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DOGTANIAN AND THE THREE MUSKEHOUNDS. (2021).

Cast your minds back to the beginning of the 1980’s and to an animated series that was a Spanish/Japanese co-production, Dogtanian and the Three Muskehounds was a successful series of cartoons as they were called at the time,  many countries screened these episodes on various channels,  but I do not think that they were shown in America, maybe because the American audience might not have got this kind of European vibe that flowed through it? I do know the BBC showed the English adaptation which was basically the same as the original’s apart from being dubbed into English the show was broadcast early in the afternoon on a weekday to catch the children as they arrived home from school.  The same team also produced The Mysterious cities of Gold and the brilliant Around the World with Willy Fog. I think one of the enduring things about the Dogtanian series was the infectious title song which was the work of Italian composing duo Guido and Maurizio de Angelis, of course the Brother’s had already established themselves via their unique styles of composition in Italy working on various genres of movies that included Westerns, Giallo, Cop drama’s, comedies, and horror films, most notably the films of Bud Spencer and Terence Hill. The title song had to it an instant attraction and appeal and it is one that I believe if one played it now folks from a certain generation would probably recognize straight away. Well, if you loved the original series, you are in for a real treat as the Three Muskehounds and of course Dogtanian are back with a bang and filled with swordplay and daring do, but this time on the big screen. And so too is that theme, well an arrangement of it at least which has been recycled and woven into the fabric of the films score by the talented and ever versatile composer Manel Gil-Inglada. I suppose it would be quite unthinkable to have a movie about the adventures of these intrepid individuals without that familiar theme popping up somewhere, and the composer has not only fashioned a sweeping, swashbuckling, and highly adventurous soundtrack but has also managed to incorporate fragments of the familiar theme into his original writings, providing the listener with a bridge back to their youth or maybe to when they first heard it. I have to say I totally enjoyed listening to the score, it is fully symphonic and its lush and driving musical persona is relentlessly thematic as well as being gloriously entertaining.  

The music that the composer has penned for D’Artacán y los Tres Mosqueperros to give the new movie its Spanish title, is a wonderfully melodic work performed by The Orquesta Sinfónica de Navarra conducted by Vanessa Garde. The orchestrations are top notch filled with a rich and luxurious sound with the music being so varied, it is a rip-roaring action paced score that also includes lilting and fully romantic sounding pieces, gentle and fragile nuances and also catchy and haunting thematic properties.

All for one and one for all.

The score is not yet available commercially but there is a composer promo, but I am informed it soon will be released for all to hear, so keep an eye on digital platforms etc for announcements, Manel Gli-Inglada has created a musical tour de force, that will entertain and mesmerize well worth checking out when it gets a release. Highly recommended.

THE DAYS OF DRAMA, HORROR, INTRIGUE AND MAYHEM.

THE SERIOUS SIDE OF HENRY MANCINI.

By John Mansell. © 2021.MMI.  

I have always loved the music of Henry Mancini and was thankful that the composer/conductor and arranger released so many albums of what is categorized as essentially easy listening music was but within these albums there were examples of film music and later the composer released a whole bunch of film music compilations, these included the compositions of Mancini and his own take on various themes by other composers. At the time of these albums being released which would have been the early to mid-1970’s, original soundtracks were few and far between and it was rare for a score to be released unless it was a big movie such as Doctor Zhivago, Lawrence of Arabia or maybe something by Max Steiner and Miklos Rozsa. As in Ben Hur, El Cid, and Gone with The Wind etc. Mancini made film music accessible to fans via his various compilations, one of the most popular I think was his album that included Love Story, and one entitled Z and other film themes, these presented film music to collectors and music fans in the form more mainstream arrangements, and I think Mancini like British composer Ron Goodwin who did a similar series of compilations in the form of Adventure and Excitement on the EMI label helped film music become popular. Of course, there have been many compilations entitled The Best of Henry Mancini, that featured the composer own compositionsbut is there such a collection or indeed a collection big enough to encompass and cover the wealth of this Music smiths’ output, I think not.  

