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NEWS OF CONCERTS AND FESTIVALS.

WORLD PREMIERE PERFORMANCE. ROY BUDD’S THE PHANTOM OF THE OPERA.

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Back in the early part of the summer in 1993, I was fortunate enough to at last meet one of the worlds most talented composers of film music. Roy Budd had always been a favourite of mine, right from hearing his score for SOLDIER BLUE I was as they say hooked. I had written to Mr Budd many times asking if he would be interested in an interview, he replied saying he thought it was a great idea and we must arrange it as soon as it was possible, but he was working on something very big and would let me know when he was free. One evening my phone rang and it was Roy Budd, he explained he had been working on a project that was so dear to him, and the project was finished and he would be recording it soon. The work he spoke of was THE PHANTOM OF THE OPERA, the 1925 silent movie starring Lon Chaney, a few weeks later I was at a reception at the Bonnington hotel in London for Silent’s to Satellites, which was a publication helmed by John Williams, I had written a few things for John and he asked me to go along to meet a few composers and to announce the winners of the awards he gave out annually. During talking to various composers and collectors, John came and said to me Roy Budd is here. I was a bit surprised I had no questions with me but I had already compiled them so they were fresh in my mind, anyhow maybe he did not want to do the interview, maybe he was there for just a day out? I introduced myself and we chatted, he then went around talking to fans etc, to my surprise he came up to me and said, “OK then are we going to do this interview”? Yes of course I replied, trying not to look to phased or on the spot, but I think he realised he had caught me totally on the hop, so off we went into a corner in the hotel lobby, to be honest Roy made me feel so relaxed and cracked so many jokes I think it was around 30 mins or so before I asked my first question. He spoke of THE PHANTOM OF THE OPERA and explained to me how it had come about, and his passion for film in particular horror movies. But first he told me about his involvement on SOLDIER BLUE, “The director of SOLDIER BLUE wanted a British composer. You see there had been a lot of ugly murders in the States around about the time of the film being made. Americans had killed Americans and because of the film’s ending and a bit of Hollywood logic I suppose the director thought, I know let’s hire a Brit. to do the score then if there is any come back he is the one who won’t work anymore. Any way I went to see the director; I must admit I was nervous. I took along a tape of some of my music. I played it on piano and recorded it but what I did not tell the director was that some of the music was not mine. I had pinched it from the likes of Jerry Goldsmith, Jerry Fielding, John Barry, Dimitri Tiomkin, Max Steiner, in fact just about everyone; the tape sounded like Great Movie Music Volume 1, 2 and 3 (laughs).
Of course, I did not include the main themes or anything that might be recognized, just tracks from soundtracks I had listened to on record and then performed myself on the piano for the tape. I told the director that all the music he was hearing was mine and he was very impressed – well he would have been. Just think, if he had turned me down, he would have been turning down half of the film composers in the world. The rest is history – I got the job”. This is probably something that nowadays no composer would be able to do as many directors and producers are a little more aware of what’s going on as far as music is concerned.

We chatted for a while about nonmusical things, then I asked the composer about the tapes for SOLDIER BLUE and why had the original score never been issued on a recording?
“Well, the aim of the record company is to obviously sell records, and as many as they can. So, some record company executive at the time, decided that the original score would not appeal to people and, because of my jazz connections it was decided that the score should be arranged and I should play piano on it – and that is the version of the score that was issued on Phillips, no sorry PYE records. I did not really mind at the time, after all I was new to all of it. I also recorded a lot of other tracks to be featured on the B side of the LP. These were all film themes and a medley from WEST SIDE STORY.” But did the tapes from SOLDIER BLUE exist anymore, I enquired. “I don’t know. They did – but where they are now? Your guess is as good as mine”. Eventually we got around to THE PHANTOM OF THE OPERA, “I have just finished working on the 1920’s silent movie THE PHANTOM OF THE OPERA. It’s been restored to its former glory and looks incredible, in fact I have restored it, as it is one of the movies I have always been fond of. I have already recorded the score and I am waiting to hear if there will be a compact disc of it released. I have written 82 minutes of music for the picture and this is continuous. It was a totally different experience for me – I am used to all the explosions and dialogue on a movie, so when I had none of this to deal with it was a dream. Writing nearly 90 minutes of music was a little daunting, and tiring, but the film has always inspired me and I just seemed to be able to get on with it easily. The film and the score will be premiered at the Barbican on September 21st this year (1993) all proceeds from the night will go to the children’s charity U.N.I.C.E.F. I will conduct the score whilst the movie is being screened. Hopefully the film and the music will finish at the same time (laughs). I am very proud of this score John and I am pleased to say I will be scoring another silent movie very soon”.
I remember thinking how happy and kind Roy was and he was genuinely so passionate about THE PHANTOM OF THE OPERA, we spent around two hours or so chatting, As Roy left he was his normal jovial self. He turned to me with a wide beaming grin on his face, shook my hand and said, “Thanks John, keep taking the tablets”. It was about two weeks later that the composer died, and his loss is still felt today. I remember thinking at the time how sad it was that we would probably never get to hear his music for THE PHANTOM, but then nearly 22 years later the score was released on to CD as was the DVD of the movie with Roy’s score accompanying it.

