Its that time again Soundtrack supplement is into its 50’s now so welcome to number 52.
What I said in the soundtrack supplement extra article last week about electronic and synth-based scores still stands but there has been a glimmer of hope in recent days for the future of melodic and emotive film scoring in the form of Claret by Oscar Martin Leanizbarrutia, which I reviewed just the other day as well as catching up with the composer and talking about the score.
Plus, there have been a few scores released that are filled with proper themes and symphonically performed music, there is an exquisite sounding work being released soon by Mexican composer Alejandro Karo, the composer you might remember scored the movie Jesus of Nazareth (not the Zefferelli) but a more recent take on the life of Christ which contained a beautiful score. available on Kronos Records and digital platforms.
One of his latest works which he collaborates with Maya Lepro on is for the movie 90 Dias Para El 2 De Julio, the score is a fusion of electronic, samples, synthetic and conventional instrumentation. Which is balanced just so to create a work that is brimming with tantalizing and effecting tone poems and layered interludes that at times hint at themes and convey an emotive and lingering atmosphere. It has to it a pleasing and lingering persona, with the composers purveying a sense of calm and poignancy throughout, the solo piano passages being particularly affecting, available on digital platforms through Plaza Mayor, but this is a short score just four cues, with a running time of just under six minutes, very brief but it makes its mark upon the listener. Whilst listening to this score why not also check out two more recent scores from Karo, which are written in the same style but also have to them a more dramatic side the composer delving into darker musical areas, take a listen to Tocar El Cielo, and Buenos Dias Ignacio, I am sure you will enjoy both. There is also like a showreel album on digital platforms entitled Trailer Music vol 1, which is the work of the composer and Maya Lepro, certainly worth a listen as it shows off the ample talents of both composers. Mayra Lepró is a mexican composer and orchestrator who has been making her way into film scoring. After getting her B.A. in Music at the University of Sonora, she founded the company “Emission Music Service”, respectively working on the orchestration and music preparation for film composers.
During her music career, she has been head of music preparation in several mexican and international films with different film composers such as James Seymour Brett, Leoncio Lara Bon, Matt Uelmen, Edy Lan, Alejandro Karo, Gus Reyes, among others. See the MMI interview with Alejandro Karo here. alejandro karo | Search Results | MOVIE MUSIC INTERNATIONAL. (MMI) . (wordpress.com)
Another composer who I spoke to a while ago was Arturo Cardelus and he has written the music for the Disney animated TV series Descendants a Royal Wedding, I have heard a handful of cues, but there is a suite of music from his score available on the likes of Apple and Spotify, the music is lush and rich with a luxurious style and sound, which one would expect from anything Disney. Dramatic, regal, and apprehensive with a touch of the comedic and melancholy, what more could you possibly want, take a listen and also revisit or take a listen for the first time to his scores from Bunuel in the Labyrinth of Turtles and the excellent Altamira. Check out the interview with Maestro Cardelus here. AN INTERVIEW WITH COMPOSER ARTURO CARDELUS. | MOVIE MUSIC INTERNATIONAL. (MMI) . (wordpress.com)
Liv Grannes from Mosjøen became Norway’s highest decorated woman after World War II. But, both her achievements, and Stalin and Churchill’s false flag operation in Helgeland, disappeared in the darkness of history. This is explained and explored in the new movie documentary Jeanne D’Arc of the North, directed by Fredrik Horn Akselsen who also wrote the story. The score is by Raymond Enoksen who recently scored Kjaare Landsmann and Atlantic Crossing for Norwegian TV. He is one of Norway’s most prominent film music composers and has created many soundtracks for both film and TV, including Thale from 2012, and Haunted from 2017.
The composer was Born 1982 in Mosjøen, Norway. Coming from a musical family, he began playing classical and improvisational piano from a young age. In 2001 he was enrolled at composition study at the Norwegian state academy of music and studied there under the guidance of professor Bjørn Kruse and Olav Anton Thommessen. In 2007 he was accepted to the prestigious diploma of composition (Elite master) at the same academy. Here he continued his studies with Professor Olav Anton Thommassen. During the early stages of his studies, his professor recognized a talent for dramatical composition in him and established a collaboration with the state film school. This resulted in his first film productions Oscar and Tokyo Express.
His score for the documentary Jean D’Arc of the North is a varied one and has to it numerous themes that all combine to fashion a score that is simply delightful, although dark and even ominous sounding in parts the work is one that is entertaining away from the images it was written to enhance and support.
The themes are at times subdued but affecting, it has a haunting and beautiful aura to it, with the composer utilising female voice and choir to great effect at times. There is a lightness and a touching eloquence about this work that cannot fail to both attract and please. At times for me it evoked the styles of both John Barry and Ennio Morricone. Available on digital platforms, via Dream score records. The composer will be speaking to Movie Music International in the next few days so look out for the interview.
So far so good with melodic sounding scores or soundtracks that are in the majority performed by actual musicians, the next score came out earlier this year and is by Mexican composers Gus Reyes and Andres Sanchez Maher, Cosas Imposibles is a work that is mainly constructed from the use of electronic instrumentation, but it is written and put together in such a way that the composers realise an alluring and attractive sound, it is entertaining, calming and at times surprisingly powerful and upbeat, the composers have already established themselves as being a chameleon like duo who can easily adapt their musical talents to accommodate most scenarios and situations in both film and TV scoring. One only has to listen to their music for the TV series Falco and then to their score for the movie El Complot Mongol to realise their adaptability and also the quality of the music that they produce.
Cosas Imposibles is somewhat lighter listening material then the two scores I have mentioned but it is still a score that I would recommend that you check out. Its vibrant and inventive, and will I know become a favourite. Check out the MMI interview with Gus Reyes here. gus reyes | Search Results | MOVIE MUSIC INTERNATIONAL. (MMI) . (wordpress.com)
Please do not think that I am totally against the use of synths, samples and electronics in film and TV scores, they are if used well an essential component and tool for film music composers these days, it is just at times the un-musical results that I despair at with many of what we would call A list composers utilising them, but creating dronish and colourless pieces that simply act as an annoying musical wallpaper to various movies possessing not melody or substance and to be blunt is just noise. Many composers use these tools and produce wonderful scores other combine both the synthetic and the symphonic and get the balance right so obviously there is a need and room for conventional instrumentation and electronic support. This latest batch of scores are a very mixed bag, but thankfully this time around the symphonic or at least the melodic and thematic examples are in the majority. That’s all for this soundtrack supplement short and very sweet, next is a special on the record label Dragons Domain and their latest releases.
MOVIE MUSIC INTERNATIONAL. (MMI) . 