Back in the 1970’s it was hard to find soundtracks as many shops did not stock them, until the emergence of shops such as Harlequin records in London and places such as Soundtrack run by Michael Jones and 58 Dean Street. Owned by Derek. Mancini was always it seemed popular and even today his music lives on whether it be a theme from a TV show or a movie or an arrangement of a pop song, there is so much of his material available as RCA released near on a hundred albums featuring his musical genius. But for a moment try and forget the sweet sounds of Mancini, blank out if you can Moon River, The Pink Panther, and the sad and somewhat lonely sound of the opening theme for The Days of Wine and Roses and look deeper and maybe enter the slightly darker side of Mancini’s music for film and TV. Because if you can do that there are so many classic works and powerful compositions that flowed from his ever-inventive mind.

I mentioned The Days of Wine and Roses, and yes, it is a sweet and sentimental theme that the composer fashioned for the movie, but the movie itself was a serious look at alcoholism, Mancini’s somewhat melancholy theme playing opposites to the storyline of the movie.  The opening faraway sounding horn purveying a fragility, a feeling of desperation, loneliness, and of emptiness. The theme seemed somewhat out of place, but because of its lilting and haunting sound it became even more effective for audiences when watching the events unfolding in the movie. I suppose one of the prime examples of Mancini in dramatic mood is his score for Charade, again the soundtrack contained a syrupy sounding song, but the actual score was filled to overflowing with dramatic and powerful pieces, and even the opening of the title song had to it a sinister atmosphere about it. But the soundtrack when released contained many of the source music cues as opposed to the score, thankfully this was remedied much later when the score was issued in all its glory as part of Universals 100th Anniversary.

In the Aliquippa High School yearbook of 1942 there was an entry from a tutor that spoke of one of the students that attended the school, it read:
“ A true music lover, collects records, and has also written a handful of beautiful themes and compositions. He wishes to continue his music studies and eventually to have his own orchestra”.

The student that this referred to was Henry Mancini. Mancini, was born in Little Italy, which was a neighbourhood located in Cleveland. The young Mancini was brought up in West Aliquippa near the steel town of Pittsburgh. His parents were immigrants and moved to the United States from the Abruzzo region of Italy. It was Mancini’s Father Quinto who was a steelworker that encouraged his son to become involved in music and made him have Piccolo lessons from the age of just eight. From the age of twelve Mancini also began to take lessons for piano and after graduating from High School he attended the Juilliard School of Music in New York, these studies were cut short because Mancini was drafted into the army mid-way through 1943 where he initially served as an infantryman, later in 1944 he transferred to the Army Band and was also present at the liberation of the Mauthausen Gusen concentration camp which was located in the south of Germany. After being demobbed Mancini returned to his music and became a pianist and arranger for the newly re-formed Glenn Miller Band. His career for film music composition however began in 1952 when he was signed up by Universal Pictures and contributed music for some of that studio’s movies that have since attained something of a cult or classic status.

It Came from Outer Space, The Creature from the Black Lagoon, Tarantula, (which also included an early acting appearance for Clint Eastwood), This Island Earth, and The Glenn Miller Story. After working for Universal Mancini decided to strike out on his own as an independent composer and soon penned a theme for a television series that endures to this day, Peter Gunn was the first time that the composer worked with filmmaker Blake Edwards and as we all are aware it was not the last time that this creative duo collaborated. Edwards turned to Mancini many times in the ensuing years and their collaborative partnership lasted for thirty-five years, with Mancini scoring films such as The Pink Panther, The Great Race, 10, Experiment in Terror, The Party, Days of Wine and Roses, Victor/Victoria and most notably Breakfast at Tiffany’s.