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Then on October the 8th 2017, thanks to the efforts of Roy’s wife Sylvia and Nick Hocart, Roy’s dreams of having his score performed live were realized, and what a performance it was. It took place at THE COLISEUM in London, which was rather fitting because Roy Budd made his debut at that very same theatre, back in 1953, he was just six years of age.

 

 

 

The venue was also perfect for the viewing of the movie, as it could maybe have its own Phantom walking the passages and stairways, it had that kind of aura about it, a stunningly beautiful building, and a venue that has so much history. The score was performed by THE DOCKLANDS SINFONIA, which comprised of over 70 players, under the direction of Spencer Down, their performance, in a word FLAWLESS, but why stop at one word, perfect, beguiling, mesmerizing, alluring and highly emotive are just some of the things I was thinking whilst listening to the orchestra perform. Roy’s music is superbly lush and lavish and for me personally evokes memories of the vintage Hollywood scores of yester year, there is also present an underlying presence of a style that can be likened to the music employed in Hammer gothic horrors such as Dracula, by James Bernard,  Budd, conjures up a powerful and commanding musical force that drives the Phantom on and underlines his insane plans, then we have the romantic and melancholy atmospheres created for Christine, which also serve as a mournful but beautiful underscore for The Phantom, as he begins to realise that Christine will never love him as he loves her.  Then there is a robust and firm persona that the composer employs which for me evoked the crashing and vibrant music of Bernard Herrmann. With this work Roy made the transition from film music composer and jazz pianist to Movie Maestro extraordinaire, producing a score that outshines anything that has been written for a silent movie, the movie is a classic and Roy’s music too must be given that title.

 

At times because the performance was so good I forgot I was listening to the work live, the co-ordination between film and music was wonderful and the performance by the orchestra in my opinion outshone the recording of the score which is available on compact disc. Roy’s dramatic, romantic and at times comedic soundtrack, filled the air and the hearts of the watching audience. I looked around and could not help but think, maybe Roy is sitting up in one of the boxes, watching, listening and smiling that infectious smile, I like to think he was. The evening was a great success, as I was leaving I spoke to many of the audience, all of which were thrilled and so pleased that they had been privileged enough to be there to witness this magnificent and brilliant work. Roy Budd died far too early, and we miss him so much, his wit, his kind manner and of course his music, he would have been 70 years old this year, just think what he might have achieved and what beautiful, poignant, dramatic and thrilling scores we might have heard if he had lived.

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I truly hope that THE PHANTOM OF THE OPERA will go on tour, so that more and more people can savor the delights of Roy Budd. I am proud to say that I was there on the night and look forward to maybe more nights where we can hear the music of Roy Budd performed live.

“Mine and Roy’s professional relationship was at times rough and sour but we always wound up celebrating the final results, and privately, we were abiding friends, as close as two brothers. Knowing what immense mental and physical effort Roy put into his work, it is for me understandable that some catastrophe might inevitably interrupt his life. Knowing also that his almost certain greatest work, the scoring of THE PHANTOM OF THE OPERA, drained his body resources to the limit, it was such a dreadful price to pay to give the world a score to remember for all time”.
Euan Lloyd.

