Tag Archives: Cyrille Aufort

LA MALADROITE.

maladroite
Composer Cyrille Aufort is for me probably one of the most original and talented film music composers around today. His scores are always innovative and never seem to follow a predictable musical path. What I mean by this is that Aufort in my eyes continues to surprise and delight with each new work, his music adds depth and a greater emotion and dimension to each film or TV project he works upon. The composers scores becoming an unseen character within a movie, underlining and enhancing the proceedings and giving support to storylines and scenarios. His score for the movie LA MALADROITE which premiered on French TV recently has been released on Movie Score Media digitally, and one does hope that soon a record label will pick this up for a physical CD release as it is a score that deserves such a release. The film deals with a subject matter that is delicate and also highly emotional, and the composer accompanies and gives a greater impact to the situations as they unfold within the movie. The music is based upon a lilting piano theme on which Aufort builds his poignant and superbly subtle and sympathetic soundtrack. I think this for me personally has already become my favourite Aufort score and will also be a firm favourite of mine when I compile my best of 2019 list. The film is based upon true events, which are at times upsetting and at the same time fill one with a sense of anger. The touching and subtle tone poems of the composer do give the storyline more power as we all realise what is happening, but I suppose do not want our assumptions to become reality although inevitably they become clear. Stella is 6 years old but is going to, school for the first time. Happy, exuberant – a little too energetic perhaps – she is a charming and endearing child, but soon begins to have a lot of time off from school. Ill health problems are justified by her parents, and when her teacher discovers bruises on her body, the little girl tells her they were caused by her own clumsiness when she explains she has fallen. But is she telling her teacher the truth? The teacher enlists the aid of others who too meet Stella and try and decide if these injuries are due to her falling or are, they abuse from the parents or someone else. The teacher Céline begins to take note of the injuries until without any warning the family move away.

Cyrille-Aufort

 

As I have already said it is a film that deals with a delicate subject, but sadly one that is all to common now. Aufort’s atmospheric and at times mesmerising score, is an asset to the movie, the composer adding colour and shading to the storyline as it develops. The childlike and delicate central theme becomes haunting and even more beautiful as the score develops and grows. It is one of those soundtracks that has to it an abundance of poignant and emotive thematic material, that is overflows and at the same time overwhelms because it is just so affecting and beautifully powerful. Please I urge you to listen to this score, and when the CD is finally released add it your collection, available on various digital platforms, highly recommended.

NEPAL-BEYOND THE CLOUDS.

 

NEPAL

 

Cyrille Aufort is a composer I have followed for several years, his melodic and shimmering thematic music literally drapes and engulfs each project he is involved with. His ability to support and embellish every scenario occurring on screen is at times unbelievable, his music is varied and  powerful, whether it be dramatic, submissive, delicate or apprehensive.  Recently Movie Score Media have released his score for NEPAL-BEYOND THE CLOUDS. This work is no exception the normal high standard and wonderfully rich and highly emotive music that we expect now from this talented and gifted Maestro. The score is an atmospheric one, with the composer creating the many moods and atmospheres that a production of this nature requires. I am personally impressed with the composers use of violin and also cello that he supports with various string instruments and at times enhances these with piano and a scattering of light and glittering percussive elements and ethnic instruments.

 

cyrille-aufort

This is a score that will not only haunt but please the listener, it contains simple themes, but these are so emotive and poignant that they make a lasting impression upon one. Some of the cues begin with no real hint of anything that is lush or thematic but as if from nowhere a beautiful musical passage or motif seems to appear and totally mesmerises and charms. Of, course this is film music so there are a few harder or more dramatic sounding cues with the composer again utilising the string section to their full potential in which he creates stirring and at times apprehensive slanted cues. But the sound of emotion or the mood of melancholy and fragility is not too far away in which ever cue that you select to listen to. Piano performances are a delight and the composer’s ample employment of romantic, mysterious and even mischievous little nuances infiltrate the proceedings at regular intervals, the work has a freshness and a musical aura that just never allows the listener to ignore it. The composer does employ interesting percussive elements throughout which again make the listener sit up and take notice, keeping the score vibrant and attractive, one for your collection? Yes of course it is. I make no comparisons with any other score or indeed compare it to the work of any other composer, because this is Aufort at his beguiling and melodic best.

 

 

Track listing.

1.
Raj and Shiva
2:24
2.
Beyond the Clouds
3:12
3.
Flower Necklaces
1:23
4.
The Lost Valley
2:12
5.
9000 Dead, 23000 Injured
1:53
6.
Crash
1:52
7.
Himalayan Friendships
1:52
8.
Cello Solo No. 4 (Franck Bernede)
1:25
9.
The Bridge
1:34
10.
To Each His Own
2:20
11.
The Lark
1:19
12.
The Kites
1:58
13.
The Assault
1:52
14.
Cello Solo No. 2 (Franck Bernede)
1:17
15.
How to Live Well
1:25
16.
Regrets
2:29
17.
Beyond the Clouds Epilogue

 

PAST LIFE.