The composer also collaborated with several A listed directors such as Howard Hawks, Stanley Kramer, George Roy Hill, Norman Jewison, Martin Ritt, Stanley Donen, and Vittorio De Sica. The composers score for Alfred Hitchcock’s Frenzy in 1971 was rejected by the filmmaker and replaced with a soundtrack by Ron Goodwin, the collaboration between Mancini and Hitchcock was said to be frosty at the very least, but I suspect this was more the director than the composer.  And if you examine photos of the scoring sessions, one can see that Mancini was not at ease.

The composer has created wonderfully atmospheric scores for thrillers, horrors, and dramas, and in many of them there was no sign of a sweet little lyric, instead we were treated to commanding and highly dramatic themes and compositions as in Lifeforce (1985), for which Mancini provided a not only powerful but chilling soundtrack, the film itself was not that memorable and it is probably the music that is discussed more than the actual storyline.  

The film had a plot that involved space vampires, probably not the type of movie that Mancini fans would have thought of him scoring, however his robust and highly dramatic opening theme soon became a firm favourite, and as I already said the music that Mancini penned is certainly more memorable than the film itself.

The movie was directed by Tobe Hooper and had an impressive cast that included Frank Finlay, Patrick Stewart, Nicholas Ball, Peter Firth, and Mathilda May. The story starts with the space shuttle Churchill being assigned to observe Halley’s Comet under the command of Colonel Tom Carlsen. They see a strange form attached to the comet and Carlsen goes with a team to investigate. They find three humanoid life forms in caskets, and they transport these to the   Churchill. However, Earth loses contact with the shuttle and the Space Research Centre decides that they must send another spacecraft to search the Churchill. They find the crew dead and the shuttle burnt and one rescue pod missing.

They discover the humanoids and take them back to earth. But soon Dr. Hans Fallada and his team discover that the Space Girl that they have brought to earth is a sort of vampire and drains the life force from people, transforming them into zombies. When the authorities find that Colonel Tom Carlsen has survived, they summon him to explain what happened in the Churchill. Carlsen tells an incredible story about the three aliens, and he teams up with Colonel Colin Caine to save mankind from the evil vampires from space.

So, a fusion of horror and Sci fi, the score was the work of both Mancini and Michael Kamen, with Kamen contributing additional music tracks. It is a powerful score, and the music works so well in the movie as well as being appealing to listen to just as music.

The Night Visitor is a score by Mancini that I cherish. Why? Well because if you were to listen to it and not be told who the composer was, I do not think anyone would be able to guess correctly, it is at various points in its development a complex score, with many atonal textures and colours, Mancini employing low woods, organ, and a slightly off kilter sounding piano that is spidery and chilling at certain points to create a dark and threatening atmosphere, the music being as bleak and icy as the location where the story is set. The central theme however is slightly more melodic, and theme driven which appears throughout in various arrangements, but it’s in no way lilting or emotional, the mood conveyed is apprehensive and tantalisingly shadowy, threatening, and malevolent which proved to be perfect for the movie. Mancini uses synthesiser/organ and harpsichord to great effect to create an eerie, cold, and unsettling atmosphere.

He did arrange the central theme and it appears on the Love Story album but it is far more commercial and melodic than it is presented within the score itself. The film which was directed by Laslo Benedek and starred Max Von Sydow, Trevor Howard, and Liv Ullman.

The film focused upon a convicted murderer named Salem, who after being found guilty is committed to a mental institute, set in Scandinavia, it tells the story of the man’s false conviction for a crime that he did not commit and his revenge on the people who he see’s responsible for him being locked away, venturing out at night from the asylum and exacts his vengeance upon them. The films tag line was “If your skin doesn’t crawl then its on too tight”. And this tag line and the overall mood of the movie was assisted greatly by Mancini’s score. 

arrangement of the Night Visitor them.

Nine years prior to The Night Visitor, Mancini scored the Blake Edwards movie Experiment in Terror, the film, which was a tense thriller starred Glenn Ford and Lee Remick, as a bank teller Kelly Sherwood who arrives home one evening from work to be threatened by a stranger who tells her he will harm both her and her sister if she does not do as he tells her.