 

 

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Docklands Sinfonia is the only high quality symphony orchestra based in the heart of East London’s Docklands. The orchestra was founded by conductor Spencer Down, the grandson of a docker, whose love of music was born listening to his grandfather play trumpet in working men’s clubs in the East End.
Over the years, Spencer watched the Docklands develop from a wasteland into one of the biggest financial centres of the world. But while the glitzy tower blocks have sprung up at a dizzying rate, the area remains a wasteland for cultural provision.  With one in every two children (49%) living below the poverty line in Tower Hamlets – London’s most deprived borough – few young people in the area have, or will ever, experience the joy of listening to a live symphony orchestra.
Grounded in our home of St Anne’s Limehouse, Docklands Sinfonia is on a mission to change this. Our youthful and pioneering orchestra has become a major cultural force in the Docklands – bringing high quality music to the area, staging ground-breaking concerts and creating a lasting legacy by inspiring generations of young people.
The orchestra aims to reflect the old and new spirit of the Docklands. Our concert programming is respectful of the past while innovating for the future.
Docklands Sinfonia nurtures young talent at every level – whether providing playing opportunities and work for our musicians, providing a platform for young composers and emerging soloists or through expanding our educational work with schools in the area.
We aim to challenge the norm by seeking out innovative collaborations to reach new audiences. In 2014, Docklands Sinfonia became the first British symphony orchestra to perform an entire programme of Iranian symphonic music and launched a new composition competition in Iran to wide acclaim. In 2016, we will be recording a CD dedicated to Iranian orchestral music performed by Iranian soloists.
To underline our commitment to supporting new talent, we have commissioned and programmed more than 20 new compositions since our formation in 2009. Looking to the future, we have a firm commitment to perform at least one new work at all our community concerts held at St Anne’s Limehouse.
Since its formation in January 2009, the orchestra has enjoyed incredible success with performances at Buckingham Palace for the Queen and at the Royal Albert Hall and the House of Lords.
In November 2010, Docklands Sinfonia performed the world premiere of Grammy award winner Imogen Heap’s ‘Love The Earth’ to a sell-out audience at the Royal Albert Hall. The event was live-streamed over the internet to over 400,000 people worldwide.
In May 2011, the orchestra was honoured to perform a special concert for the Queen to celebrate youth in the arts in the ballroom at Buckingham Palace in front of a 500-strong celebrity packed audience. Docklands Sinfonia played alongside artists from the English National Ballet, Royal Opera House and National Youth Theatre as well as pop stars Joe McElderry, Rumer, DJ Ironik and Sara-Jane Skeete.
Docklands Sinfonia has enjoyed numerous collaborations with the record producer and song-writer Mike Batt. In 2013, Docklands Sinfonia recorded Katie Melua’s new album Ketevan which was produced and written by Batt. Her single ‘I will be there’ has been viewed by nearly two million people throughout the world on YouTube since its release in 2013.The following year, the orchestra recorded Voice UK singer Bob Blakeley’s new album.
Just weeks after its first rehearsal in 2009, it was asked to perform on the BBC1 series ‘Clash’ and it has performed a number of sell-out concerts featuring major classical artist including renowned trumpeter Alison Balsom, cello virtuoso Leonard Elschenbroich, baroque soprano Elin Manahan Thomas, trumpeter Rex Richardson, saxophonist Christian Forshaw, the Raven string quartet and LSO principal trumpet Philip Cobb.

 

 

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ROY BUDD’S MASTERPIECE, THE PHANTOM OF THE OPERA.

 

 

 

When you think about it the music of composer Roy Budd was a very big part of going to the cinema during the 1970, s, and on and into the late 1980, s. He scored some of the most popular movies that were produced during this period, and it all started with SOLDIER BLUE, which very soon became a movie with a reputation, probably for all the wrong reasons, but nevertheless Roy’s music was a key feature of that movie, he followed the success of SOLDIER BLUE with numerous soundtracks for a varied collection of films and was also responsible for creating catchy themes for TV shows such as THE SANDBAGGERS and MR ROSE. He was responsible for the stirring themes for THE WILD GEESE and also THE SEA WOLVES, fashioned another great western score in the form of his music for CATLOW, and treated audiences to some atmospheric music for so many other pictures, THE BLACK WINDMILL, THE STONE KILLER, TOMORROW NEVER COMES, THE FLIGHT OF THE DOVES, GET CARTER, ZEPPLIN, DIAMONDS, KIDNAPPED, SOMETHING TO HIDE, THE MARSEILLE CONTRACT, FEAR IS THE KEY, WHO DARES WINS,WILD GEESE 2, SINBAD AND THE EYE OF THE TIGER,THE MAGNIFICENT SEVEN DEADLY SINS, MAMA DRACULA, FIELD OF HONOUR etc, in fact the list is indeed endless.

