Tag Archives: Marco Werba




Composer Marco Werba is Maestro that has over a number of years has built up a reputation based on his deliverance of highly supportive film scores, in my opinion the composer has in the past two decades been responsible for creating some of the most entertaining film scores as in the music working as part of the film making process, with image and music working closely together, the music creating moods and atmospheres that ordinarily would not have been experienced if it were not for the composers intuitive and innovative use of music. One of the composers most recent scores is for, IL DELITTO MATTARELLA, which is released on Digit Movies, The, film which is directed by filmmaker Aurelio Grimaldi, is the fourth collaboration between the director and composer.



IL DELITTO MATTARELLA is a tense and consuming drama, that is set against political and criminal backgrounds, and the score by Maestro Werba, is in a word excellent. I would go as far as to say that is probably the composers most accomplished work for cinema, but then again when one looks at and listens to the impressive and varied filmography of the composer, it is difficult to select just one film score as being a stand out item, because all of his scores are highly polished and brimming with outstanding compositions. The score for IL DELITTO MATTARELLA is a powerful one, and contains strident and sweeping thematic material, right from the offset we are treated to an intriguing and commanding musical persona that purveys a dark and forceful atmosphere. Fully symphonic as far as I can tell, the score contains gentle nods and bows to the style of the late Ennio Morricone, but there is also the distinct and wonderful style of Marco Werba a style that dominates and oozes a luxurious and inventive musical personality . It is a score that is overflowing with a rich and vibrant sound. But not all of the soundtrack is dark and foreboding, there is melody and also lighter moments throughout, with piano, cello, flute and guitar being featured as solo instrumentation on various cues. The flawless cello performance is soaked in emotion and melancholy and perfectly complimented by flute, that is gracious and affecting.


Marco Werba
Marco Werba

The instruments combining and fashioning a delicate and haunting tone poem that has to it a dark underlying sound, but at the same time is filled with fragility and apprehension. The composer combines and interweaves solo cello, piano and strings in SICILIA 1980, to create a sense of tension, and also utilises a small string ensemble that underlines and compliments guitar and cello in the cue INCONTRO 1 and 2. To choose just one cue within the score s being more prominent than the other, would be impossible, because the entire soundtrack has to it an imposing quality, and an attractive and entertaining style.  Recommended no question.






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.


These are MMI,s contribution to the sleeve notes on SEGUIMI,(follow me) released on KRONOS RECORDS.


To say that composer Marco Werba’s music for the psychological mystery SEGUIMI is haunting and atmospheric would be something of an understatement. It has about it a presence and a persona that is given greater impact because of the composers use of layers of sounds and a somewhat sparse but at the same time attention grabbing style, the composer fuses electronic instrumentation with ethnic and conventional orchestral performances to create a soundtrack that immediately engaging. It I think is probably one of the Maestro’s most accomplished and innovative works for cinema. It is a score that is rewarding and interesting to listen to, and one that compliments, supports, and enhances the scenarios that are being played out on screen. I would not say that this is a score that is laden with rich or lush sounding themes in fact they are more steamy and sensual, but nevertheless it is a work that will hold one’s attention whether listening to it on compact disc or experiencing it in the cinema when watching the movie. The balance created by the composer is perfect, with subtle and understated woodwind at times leading and on other occasions acting as punctuation or underlining violin passages. The composer also makes effective use of short but simple piano flourishes at certain points within the score, with a sense of solitude and sadness being relayed via a heartrending cello performance. Throughout the score there is a re-occurring five note motif which can be heard in a number of variations, but no matter what instrumentation or synthetics are utilised to convey the theme it remains chilling and apprehensive. The score is filled with musical textures and colours that often just fleetingly hint or introduce and suggest senses and moods, it is  a work that is oozing with an acoustic fertility which purveys sensuality, uneasiness and even discomfort. A masterful creation and one that will delight and enthral connoisseur’s of movie music.


Marco Werba was born in Madrid, Spain on July 27th 1963. He studied piano and harmony in Italy, and composition and film music at the Manes College of Music in New York. Plus, conducting which he studied in France. As well as being a composer he also teaches film music in Italy and gives tuition on how to score films. He was always interested in cinema and as a young child began also to direct movies himself, making super 8 movies which he would track with music by composers such as Williams and Goldsmith. It was after seeing LOGANS RUN and discovering the rich score by Jerry Goldsmith that Werba decided that he would study music and become a film composer. The composers first scoring assignment was ZOO, directed by Cristina Comencini, which featured a 13-year-old, Asia Argento. The composer sent the director a short adagio for strings entitled THE SURVIVORS, which resulted in him being offered the movie, at first the director wanted to score the film with classical music and a handful of original themes, but in the end Werba wrote forty minutes of music for the picture, which was applauded by fans and critics alike.
Since those early days, the composer has written the music for many motion pictures and has established himself as one of Italy’s most original and talented composers of music for film, being nominated for,  and winning numerous awards.

DARK WAVES. (liner notes for the Kronos records release)

Released on KRONOS RECORDS July 2016.