 He wants her to carry out a heist at the bank forcing her to take $100,000 otherwise he will kill her sister and then her. Kelly does not see his face but notes he has difficulty breathing as if he is asthmatic. Kelly succeeds in luring the criminal to where FBI agents are waiting. But when her sister is abducted by the stranger, Kelly tries to stay calm to help the FBI to catch the criminal.

At the time of the film’s release 1962, there was a trend to utilise auto harps, which is a type of Zither, that has a series of sprung and padded bars which allow the playing of chords by damping certain strings, it can create a somewhat sinister sound, and this is probably why Mancini decided to use the instrument within his score.  He would be the first film music composer to do so, he used two in the main theme of the movie, one being strummed the other picking out the central theme both being punctuated by a bass electric guitar and augmented via big band influenced brass, romantic but at the same time apprehensive strings and a laid-back jazz slanted percussive backing track. Mancini experimented with the instrument and found the sound that he wanted was realised by the strings of the Auto Harp being stroked with a pick, its sound is in many ways similar to the cymbalom and at times it is rather stark sounding or malevolent.

The score also included a variety of musical styles with source music tracks leaning towards a big band sound and then there was a jazz or ragtime sounding piano piece that accompanied a silent movie chase sequence. The composer would also utilise the auto harp sound in other scores such as the John Wayne film Hatari in the same year, this time combining it with percussion and brass. Back to 1958 for the next example of Mancini in dramatic mood for the Orson Welles thriller Touch of Evil in which Mancini combined dark orchestral colours and styles with jazz influenced compositions.

The result was a score that still ranks as one of his best. The film which was set on the Mexican border, was a dark affair and Mancini’s music underlined and mirrored the brooding and moody atmosphere, the composer utilised the Universal International Orchestra for the score but also had accomplished west coast jazz musicians brought in to bolster the performance of the music, these included, Shelly Manne, Ronnie Lang, and Pete Candoli, on drums, saxophone, and trumpet respectively. It was an unusual score because the music for the film was made up in the main of source music cues, with a Latin style big band or at times rock flavour. With the Universal International orchestra being conducted by Joseph Gershenson who had assigned Mancini to score the picture.

Mancini commented on Orson Welles and a Touch of Evil, “Orson Welles had a perception of everything in the film, including the music. He knew. He truly understood film scoring. …Touch of Evil was one of the best things I’ve ever done”.

It was also in 1958 that Mancini worked on the TV series Peter Gunn, which was for Blake Edwards, the show ran from 1958 through to 1961, and the gritty and hard-hitting theme that Mancini wrote for the show was to become one of his signature pieces. Edwards decided that the show should have a jazz influenced soundtrack because the central character hung out in a jazz club.

So, Mancini once again turned to west coast musicians to perform his music, this time they included John Williams who played piano on the soundtrack. The album of the Peter Gunn soundtrack went onto become a gold record for Mancini and led to a recording contract with RCA. It was for this score also that the composer first used bass flutes, which since that day have me a sound that we associate with Mancini.

The soundtrack albums for Peter Gunn were also amongst the first to be recorded in stereo. In 1970 Mancini scored four movies and one TV series, Sunflower, Darlin Lili, The Courtship of Eddies Father (TV), The Molly Maguires, and The Master of the Islands, or The Hawaiians as it was entitled in the United States. The latter two titles called for more dramatic scores but also contained that Mancini sound.

The Molly Maguires particularly stood out I thought, it was and still is a powerful score. With Mancini fashioning traditional sounding Irish melodies and combining these with rich, vibrant, and commanding action cues for the movie. The Hawaiians too contained an adventurous sounding theme but had a few dark and more apprehensive cues as in The Streets of Chinatown and Pineapple Pirates. The movie which starred Charlton Heston, was directed by Tom Gries and based upon the 1959 novel by James A. Michener. It was the sequel to the movie Hawaii which was released in 1966 and scored by Elmer Bernstein. Just as a matter of trivia Bette Midler was in both movies as an extra.