 

One of his best loved scores is for PAPER TIGER, which starred David Niven. The music for this is so varied and haunting, and included a hit song, WHO KNOWS THE ANSWERS, which was performed by THE MIKE SAMMES SINGERS, and had lyrics by Sammy Cahn, the score also featured performances from THE RAY CONNIFF SINGERS and for me was a fusion of the styles of Goldsmith and Mancini, being highly dramatic and stirring, but at the same time having at its core a fully romantic sounding theme, which were given the Budd treatment. Its highly emotive themes and surging strings, evoking all the splendour and magnificence of those great film themes of the past.

 

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On Sunday October 8th, there is a very special performance of Roy’s magnificent score for the 1925, silent movie THE PHANTOM OF THE OPERA, which starred Lon Chaney, Roy worked tirelessly to fashion the score for this movie, and put all that he possibly could into its creation. Sadly, it was his dedication to this project, and his quest for musical perfection that ultimately cost him his life. PHANTOM the score, is a standing testimony to the genius and artistry of this wonderful composer and generously kind man, who was taken from us far too soon. Nick Hocart is one of the dedicated people behind bringing the concert or performance to fruition, I asked him a few questions about it and his thoughts about the music of Roy Budd.

Have you always been a fan of Roy Budd and how did you become involved with the live performance of Roy Budd’s THE PHANTOM OF THE OPERA?

Unfortunately, Roy passed away when I was too young to have seen any of the films he scored, and I was unaware of his talent. I studied music at school and left Australia seeking a career in the industry. Four years ago, I was introduced to Sylvia Budd, who told me all about Roy’s career, his phantom of the opera score and his commission to write his first opera for the Berlin Opera. I was shocked that such a brilliant composer and accomplished musician was not more widely held up as an influence and role model in the British music scene, and more so that his masterpiece score had never been publicly performed. Having heard the score Roy wrote to Phantom I agreed to help Sylvia make the live performance happen – it’s going to be incredible to hear this music performed live.

What size orchestra will be performing on the night, and was it an easy task getting an orchestra involved in the project and a conductor?

 

We have a 77, piece orchestra, the Docklands Sinfonia performing the score for the premiere in the London Coliseum. The score was written for an 84, piece orchestra, it’s an incredibly full and rich piece of music, but the challenge is space for all the musicians! We may yet have to reduce the orchestra by a couple of strings to fit all the percussion in the pit too, but however many musicians we can fit in, we will!
The conductor and founder of the orchestra, Spencer Down, has been hugely excited to make this happen from the outset, and his involvement has been crucial to getting to where we are today.

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If the performance on October 8th is successful, do you think that maybe there could be other dates arranged at other venues?

 

We do have interest to do more shows in other parts of the world, and we would hope further interest to do more shows in the UK too. There are people waiting for this opportunity to hear the music first hand, to see if Roy was successful in making the transition from jazz to classical maestro. I hope they won’t be disappointed.

Would a concert of the music of Roy Budd be something that you or his estate would consider, I am sure that there are so many fans old and new out there that would love to hear his music performed live?

 

This is a tougher one – while I don’t have the full history I understand that Roy parted ways with his former agent, there were issues, and some of the music remains outside the control of Roy’s estate. Hypothetically – it would be great to put together some of Roy’s classic scores for a grand performance.

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I know when I interviewed Roy just before he died he was so passionate and excited about the score he had written for PHANTOM, why did it take so long for the music to be released onto a recording?

 

When you meet Sylvia, you understand that she is still very much in love with Roy and his passing must have been devastating to her. There were also issues to sort out as well as illness over the years – but what matters is it is available for fans now as well as the opportunity to hear the performance live!

 

What for you is the appeal of Roy Budd’s music?

Firstly, I couldn’t believe the score to Phantom the first time I heard it – it really takes the film to a new level – you need to see the film with the score to realise the effect it has. After that introduction to his music I went back through his jazz works and he has fantastic speed and timing, and is clearly a perfectionist – never a note or beat that doesn’t sound exactly like it should be where he’s playing it. Listen to a song like I’ll remember April and it sounds like a classic jazz standard, except it’s got his stamp of originality on it, his sound, little runs on the piano that sound deceivingly simple. Also watch any video of Roy performing – he’s clearly having a great time performing and leading his musicians who are all watching him closely for cues and following his lead. Amazing musician, performer, composer!

