BEYAZ MELEK. WHITE ANGEL.

 

One of the reasons that I decided to set up Movie Music Italiana or Movie Music International as it is known now, was because of my love of film music from other countries outside of my native England. I hope as the blog/web site has developed and evolved I have been able to bring reviews and news of film scores from many different lands and keep you informed about new composers and films. I recently came across quite by accident a handful of scores from Turkish movies, obviously with the music being created by composers from that country. One score in particular caught my attention and that was WHITE ANGEL or BEYAZ MELEK, to give movie its original title. The music in this case is the work of two composers, Yildiray Gurgen and Mahsun Kirmizigul (who is also a writer and actor), they are assisted by other composers and artistes along the way, however, the music flows and it is as if it is the work of one individual rather than five of six separate creators. The score for BEYAZ MELEK is a varied one and for the most part is symphonic, it contains some beautiful melodies and its fair share of darker and somewhat sinister or apprehensive moments. On the first listen I was struck by not only the scores richness but also by its commanding and powerful presence which is achieved by the use of strings and brass that are supported and embellished by urgent sounding choral accompaniment at times. There is also a fragile and intimate side to this work with solo piano performing a lilting and haunting set of themes that are emotive and deliciously simple, but at the same time so effective and ultimately affecting. One of the tracks on the score that instantly got my attention was track number 3, EL, which employs solo piano, that acts an introduction to a full working of the exquisitely sensitive theme by the string section of the orchestra that is punctuated by solo trumpet and subtle use of woodwind that in turn are embellished by the faint use of timpani which briefly adds a martial sound to the proceedings. The composer responsible for this wonderfully lyrical piece is Tevfik Kulak, but to be honest if you were not aware of the composer, one could be forgiven for assuming it was either Thomas Newman or Rachel Portman one was listening to. The remainder of the score is also a richly rewarding listening experience and contains a few dialogue cues but these also contain music so it is well worth listening, this is a score that is uplifting and highly emotional, and one I would recommend highly. Please check it out.

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