“Day belongs to man, but night is theirs”. 

Is the tag line to the movie Nightwing, as the title suggests a horror movie. Released in 1979 the movie was directed by Arthur Hiller, it was a film that took its inspiration from Jaws and dabbled with the idea of wild animals running amok at the expense of humans. There were a few movies of this persuasion during the 1970’s and 1980’s, which included and Grizzly in 1976, Orca Killer Whale (1977) and The Swarm from 1978. to mention but three. Nightwing, was not a high-profile movie and the cast although good was not particularly in the A list category, British actor David Warner featured as did Nick Mancuso, with appearances by vintage actors such as Strother Martin.

But it was watchable and at times interesting. The plot is pretty run of the mill and involves a colony of vampire bats that are terrorizing a small Indian community in New Mexico. It’s basically a standard “Nature goes berserk” scenario until the end of the movie when there is a twist in the tale that involves the discovery of supernatural forces that are driving the creatures. As always Mancini provided a score that worked well with the film and supported its often-flimsy storyline, again the music is possible better than the movie, but that is I suppose a matter of opinion. Mancini once again fashioned a dark sounding score, that at times was atonal and sinewy but with Mancini there is always a theme that stands out and Nightwing is no exception, because of the setting of the movie the composer provided an ethnic sounding them which was performed via a type of whistling realised on synthesiser, he underlined this with icy sounding strings and apprehensive brass, that themselves were underscored by dark and low string performances that are supported by harp that punctuates the proceedings.

Mancini also enlisted woods thus creating a wonderfully tense ambience but remaining melodic and melancholy at the same time. When you think about the film scores of Henry Mancini one invariably looks to the hit soundtracks with the songs and popular tunes, and the jazz flavoured works that have that infectious aura about them. But as we can clearly see from the few titles I have highlighted, Mancini was more than capable of turning his hand to any genre, dark, light, romantic/comedy, and even musicals.

Henry Mancini

Mancini’s musical expertise was never in doubt by anyone. His music elevated and supported, punctuated, and gave greater impact to scenarios, his music at times was the comedic punchline to so many on screen gags, and at the same time often sent chills down an audience’s spine, it was always appealing within the movies he worked on and satisfying and inspiring away from them.   

TALKING TO COMPOSER ANDREAS TENGBLAD.

Knutby is your latest release, can you tell us how you became involved on the series, and how much music did you compose for the series?

I actually made a pitch for the series and the director, Goran Kapetanovic really liked the mood of that music. So, I got the gig and started to write a lot more music without seeing any picture. When they got on to edit the series they used that music exclusively, so later the only temp I had to beat and replace was my own!

Knutby has a score that combines both symphonic and synthetic elements, what size orchestra did you have for the project and where was the music recorded?

Everything is recorded in my own studio, Studio Gagarin here in Stockholm. I played all the strings myself and have developed a little technique for that. I set up a stereo mic in my room and move around my chair according to general orchestral seating. I do 4 overdubs per instrument, violin 1, violin 2, viola and celli, and I own two of each instrument and play them with and without mutes. That creates quite a convincing sound stage which I then enhance with various analogue reverbs and tape delays! Other instruments I used frequently in the series is a Finnish instrument called Kantele, basically a type of plucked Zither. Oh, and then I used a Ondes-Martenot-based instrument, which you play on a ribbon controller. There is no set pitch, much like the string instruments so I utilised that by double tracking it and slowly going up and down from the pitch centre to create an unsettling, haunting colour.

The score is I think excellent, and employs many varying thematic avenues, dramatic, romantic, and emotive. The opening track Manifesto I thought was at times quite Herrmann-esque purveying a tense atmosphere but at the same time stayed melodic. Did the director have a lot of input into the style of music that they wanted?

Thank you! This was a dream project. No temp at all except from my own compositions and the input from the director was just “That´s great, thumbs up!”

Do you think that any composers or artists have influenced you, inspired you or prompted you to score a movie in a certain way?