 

Soldier Blue was Roy’s first major film score, a great soundtrack, but unfortunately the actual score, remains un-released, there is so much music in the movie, I hope one day to see this released, do you think it will ever happen?

 

I need to refer to my earlier answer on his older work here – I don’t know the history or where the rights may be at this point in time. All my efforts to date have been to bring about the performance of Phantom. Who knows what a successful performance may bring about…

 

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My thanks to Nick for taking the time to answer my questions and for his dedication to the memory and the music of Roy Budd. I truly hope that the live performance of THE PHANTOM OF THE OPERA score by Roy Budd, will be a great success, please if you can support this event. See you there……..

FANS OF MUSIC FROM THE MOVIES, 2. SEPTEMBER 9TH 2017.

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Fans of Music from The Movies, had their first annual gathering at the Angel Studios in Islington London in 2016. This first event was a success and had a panel of composers who spoke of their personal experiences during their careers as composers of film music. Debbie Wiseman, Christopher Gunning, Trevor Jones, Daniel Pemberton and Mark Thomas were in a word wonderful, very open and interesting. This year on September 9th, FANS OF MUSIC FROM THE MOVIES opened the doors at Angel studios once again to welcome soundtrack collectors from all over the world, the panel this time consisted of composers, David Arnold, Guy Farley, Frank Ilfman, Christopher Young and Nic Raine. The host for the event was once again, James Fitzpatrick of Tadlow Music who were also one of the sponsors of the day. I think the day was slightly better attended than last year, but maybe that is because last year was something of an unknown quantity, as in, an event like it had not been staged for many years. I think the last one was way back in the days of the Goldsmith Society. Panel members this time were, DAVID ARNOLD, CHRISTOPHER YOUNG, FRANK ILFMAN, GUY FARLEY and NIC RAINE.

 

The gathering began on time with a brief introduction from Tim Smith the organiser, who explained a few rules and regulations etc, and then handed over to Mr Fitzpatrick, who in turn brought the guests into the main room and led them to their places on the stage. After introducing them he then showed the gathered audience a short film of Tadlow’s latest re-recording project which is a full version of Rozsa’s classic score for BEN HUR, this I must say was superb, and I cannot wait for the compact disc to be released. James then formally opened the discussion, saying it was obvious from last year that fans wanted the gossip of what had happened to the composers regarding directors, producers etc. So, proceeded to introduce each composer who all received a warm welcome and applause from the gathered audience. Now here’s a thing, I went with the soul intention of concentrating on the events, but to be honest got so completely immersed in the day the conversation and the composers relating their experiences when scoring movies, that I committed the cardinal sin and took very few notes, which I straight away left at the studio after I headed home. So, I am afraid no in depth analysis of the day or the points which composers related and discussed. Instead, I am just going to say that this was one of the most enjoyable experiences of my life, to see four great composers sitting in front of an audience just chatting, and I mean chatting because it seemed that they were talking to you one on one when they spoke of their film music careers. David Arnold especially came over as a warm and friendly man, and cracked jokes and added little one liners here and there that kept the day going along at an easy but lively pace.

