We are all aware of the talent of Marco Werba as a composer, and his ability to craft wonderfully thematic scores for movies and Television. But did you know that he once wrote about film music? I do remember seeing a few articles in Soundtrack magazine, which were always of interest. Then he began to become more and more into the collectors gaze as a composer. Recently Marco has returned to writing about music for the cinema and has written a book, which is in print now. I spoke to him about the book and the reasons he wanted to write it.
1) What made you decide to write a book about film music
It was a long time since I had planned to write a book that was a kind of composition manual about music for genre films (Thriller, horror, science fiction). A book that was missing in the literary scene, the only book, among other things, which contains almost all the orchestral scores, that I wrote for Dario Argento’s thriller, “Giallo”, starring Adrien Brody and Emmanuelle Seigner.
The second half of the book therefore consists of scores from “Giallo” and the analysis of these scores.
2) I have not sadly seen the book as yet, so what areas and composers did you focus upon.
I talked about the most important composers who dedicated themselves to this genre, especially Americans, English and Italians ones. I talked about the two schools of thought, the first (orchestral) linked to Bernard Herrmann, the second (electronic) born with Mike Oldfield. I talked about the first soundtrack that struck me and gave me the incentive to start this activity. I refer to the science fiction movie “Logan’s run”, scored by Jerry Goldsmith. A revolutionary nusic, which alternated electronic avant-garde music for the scenes within the city of the future with orchestral music for the scenes outside the city.
3) Is the book available in English.
Not yet. The book will be available in Italy from June 25 (through “Falsopiano” publishing) and should be printed in Spain in September by “Editorial Rosetta”).
4) How long did it take to write the book and did you research it thoroughly first or did you begin to write it and then start to do more research.
Good question. I worked on the book for almost one year (working on it between one film score assignment to another one). I already knew most of the film scores written by Bernard Herrmann, John Williams, Jerry Goldsmith, John Barry, Ennio Morricone, Pino Donaggio, Stelvio Cipriani etc and it was not difficult to select the best scores and talk about them. I asked to a few ex-students and friends to help me analyze a few scores by Bernard Herrmann and Jerry Goldsmith, as well as my score for “Giallo”. I also included fragments of other books such as “Jerry Goldsmith” by Mauricio Dupuis, “Colonna Sonora” by Ermanno Comuzio, “La musique du film” by Alain Lacombe and Claude Rocle and an article by Steve Vertlieb about Bernard Herrmann.
5) do you think there is another book inside you.
I don’t think so. I must concentrate on writing film scores.