I’ve always listened a lot to classical music and get a lot of inspiration from that. Antonin Dvorak is one of my absolute favourites and I think he has affected me on how to think about melody, harmony and voice leading, even on a subconscious level!

When you work on a series such as Knutby, are the schedules quite tight and do you score episodes in chronological order?

Yes, it’s a quite tight deadline once the editing is locked. I had 5-6 days to score each episode and I did it in a chronological order. However, since I already gave them so much music the editor had already spread out the same themes on different episodes. Sometimes it was great and sometimes they needed replacement. Prior to locking the episodes, I saw which of my music they repeatedly used, then I went on and recorded strings and other things on those as a template because there was just not enough time to record new strings for each cue. So, by the time I was scoring EP6 I think EP3 was already on air!

When you spot a movie how many times do you like to see it before the ideas about the music begin to formulate?

I like to spot the movie and take notes with pen and paper the first time I see it. In my experience the unbiased first impression is always the best! Then I put the movie in Pro-Tools and watch it again. This time I put out markers with cue names and further notes about where I really want a certain cue to go emotionally.

When thinking about music in a film do you consider any scenes that you think could benefit from not having music?

Absolutely, silence is as important as the music in my opinion! It can create so much tension. A good example is the first 30 minutes of “The Good, The Bad, The Ugly” Totally quiet and totally magic. And they could have had music written by my absolute favourite, Ennio Morricone, who scored the movie, if they wanted!

Can I ask what musical education did you have, and was it music for film that led you to studying music?

I studied Jazz in high school with double bass as my main instrument and then went on studying for two more years. After that I got really fed up with school and picked up the violin, accordion, mandolin, and other instruments on my own. I was always curious on different timbres and sound and really wanted to play them myself without being academic about it.

Alba August

There is a song on the soundtrack for Knutby, did you also work on this or was it the work of someone else and who is the vocalist?

The vocalist is Alba August, one of the main characters; “Anna” from the series. She’s a true multi talent and releases a lot of music as an artist by her own. The song “Du får göra som du vill” by Partik Isaksson was a big radio hit in Sweden at the time when the happenings of the series took place, early 2000s. In EP2 “Anna” and her boyfriend “Johnny” are singing this song live at a party and some brilliant person came up with the idea to finish of the series with this song.

In 2018 you scored the movie Esamma I Rymden, which was a futuristic story, and a movie entitled Sune vs Sune you are credited alongside Joel Danell on the movies, did you collaborate, or did you contribute pieces to the score individually?

Joel is a great, his is an old friend of mine and he was in a tight spot and needed to share the load on some projects. We wrote some music together and some of it he wrote, but I helped arranging and polishing it. It’s actually great to have a writing partner sometimes. Scoring by your own can be a lonesome process at times….

What for you is the main purpose of music in film?

Film music is like a character on its own, but often going other ways than the films actual characters. They are pushing forward the music is pushing backward vice versa. It’s hard to do this and I often follow the action more than I want. For me, the ideal film music is when it’s telling something that you can’t see on the screen.

In recent years several busy film music composers have utilized orchestrators sometimes more than one, do you like to work on your own orchestrations and is orchestration just as important as the composing of the music?

Usually I’m recording everything myself, so there’s even no sheet music to deal with! I like to write music in great detail but if it’s going be recorded at the stage I will use an orchestrator.

I was going to ask if you performed on any of your scores, but you already answered this, what about conducting I suppose this does not really apply?

I perform a lot! My music studio is literally flooded with various instruments. When it comes to recording ensembles outside my own studio I’m more of a control room person. You could also say that I suck at conducting!

What is next for you?

Currently I am writing music for a new TV-series for STV, the Swedish national television called “Spelskandalen” by director Patrik Eklund. It’s based on a big sports betting scandal that took place in 1990. The music will be totally different from Knutby, more of an uptempo heist feel and a lot of drums, guitars and nostalgia synths! I´m also working on a movie by Mårten Klingberg starring Lena Ohlin and Rolf Lassgård called “Andra Akten” It’s a feel-good romantic drama and it’s gonna be great. It’s the third time I have collaborated with Mårten and our previous movie “Ur Spår” will premiere in cinemas at the beginning of 2022.

