249. La noche en que una becaria encontró a Emiliano Revilla.

released soon on KRONOS RECORDS.

 

Thanks once again to Kronos records we can savour and enjoy a film score that ordinarily might have been overlooked and not released on any form of a recording. The music from 249. La noche en que una becaria encontró a Emiliano Revilla, is courtesy of Spanish born composer, Jose Sanchez Sanz, who I do not think will be that familiar to many collectors of music from movies, but, he is a composer who has already a number of film scores to his credit. The score for this documentary is a varied one, the composer successfully fusing both the conventional instrumentation of the orchestra with that of the synthetic and electronic aids that are utilised nowadays by composers and musicians. These two mediums however never clash or overpower each other, the composer has combined them in such a way that they complement, enhance and most importantly support each other and together create a work that is not only innovative and compelling but also a work that is entertaining. Strings and piano are merged with various percussive elements and a subtle scattering of woodwind, these elements jointly purvey superbly a sound and style that is tense, fearfully hesitant and dramatic, although saying this the score also has a slightly less serious side with glimmers of melancholy and nuances of warmth shining through. I suppose one could say this is a brooding soundtrack and a slow burning score, as it has three musical personas, the sad and slightly romantic face being underlined by a richly dark and unsettling side that itself is given more power and credence by the composers fertile and imaginative orchestration skills, that make the work sound larger than it is. Then we have the delicate and fragile character of the work which percolates through the shadowy and nervous material, the composer at one point adding a fleeting and ever so subtle accordion sound that is not that pronounced or prominent but still gives the work that something more, making the listener take even more interest in what is building musically. At times, I was reminded of the Morricone, Nicolai or Cipriani of the 1960, s, mainly because of the use of a somewhat ominous sounding piano which was embroidered by woodwind and strings, although together they create a tense and at times uneasy mood they still manage to be melodic in a strangely attractive and charming way, there were also occasions when I was reminded of other composers such as Dave Grusin, which cannot be a negative thing. The composer builds layers of music and as the work progresses adds various colours and musical notions at key points, these generate a delicious and riveting collection of themes and sub themes, that become almost addictive as the work grows. This is a score that initially sounds European, which given the composers origins is a somewhat accepted conclusion, but then we have another sound or style that begins to filter through and intertwine with the already established Euro sound, this gains momentum as the score develops and has affiliations to the Hollywood thriller score of both today and yesterday.

 

 

 

It is a soundtrack that figuratively oozes sophistication and quality, a work that is innovative, lingering and exciting, but moreover one that is entertaining and rewarding. I am sure that once heard it will also be a work that will convince collectors and connoisseurs of film music that this is a composer who’s name we should be aware of as a talent within the genre of movie scoring and also should look forward to more of his music being released. Jose Sanchez Sanz was born on July 4th,1970 in Madrid Spain. He is known for his work on the movies, I,LL SEE YOU IN MY DREAMS (2003), H6 DIARIO DE UN ASESINO (2005) and THE SYMMETRY OF LOVE from 2010 which contained a jazz influenced soundtrack that was haunting and appealing. As well as scoring feature films the composer has also worked on a number of shorts, television projects and game scores, his first scoring assignment being in 1993 when he worked on EL PRIMERIZO for directors, Francisco de Lucas and David Serrano. His first feature assignment came in 1996 when he wrote the score for MENOS QUE CERO, more short film assignments followed in that year and he scored his second feature a drama entitled BESOS Y ABRAZOS in 1997. The composer has worked steadily since his career in film/TV and media music began and has been involved with over 60 projects to date, his most recent being the short film, VELATORIO (BARROCO) for director Aitor De Miguel in 2016. The composers style is not a uniformed one, in fact his musical style seems to alter each time and he is able to adapt to each project he works on and is successful in fashioning a unique and singular musical voice for every storyline and scenario. I know it is a term quite freely utilised these days, but Jose Sanchez Sanz is quite literally chameleon-like in his approach to writing for film and creates music that enhances and embellishes, giving support and depth to certain characters and underlining situations that are unfolding on the screen. He does this without being intrusive or overbearing, which is as we all know the way in which good film music should work, I am also pleased to say that he also invents some great melodies along the way. The film 249. La noche en que una becaria encontró a Emiliano Revilla, tells the story of the night that the entrepreneur reappeared after being kidnapped by ETA. Told in documentary form with a duration of 77 minutes, it is an interesting and at times a thought provoking piece of cinema, directed by Luis Maria Ferrandez.

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