 

past-life

The name of composer Cyrille Aufort, has for a few years been popping up here and there, and every time I have experienced his music I have always found it to be rewarding and uplifting. The composers gift for creating melodies and lilting tone poems is quite extraordinary, he has a varied style and approach towards fashioning scores for movies, but in the main takes the classical sounding route as in fully orchestral and symphonic. I would have to say that his style and the sound that he achieves on many of his soundtracks is somewhat similar to Armand Amar, but it is not in any way un-original or mimicking this composers music, Aufort like Amar is in my opinion highly innovative and in many cases employs a brooding or underlying musical persona, which is present throughout or is utilised as a starting point and continues to act as a background or a foundation to the nuances and motifs that the composer creates and basically weaves into it, the effect is at times quite stunning, and on occasion takes one by surprise but it is a nice surprise as more often than not one is not expecting it. I first became acquainted with this style in his score for, L’EMPERUER and again in his work on LA GLACE ET LA CIEL, however, in these two examples the composer did employ a grand sounding thematic content and develop the central themes to a greater level, his music being an essential component of both productions. With L’EMPERUER , being laden with rich themes. Of course, Aufort is more than capable of producing dramatic and even tense and dissonant musical landscapes, and I know that this sounds like a cliché, but the composer is chameleon like when producing music for movies, take SPLICE for example, which was quite a dark work, matching the subject matter. One of his latest soundtracks is for PAST LIFE, this is a perfect example of the versatility and originality of this composer, the score is for most of its duration, somewhat light and melodic, but these melodic passages are not in any way overblown or even grand sounding, in fact they are more like hints of melodies, or small wisps of themes that do not fully develop but still manage to become familiar with the listener. The composer relies predominantly upon, low key strings and woods with fragile sounding piano, harp and female voice to purvey an atmosphere and mood that is emotive, poignant and hauntingly beautiful. The opening theme is a tender and subtle piece with piano delicately performing the opening bars, supported by strings, with a light and melancholy sounding horn, strings develop and swell as the piano expands upon the opening phrases. Track number three, KATOWISE, is slightly more up-tempo, with driving strings of sorts, laying down a foundation for the composer to build on, employing woods and more strings which at times begin to take on a more sinister persona. The composers low-key approach on this score has certainly paid dividends as he has fashioned a work that is not only alluring, but is one that I am sure listeners will return to on many occasions.

 

There are also a handful of cues performed by THE THLEMA YELLIN ALUMNI CHOIR, which are also compelling pieces and are also an important component of the films storyline which is set in 1977. It begins with an Israeli choir performing in Berlin, and we see an older woman looking through the program for the concert, she is drawn to the name of a young woman who is performing solo soprano, and is familiar with it. Later at a gathering after the performance, the older woman in the audience Agnieszka played by Katarzyna Gniewkowska decides that She must speak with the Soprano singer, who’s, name is Sephi and portrayed by actress Joy Rieger. The conversation that entails is a difficult and tense encounter as Sephi speaks no German and the Older woman speaks no Hebrew, but Agnieszka still manages to get over to Sephi that she knew her Father and that he was a murderer. What follows is a storyline that is like a thread being unraveled as Sephi, confides in her sister and together they discover that maybe their Father is not the man they know and love. A tangled web of deceit, dark secrets and heartache unfolds, all of which is matched and punctuated wonderfully by Aufort’s score. The work also contains additional music by, Avner Dorman and Ella Milch-Sheriff.  Recommended.

TRACK LISTING
1 Past Life Theme 2:51
2 Hishki Hizki (composed by Abraham Caseres) 3:33
3 Katowice 1:37
4 Baruch’s Diary Part 1 2:58
5 Photoshoot 2:18
6 Dance Teacher 1:31
7 Warsaw 3:19
8 The Concert (composed by Avner Dorman) 3:07
9 Baruch’s Diary Part 2 2:05
10 Archives 4:35
11 Zielinski 2:31
12 Sefi’s Letter 1:48
13 Berlin 2:43
14 The Time Will Come (composed by Ella Milch-Sheriff) 3:56
15 Baruch and Agnieszka 2:03
16 Past Life End Credits 2:50
17 Cantique de Jean Racine (composed by Gabriel Fauré) 5:29

 

Splice

Splice
Splice

The movie SPLICE is a French/Canadian production, and deals with genetic engineering that goes horribly wrong, or does it? I suppose it depends on personal opinion in this case. Two genetic engineers are working on splicing animal DNA and have success in this area. They want to progress and begin to experiment with animal DNA being spliced with the DNA of humans. The company they work for are against this as they want the two scientists to continue with their work so that they may make money. What happens is that the two scientists continue their work for the company, but at the same time pursue their own avenue of experiments. The end result is a human like creature DREN, I wont give away any more of the films intriguing, sad and at times harrowing plot, but let us just say things do not end happily, and there is certainly a twist in this tail. Continue reading Splice