Mediaeval Baebes who are supported by strings, horns and other brass which are present but never in any way overpower the beautiful vocals which become increasingly prominent as the composition progresses.

 

viv

 

Track number two, THE KING IS DEAD is a more urgent and slightly more dramatic sounding piece which relies upon the use of driving strings that receive support and punctuation from the brass section, the strings creating a sense of urgency as they increase in volume but then fade away as swiftly they manifested themselves bringing the cue to its conclusion. Track three, CORONATION, is reversed as it begins slowly with a melancholy sounding piano solo, that performs a variation of the scores central theme, this lilting, and emotive opening ushers in a combination of voices and a mournful sounding cello that is itself accompanied by the string section and given support from organ as the wonderful voices of THE MEDIAEVEL BAEBES begin to add their weight to the proceedings. Track number four, LORD M. is a quieter and more subdued sounding piece, solo piano again which builds by way of a four-note motif that is gradually underlined by strings and then is joined by cello and as the composition builds in momentum more strings are added and timpani which creates an atmosphere that is slightly apprehensive. One of the many highlights of the score is track number five, LOCOMOTIVES, strings, woodwind, voices, and brass all combine to create a delightfully exhilarating and enjoyable piece. The score for VICTORIA is a delight to listen to it is a soundtrack that is filled with beautiful melodies, marvellous and unique sounding vocalising and it will be one that you will return to many times. Recommended.

 

thr0s6vvty

 

 

Track listing
1 Victoria The Suite – Martin Phipps, Benji Merrison & Mediaeval Baebes
2 The King Is Dead – Martin Phipps
3 Coronation – Martin Phipps & Mediaeval Baebes
4 Lord M – Martin Phipps
5 Locomotives – Ruth Barrett
6 Mirrors – Martin Phipps
7 The Wedding – Martin Phipps, Ruth Barrett & Mediaeval Baebes
8 The Royal Birth – Ruth Barrett
9 Privy Council – Martin Phipps
10 A Royal Affair – Ruth Barrett
11 Victoria Titles Martin Phipps and The Mediaeval Baebes.

LUZ DE SOLEDAD.

14316986_1227073204012118_8380964686975417043_n

 

Composer Oscar Martin Leanizbaruttia, is a newcomer to film music and a very welcome newcomer he is as well. His music is filled with a freshness and a highly emotive aura that is not only poignant and haunting but it not only does its job, which is to support and enhance the movies it ingratiates, but also stands alone as an entertaining and enriching experience when one savours it just as music without the images. LUZ DE SOLEDAD, was released in 2016 and is a biographical drama. It focuses upon Olga who is an only daughter and when her Father needs care after becoming ill it falls to her to carry out these duties as well as working all day in a law firm. She becomes exhausted and turns to the Church for help and in particular to a nun Sister Ines, who is a servant of Mary, much to the annoyance of her Father. The film tells of the beginnings of the order of the servants of Mary which is a religious order that was established in Madrid in 1851 by Father Miguel Martinez, and one which was guided, developed, and further established by Soledad Torres Acosta until her death in 1887. We see the persecution that the order has suffered during its formative years and the hardship that the servants of Mary had to endure, via wars, epidemics, and ignorance. The musical score as one can imagine given the films storyline has within it a deep and profound religious atmosphere, which the composer creates via the utilisation of subdued woodwinds, that are woven into the lilting and potently poignant strings, which together bring forth a rich and affecting spiritual mood. The score in places reminded me somewhat of the works of Italian composer Marco Frisina and at times lean towards the style and sound achieved by another Spanish composer Oscar Navarro (LA MULA), the composer purveying a fragility and an earthiness within his simple but powerfully emotive motifs. Solo violin is featured throughout as is a beautiful solo Female soprano, which adds so much depth and emotion to the score and becomes a mesmerising and vital component of the work. It is in the main a symphonic work but I think although I cannot be 100 percent sure that there are maybe a few synthetic aids used along the way, these however fuse and unite with the fully orchestral sound that is achieved. I must say that this is a rather lovely score, brimming with a richness and an abundance of themes which are varied and hauntingly beautiful, certainly an unexpected and wonderfully entertaining treat.

TRACK LISTING.
1.
Titulo
1:04
2.
Chamberí
4:39
3.
Quiero Ser Monja
2:04
4.
Una Nueva Fundación
1:42
5.
Los Votos
3:34
6.
Adelita
1:26
7.
Josefa
2:49
8.
En el Hospital
1:58
9.
Ciudad Rodrigo
2:24
10.
Madrid en Llamas
5:09
11.
Negativa en Palacio
1:22
12.
Despedida
2:17
13.
Dificultades
4:36
14.
Don Arturo
1:17
15.
En la Lechería
1:03
16.
El Sueño de Gabino
1:21
17.
Adelita No Responde
2:44
18.
Cólera
2:00
19.
Cuarentena
3:22
20.
Hasta el Final
2:24
21.
Hermana Soledad
1:02
22.
“Adelante!”
3:19
23.
Créditos Finales