DARK WAVES (BELLEROFONTE), is an Italian produced fantasy/horror movie which was released in 2015, directed by Domiziano Christopharo who’s more recent contributions include FLESH MANNEQUINS-TOTALLY UNCUT, VIRUS EXTREME CONTAMINATION and the absorbing Giallo like horror THE TRANSPARENT WOMAN. Christopharo is not just a director in fact one could probably refer to him as an all round filmmaker because he is a writer, cinematographer, producer and also worked on special effects, he has turned his hand to editing and acting as well as being able to compose music. His other credits include DOLL SYNDROME, RED KROKODIL, HYDES SECRET NIGHTMARE and BLOODY SIN alongside many others. Composer Alexander Cimini, has provided DARK WAVES with a highly atmospheric score, there are many moods and colours to the music and the soundtrack elevates and supports the story being acted out on screen wonderfully, the music being unobtrusive but at the same time creating deliciously dark yet romantically laced passages which seamlessly weave themselves throughout the storyline adding a greater impact to it. The composer has collaborated with Christopharo before on SHOCK;MY ABSTRACTION OF DEATH in 2013 but most notably on RED KROKODIL in 2012. Cimini too is an individual that is multi talented within the film industry and although he predominantly works as a composer he also regularly works from behind the camera as a director and assistant director, plus he has also worked as an editor and a producer and as a composer has written the theme music for films such as REGALO A SORPRESA and HYDES SECRET NIGHTMARE. Alexander Cimini was born and raised in Germany, his parents owned a restaurant and he resided in Germany until the age of six. The composer recalled that it was the music of Ennio Morricone that inspired him and he would hear soundtracks such as DUCK YOU SUCKER, THE GOOD THE BAD AND THE UGLY and ONCE UPON A TIME IN THE WEST on the families radio in the car. It was also the piano playing of Richard Clayderman that influenced him and drew him to playing the piano himself. The composers Grandfather was also a composer but sadly he never met him as he died before he was born. The music for DARK WAVES is a score that although being new or contemporary also has to it a sound and style that can be likened to the scores written during the 1970,s by composers such as Morricone, Donaggio and Cipriani. The composers use of a wordless Female vocal (Soprano Monica Boschetti) within the score is affecting and haunting and creates a ghost like mystical musical persona that at times is chilling but also can be mesmerising and beautiful.


This exceptional performance is fused with outstanding violin and cello solo performances by Roberto Noferini and Sebastiano Severi respectively and together these make this score one that should be in every discerning film music aficionados collection. Composer Marco Werba also contributed to the soundtrack by writing a lilting and melodic piece entitled LOVE SONG which is the opening credit theme for the movie, this appears at the end of the compact disc (track 17). This is a score that is delicate, powerful and undeniably romantic with an underlying mood that is fearsome, apprehensive but never overwhelming.

John Mansell 2016. (IFMCA/MMI).




I have followed Marco Werba’s career as a film music composer closely and have always been more than pleased with the scores he has produced. In recent years his music seems to have gained a maturity and also a certain style, sound and energy has materialized that for me is always a delight. This is certainly true of one of the Maestro’s latest works INFLICTION, which is a dark psychological thriller. The composer has created a score that fit’s the movie like the proverbial glove, in many ways the style that the composer employs reminds me a little of the early style of Pino Donaggio when he scored movies such as DRESSED TO KILL and DON’T LOOK NOW, there is a darkness and foreboding present within the music that seems to engulf the listener, in fact I would go as far as to say that Werba’s music assumes an identity of its own that is not only supporting the characters and scenarios that are unfolding up on the screen, but it actual becomes a character in the story as well as a component of the film music process. The composer makes highly effective use of cello throughout the score and also adds strings and percussion to the mix to make this not only a chilling soundtrack but one that also strangely entertains and attracts, Werba also utilizes solo guitar within the score, which adds a certain warmth plus the composer employs a chiming or music box effect which is more prominent in track number 14,THE FIREPLACE, the cue is introduced by tense and nervous sounding strings which although are ominous and  dark in their sound are rather subdued and muted, the chiming effect begins at around the 1 minute 30 mark, and adds an atmosphere that is soothing, but the respite is short lived as the composer returns to a more unsettled and frantic pace with cello again taking the lead with support coming from strings, brass stabs and percussion that bring the cue to its conclusion. The chiming returns in track number 17, BABY PICTURE, but only as a brief introduction supported by sliding strings, these are then overwhelmed and replaced by a mournful and solemn sounding cello that is augmented by subtle use of strings which together create an atmosphere that is both sad and unsettling. The music to THE INFLICTION is a disturbing listen, filled with jumps and starts and a few surprises along the way, Werba’s use of voices within the work is sparse but effective as when they are used it takes one by surprise, one of the stand out cues within the score for me personally is track number 24,FINAL ESCAPE, not only is it the longest cue on the compact disc but it is also one that is brimming with thematic properties that range from romantically laced passages through to melancholy onto high drama and includes choral work that is stunning and affecting. Presented well by Kronos records,with notes from the films director and also the composer. This is a soundtrack that I would recommend you take a listen to. It has a multiple personalities  one moment being sweet and safe the next it becomes dark and threatening and also has tinges of sadness and uncertainty along the way,  You will love it.