Tag Archives: OSCAR MARTIN LEANIZBARRUTIA

SCORING THE MOVIE CLARET….TALKING TO COMPOSER OSCAR MARTIN LEANIZBARRUTIA.

1. This is such an emotive score. How did you become involved in the movie

From the beginning of my career as a composer I had the pleasure of working with Pablo Moreno and his film company Contracorriente Producciones (now Stellarum Films). This film is an order from the Claretian Family that comes after Moreno´s movie “A forbidden God” (Un Dios Prohibido 2012), and as in the previous films I scored, Poveda, Luz de Soledad, and Red de Libertad. Moreno gave me the pleasure to compose the music for this beautiful movie. 

2. How many players did you have for the score. who was the cello soloist? And is it a live choir

The main group of musicians are The Mad4Strings string orchestra, about 25 players. The cello soloist is Dragos Balan, a genius who is the 1st cello of the orchestra of the Royal Theatre of Madrid. It was a miracle to have him, and his interpretation of my music was one of the best things that I have experienced. In addition, I had the opportunity to have exceptional musicians for the soloist parts too; Juanjo Hernandez for the flute and alto flute, Salvador Barberá oboe and English horn, David Martinez violin, the sopranos Natalia Bravo and Sonia Santoyo and the guitar parts of Swignleman (Diego Martinez). The choirs and other instruments like brass and electronic parts were realised by synths and samplers. The mixing was made by the incredible mixer José Vinader, he made the magic to combine all the instruments.

  3. The opening track sets the scene for the style and sound of the music did the director have specific notions about what kind of music he wanted.

Yes, Pablo always gives me a lot of different examples to express himself and tell me what he wants in the movie or a specific sequence. In this case most of the examples I had were Morricone and Hans Zimmer. It’s useful for me because with these examples I can understand the feelings, the atmospheres, and the instrumentation that he wants. Then, I tried to forget the examples and built something new by myself, inside the lines he gave me. 

4. Do you perform on the score.   

Yes, after composing and orchestrating the music, I conducted the orchestra, and in the movie, I played the clarinet in a dance sequence. I was on set, but only appear in a couple of frames.

5.The edition on Spotify is 54 mins in duration is this a full score edition or are there more cues.

In this edition I tried to include most of the music and put together similar cues to create larger tracks. Some cues were too short or had little musical importance, but this did not exceed ten minutes.  

6 It is a delicate yet grandiose work how much time did you have to write and record the score.  

I was lucky because I had much more time to create this music (comparing with the previous films or the standard situation to film scoring). I wrote the main theme in November 2019, and the total of the score was composed between March and May of 2020 (including orchestration and edition of the parts by my own). It was a calm process because there were several changes in the edition of the movie too. We had the recording session in 2020 September 3rd, and the soloist sessions the following days. It was a large but intense work that I fondly remember. 

FATIMA EL ULTIMO MISTERIO/RED DE LIBERTAD.

 

 

A few months back I reviewed a couple of soundtracks by a composer who I thought was very talented, I also thought although he was a young composer he had lots of potential and wrote melodies that displayed a real maturity. His scores for LUZ DE SOLED and POVEDA contained so many wonderful melodies and were both filled with emotive and dramatic musical passages, each score containing delicate and fragile nuances that were haunting and entertaining. Oscar Martin Leanizbarrutia is a composer who will I know be in much demand soon. He has recently written the scores for two more projects, RED DE LIBERTAD and FATIMA EL ULTIMO MISTERIO. Both very differing subject matters but each containing scores that are most definitely in keeping with the individual movies subject matter, RED DE LIBERTAD has several dark and sinister sounding moments and FATIMA EL ULTIMO MISTERIO is a score that is deeply moving and highly charged both dramatically and emotionally. When I spoke to the composer in intrrview about his previous projects I was surprised to discover that conventional instrumentation did not figure a great deal within both scores, this was down to budget and the composer employed synthetic and electronic mediums to relay his wonderfully emotional musical phrases. For the latest two scores I honestly cannot tell if they are performed symphonically or synthetically, the sounds being polished and styled in such a way that there are only maybe one or two occasions when I might have thought that is electronic or samples. FATIMA in-particular is a beautifully crafted work and it is filled with a mystical and celestial sound throughout, choir and woods come together underlined by strings which are also supported by the use of sharp sounding brass and a proud emotive sounding horn arrangement that adds depth and also gives the work an imposing and affecting musical persona, the composer also adds solo guitar and timpani at certain points, the latter giving certain cues a martial sound or a feel that is taught and urgent, the guitar passages although fleeting can be a settling and calming interlude, overall the score is one that one will listen to many times and upon each visit will discover a sound or a nuance and phrase that maybe one had overlooked. Many of the cues are lengthy, thus having a chance to develop and grow. The end credits cue for FATIMA is a triumph, and one that I have returned to many times, solo piano laced with underlying string effects choir and anthem like brass flourishes all come together to create this rich, lush and opulent sounding piece, that drives, glides and soars, many of the themeatic properties heard in the score intertwining as the composer fashions an end of score Overture.

 

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The style employed here is not dissimilar to that of composers Marco Frisina and Mark McKenzie, it is a multi-themed work in fact so many themes and motifs are within the score that it is hard to come to terms that all this music is from one movie. As I have said the two scores are somewhat different RED DE LIBERTAD being, slightly more downbeat, and it also has a darker and more ominous style and sound to it. The film set in WWll tells the story of a nun who faces the Nazi’s and helps refugees and prisoners escape the concentration camps that were set up in France. The composer successfully underlines the drama and the tense and urgent storyline, but also manages to add a human and emotional side via hauntingly intricate and beautiful  themes.  I cannot be sure, but I believe symphonic string and brass elements were used within the score, plus a mesmerizing solo voice performance, and rumbling percussive elements,  because there is a such a richness present throughout, particularly because of the sorrowful Cello that from time to time raises its musical head, (listen to track number 8, SALIENDO DEL CAMPO/PIERRE). Which is heart-breaking and inspiring all at once. These components are combined with synthetic options to bring to fruition a sound that is enthralling, exciting and entertaining. Shadowy and sinister sounds are mixed with lighter and fragile sounding phrases, to create a well balanced and wonderfully melodious work, that I know you will return to for repeated listens. Both scores are worth adding to your collection, and Oscar Martin Leanizbarrutia is a young composer that you should look out for, if you have not heard any of his music, I suggest a trip to Spotify to check out his musical wares. Highly recommended.