Christopher Young too, was amazing, with his stories of being a rookie composer scoring THE DORM THAT DRIPPED BLOOD (PRANKS) when he was still at UCLA, and telling us about him replacing Maurice Jarre on JENNIFER 8. Frank Ilfman, Guy Farley and Nic Raine also gave us so many stories, both funny and some not so, when speaking of directors, producers etc. James Fitzpatrick was as always excellent, and Tim Smith was great too, and I have to say looking a little more relaxed than last year. When asked about any composers that maybe had influenced them all the composers sighted the classical greats, such as Stravinsky, Mahler, Prokoviev, Shostakovich and Tchaikovsky, it was interesting that none mentioned film music composers at first, until Christopher Young brought up a Bernard Herrmann LP which contained suites from films such as JOURNEY TO THE CENTRE OF THE EARTH etc. An LP on DECCA that I think many had in the early days, because the audience kind of sighed when he spoke of it. One question that stuck with me that was put to the composers was, did they miss the main title themes and the end title themes in films, which was asked by Ian from the John Barry society, each composer had an opinion about this subject and although worded differently, I think they were all in agreement that it was something that they missed. There were a couple of breaks for tea and delicious cakes, plus the famous FANS OF MUSIC FROM THE MOVIES raffle, which was great, and this year included days in the studio, with Guy Farley and Frank Ilfman and a day in Prague with James Fitzpatrick recording at the Smecky studios. David Arnold remarked that first prize was a day in the studio with Frank Ilfman, and second prize was two days in the studio with Frank Ilfman, which raised a few laughs. There were also many CDS in the raffle, contributed by, MOVIE SCORE MEDIA, CALDERA and SILVA SCREEN. I felt sorry for one guy who won about four times, on the third trip up to get his prize of CDS David Arnold said to him, “Will you get me a lottery ticket for tonight please”. FANS OF MUSIC FROM THE MOVIES has in less than a year established itself as a must go to event, it is already the event of the year for many collectors, collectors, I might add, that had travelled from all over the world to be there. It was also a time to catch up with many old friends and acquaintances, John Williams from MUSIC FROM THE MOVIES, and Paul Place and Jason Needs who worked on the same magazine as did I. Jason Drury, who has made a name for himself over the airwaves these past 12 months on cinematic sounds with Erik Woods, was in attendance as well, as was the lovely Stephan Eicke of Caldera records and Petr Kocanda, who’s enthusiasm is ever present, boundless and infectious. Then we had the brilliant, no the magnificent helpers, who chatted served and kept everyone happy, thanks Steve and his lovely wife and Gareth

 

The signing session was amazing, each composer taking time to talk, and letting fans get pictures of them.
Chris Young was brilliant, and seemed in his element, hugging people, and genuinely enjoying the company of his devoted fans.
I had a bit of a chat with David Arnold, and it was like chatting to an old friend, he listened and made conversation so easy.
As did Guy Farley, and Frank Ilfman and Nic Raine. So, what can I say, Well, all I can say is Bravo, and please more of the same. Thanks again to Tim Smith, a true hero and a devoted film music fan, and to James Fitzpatrick, for his support of the event, and if I have missed anyone out I apologise, what a day, awesome, epic, truly brilliant. AND yes there’s more, put this date in your diary, SEPTEMBER 15TH, 2018, That is the date for FANS OF MUSIC FROM THE MOVIES, 3……..

 

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And also coming soon from TADLOW music.

 

 

DEBBIE WISEMAN, TALKS ABOUT SCORING THE MOVIE EDIE.

 

 

After many years now of composing for TV and Film, do you still wake up with music in your head every day?25ce4353144c12ebb73407bd143ce2c3

I usually wake up with ideas and thoughts about the project I’m working on…I go to the piano and then try and put the thoughts down as soon as possible. I find that composing early in the morning is the most productive time of day for me.

 

Edie is one of your most recent scores, when you are composing for a picture, where do you start, by this I mean do you like to watch the movie in its rough-cut state or maybe you have a script to read, at what stage of the proceedings did you become involved on Edie?

 

With EDIE I had a call from the director, Simon Hunter, after he’d finished shooting the film and was starting the editing process. I’d worked with Simon many years before, on his film LIGHTHOUSE, so I was excited to hear from him. EDIE was a completely different kind of film and the moment I sat down to watch it I knew I wanted to write the score. It’s a beautiful, inspiring film, with standout performances from Sheila Hancock and Kevin Guthrie, and I couldn’t be prouder of the film and everything Simon and his producer Mark Stothert, have achieved in making it. It recently premiered at the Edinburgh Film Festival and has been getting a wonderful response which is hugely rewarding for the whole team.

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How much music did you compose for the movie?

 

There’s a LOT of music in the film! I couldn’t tell you exactly how many minutes as I haven’t counted it, but there are many sequences, particularly in the latter part of the film, where the music plays a big part in the emotion of the story. This film was a wonderful opportunity for music as the score is allowed to breathe and really play a part in the storytelling.

 

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I am hoping there will be a soundtrack release, if so do you have an input into what cues will be released?

 

I’m pretty sure that there will be a soundtrack release and yes, I do choose the cues and ordering of the soundtrack, in collaboration with the team and also my mastering engineer, Mike Brown, who always has a really valuable input into my releases as he listens with a fresh pair of ears which is always hugely useful and constructive!

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I think that the music in Edie, is superb and an extension of the main character in the movie, the use of guitar is particularly poignant and certainly identifies with the central characters personality, when you began to work on the movie did you have any set ideas as to what type of music you would be writing or indeed what instrumentation you would utilize, or did ideas develop as your involvement with the movie progressed, and did the director Simon Hunter have any set instructions or ideas regarding the music and where it should be placed?

