Category Archives: NEWS OF EVENTS.














Guy Farley is a composer that I have been following for a while now, he is a composer who for me always delivers and fashions beautiful themes and lush musical compositions for each project he is involved with. I think I can honestly say that every score of his that I have heard has never disappointed in any way whatsoever. One of his latest assignments is for a project entitled LEGACY. I say latest well in fact the composer penned it in 2018, and it is a musical tribute to Sir Douglas Bader with all proceeds from the sale of the CD going to the Douglas Bader Foundation. The music from Farley’s LEGACY was used to accompany a touring air show display which was staged by THE BADER BUS COMPANY which was a display flown by a team of disabled pilots, the first time this has ever been attempted.


Farley wrote an inspiring and theme laden work which although brief compared with the composer’s film scores and various other musical commissions is an emotive and inspiring work. He pays tribute to the late Sir Douglas Bader via his deeply affecting and luxurious sounding piece THE RETURN HOME, which is overflowing with a lavish and somewhat haunting aura. This mood is purveyed to a greater degree in the cue, DOUGLAS BADER ELEGY that is performed by strings and has to it an atmosphere of solitude and calm brought to fruition by Farley’s utilisation of faraway sounding horns at the opening of the track and also within it add to this poignant trumpet which compliments the horns and together they enhance the performance from the string section. It is for me a lonely yet hopeful sound that the composer achieves here. The piece containing so much emotion and richness. BADER’S BUS COMPANY MARCH is a delight, and can I think be likened to the great marches from film score history as in, THE GREAT ESCAPE, VOICE OF THE GUNS and COLONEL BOGEY. With its slightly cheeky flute introduction and the whistling underlined and punctuated by timpani and brass, slowly but surely the march builds into something that I am sure will become a firm favourite with all lovers of film music and maybe in the near future will become a standard in concert performances. In these days of soundscape and non-thematic works for the cinema and other mediums, it is like a breath of fresh air to hear a work like LEGACY which has to it real themes and wonderfully crafted musical passages.


AIR BATTLE is for me a highlight of this short work, the composer combining the sound of air raid sirens within its framework, it is as one would expect a taught and tense affair and brings to the fore the real danger, apprehension and I suppose fear experienced by any fighter pilot in a combat situation. Thundering percussion is laced with driving strings and sharp brass, but amongst all this there is still a thematic heart to the piece. LEGACY is an inspiring work for such a worthy charity, the CD is available from the Douglas Bader Foundation, and is well worth adding to your collection, plus you will also be supporting the Foundation with your purchase.





Legacy CD by Guy Farley






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.


in silentio
It is not often that a new so called serious or classical music work comes along that stops one in your tracks and just completely mesmerises and wow’s you. But the latest offering from composer Michael Frankenberger did just that, the work which is entitled IN SILENTIO will be officially released on April 6th, but the composer was kind enough to allow me to hear his wonderfully emotive and inspiring work before it went on release. Frankenberger who in the main focuses upon music for film, has penned a gloriously melodic and rich work that was recorded at FILMSTUDIOS BABELSBERG located just outside of Berlin. The composer also orchestrated and conducted the entire work and the album was mixed by Rich Aitken. What struck me about this excellent recording is that it was like listening to film music of the highest quality, but there was not a movie. The opening piece, ON THE FIRST DAY is filled with a gracious and delicate atmosphere, which the composer creates via solo piano that itself acts as an introduction to strings which are gently added and immediately begin to weave into the piano performance underlining it and almost caressing it, resulting in a beautifully written and orchestrated piece that is lilting and subtle. The piano continues to work its magic whilst the strings further develop to support and enhance its performance with their light but meaningful touches, the track is short lived, but sets the scene perfectly for what is to follow and prepares the listener for what will be a highly emotional and enriching musical journey.

Michael Frankenberger.

METAMORPHOSE is the title of the next piece, again strings create the core of the composition, they gently build, rise and then fall back into a more subdued sound, the poignancy and emotive content of this track in-particular is stunning. The composer fashioning a work that is alluring and beguiling but at the same time it has to it a slight urgency, that is purveyed by more up-tempo string performances that are introduced mid-way through the proceedings. If I were to attempt a comparison, I would say that at times the track did evoke memories of the style of the Christopher Young score for HAUNTED SUMMER, there is a deep and highly emotional sound to this composition and although again it is not overlong it is affecting. Track number three is the title track for the work, IN SILENTIO, unrushed and relaxed strings open the cue with the composer continuing this approach throughout, with only the volume rising slightly as it progress’s, but remaining at an easy pace, the effect being for the music to wash over the listener purveying a mood of calm and contentment. For track number four, we return to the piano theme, ATONEMENT is captivatingly gracious and wonderfully subtle with its simple but melodious theme being attractive and pleasing. The entire album is a comforting and gentle work, which I know will be appreciated by many.
There is a wealth of restful and reassuring passages within the work, it is filled with soft and emotional sounding tone poems, that will be returned to many times. The rich themeatic content of the work too is welcomed and although there are no grandiose musical gestures as in booming percussion or brass flourishes, it makes up for this in its attention to simplistic, passive and moving attention-grabbing musical styles, themes and sounds that invade the listeners sub-conscious and remain there long after the music has ceased playing. IN SILENTIO is made up of various movements, of which there are ten in total. ON THE FIRST DAY, METAMORPHOSE, IN SILENTIO, ATONEMENT, POUR L’ESPOIR, SOLO IN MUNDO, SCHATTENSPIEL, SILEO, UNKNOWN DESTINATION and RESSURECTION. Highly recommended.