Many thanks to the composer for his time and patience..

THE KING’S MAN. (pre release review).

It won’t be long now before The Kingsman series of films becomes a trilogy, the soon to be released The Kings Man will we are told be in cinemas on December 22nd this year, the film, which is much anticipated by fans of the franchise, is also something that film music collectors are waiting for because the score by Dominic Lewis and Matthew Margeson has generated certain mutterings saying that it is something special. The movie was slotted for release in February then in September 2020, but the pandemic happened.

Well, I can tell you the whisperers and the rumours about the musical score are all true, it is brilliant. The work is a powerhouse of robust and vibrant themes, the composing duo never letting up and creating so many powerful and commanding moments. The opening track The Kings Man is an imposing and affecting piece for proud sounding horns that are laced with strings, creating an uplifting and I would say confident and at the same tie beautiful opening flourish for the score. It has a sound that is more than uplifting and so much more than melodic, it is totally consuming and inspiring. The cue moves into a more apprehensive and dramatic vein as it develops, the composers adding driving strings that are shadowed by brass and percussion, which give them an even greater atmospheric clout.

At times I was reminded of the work of both John Barry and John Williams and I thought there were also affiliations to the sound as in the melody to Morricone’s Ecstasy of Gold, just hints at least that evoke that wonderfully affecting four note motif from the Italian Maestro’s now iconic theme.(well I can hear it).  But I digress slightly, the music for The Kingsman is probably one of the most richly thematic scores from 2021 I say thematic as in anthem like and action packed, but even when the music becomes action motivated the themes still shine through and develop and alter throughout. What the composers have done here is create a solid score that twists and turns along with the plot and retains a melodic and attractive musical persona, that most certainly entertains without having to see the movie, which is great because it’s not yet out. But as soon as it is the score has made me want to see the film even more.

But just listening to the score, one just knows that the film is going to be a powerhouse of a production, which hurtles along at break-neck speed, never relenting or holding back, and if it does in the quieter moments then these are even more effective because of the luxurious and deeply emotional sound achieved and purveyed. It is for the majority a symphonic score, and utilises to the max strings, percussion and brass, the composers also adding little quirky nuances performed on cymbalom here and there, creating a haunting and mysterious air. I just wanted to alert you all to this wonderful score, it’s a triumph, and sorry to say you will have to wait until at least December before you are able to listen to it. But it is certainly worth waiting for.

Le Chateau Du Tarot .

Le Chateau Du Tarot is a new short movie directed by filmmaker Matteo Garrone for Dior. In which Christian Dior promotes its latest collection with a 15-minute Tarot-themed film. The beautiful and beguiling musical score is by Italian born composer Andrea Farri, who has once again produced a score that is superbly thematic and haunting. I am always surprised when I hear anything from Farri because this young composer writes with such maturity and has to his film scores a sound that is not just innovative but alluring and inspiring and seasoned. Because this is a score for a short movie, there are just five cues on the digital soundtrack release, and it runs for just over thirteen minutes, but for me there is more to this than most scores that have been issued recently that run for over an hour and have more than one edition released.

ANDREA FARRI.

This is an affecting work, a score filled with delicate and gracious tone poems and subtle musical strokes that seem to paint a picture upon a blank canvas, the composer coloring and giving texture and substance to the project. The music is fairly subdued for the majority of the duration, but there are certain passages when the composer utilizes solo voice that allow the music and the emotions created by it to rise and can be fully appreciated by the listener. This is a score that I whole heartedly recommend that you listen to, it is an eloquent and ingratiating listening experience, that I am certain you will return to so many times after your initial audio encounter, please check this out on digital platforms. Whilst there also sample more of the composers works.   Watch the short here and experience the images and the music.