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Thank you! With this movie, the idea of using the solo guitar as Edie’s instrument came quite early on. It was clear that I needed to have a strong Edie theme that I could build as her story develops, and the guitar felt modern and completely right for Edie’s journey. Then, as I started to sketch ideas, the rest of the instrumentation and placing of the music cues started to take shape. There was a need to musically develop in scale as the story built, and so it became obvious that, as well as the solo guitar, I’d need a full orchestra to give the score the musical heart it needed.

 

 

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In most reviews of Edie, your music is mentioned, which nowadays is unusual, at times being described as exquisite, beautiful and deeply moving, which it certainly is. For you what is the purpose of music in film?

The purpose is to serve the picture – to enhance the story and add musical heart and soul to what’s on screen. I couldn’t have asked for a better opportunity to do this than on EDIE.

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When you begin to work out your themes for a score do you always use piano?

Yes, I always work at the piano. As a pianist, it’s the most natural place for me to write, and I feel very at home at the piano.

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Who is the guitar soloist for the score?

It’s John Paricelli – he played absolutely beautifully on the score and we were very lucky to get him for the recording as he’s very busy and in demand.

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What size orchestra did you use for the project?

It was a 50-piece orchestra – which gave us plenty of scale and depth of sound for the story.

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The score was recorded at The Angel studios in London, do you have any preferences regarding recording venues in the U.K.?

The studio is always chosen once I know the line-up of musicians and the kind of sound I require for the score. Angel Studios was perfect for this size orchestra and I worked with my long-time recording engineer and collaborator, Steve Price, who did an amazing job of the recording and mixing of the score.

What is next for you, another film score or maybe a commission for Classic FM?

I’m writing another orchestral album for Classic FM, to be released next year, and I’m currently working on 10 more episodes of Father Brown for the BBC. There’s also another 10-part BBC series starting after that, so my piano will have steam coming off it over the next few months!!

 

Well that will be good news for all of us.   Many thanks to Debbie Wiseman for her time and patience in answering my questions.

 

LEGENDS AND HEROES-MORE MUSIC FROM THE MOVIES. CONCERT.

 

COMING TO THE PRESTIGIOUS BRIGHTON DOME ON SATURDAY APRIL 22ND 2017 at 19.30.

LEGENDS AND HEROES, MORE MUSIC FROM THE MOVIES.

THE BOURNEMOUTH SYMPHONY ORCHESTRA.
CONDUCTOR. Pete Harrison.

Conductor Pete Harrison.
Conductor Pete Harrison.

 

 

 

 

 

 

Experience the thrill of a live symphony orchestra performing some of the most memorable film and television themes ever written. A gargantuan feast of Hollywood glitz and glamour features music old and new written by multi-award winning composers from the golden age of cinema to the present: Elmer Bernstein, Hans Zimmer, Basil Poledouris, Maurice Jarre, Miklos Rozsa, James Horner, Erich Korngold, Alexandre Desplat, Tan Dun and, of course, the godfather of the film score, John Williams.
Classic film scores represented include El Cid, The Magnificent Seven, Doctor Zhivago, Robin Hood and Ben Hur as well as more modern greats The Imitation Game, Crouching Tiger Hidden Dragon, Conan the Barbarian and Kung Fu Panda and already classic scores by composer John Williams, Harry Potter, Lincoln, Hook and Raiders of the Lost Ark. This will be a night to remember.

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Pieces to be performed include.

 

Miklos Rozsa.  El Cid

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Elmer Bernstein The Magnificent Seven

 

 

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John Williams Harry Potter Suite
John Williams Raiders of the Lost Ark
John Williams Hook
John Williams Lincoln

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Tan Dun Crouching Tiger, Hidden Dragon

 

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Maurice Jarre .  Doctor Zhivago.

 

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James Horner. Troy.

 

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Randy Edelmann. Dragonheart

 

 

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Basil Poledouris. Conan the Barbarian.

 

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John Powell. How to Train Your Dragon

 

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And many more…

Tickets available now.
http://brightondome.org/event/10708/bournemouth_symphony_orchestra/

THE BOURNEMOUTH SYMPHONY ORCHESTRA.
THE BOURNEMOUTH SYMPHONY ORCHESTRA.