Music has always been an integral part of the “Star Wars” universe, dating back to the John Williams scores for the original movie trilogy. So will Emmy voters recognize one, two or all three of the recent “Star Wars” TV series in the scoring categories?
Vying for consideration: the 12-part “Andor,” with music by Emmy-winning, Oscar-nominated Nicholas Britell (“Succession”); the six-part “Obi-Wan Kenobi,” with a new theme by Williams and score by English composer Natalie Holt (“Loki”); and the eight-part third season of “The Mandalorian,” with music by Joseph Shirley. All aired on Disney+.
Britell spent more than two years on “Andor,” the backstory of “Rogue One” hero Cassian Andor (Diego Luna), including several months creating music that was played on the set during filming – from the Time Grappler’s hammer-banging signals on Ferrix to the alien electronica in the clubs on Morlana and the amateur funeral band playing a...
Vying for consideration: the 12-part “Andor,” with music by Emmy-winning, Oscar-nominated Nicholas Britell (“Succession”); the six-part “Obi-Wan Kenobi,” with a new theme by Williams and score by English composer Natalie Holt (“Loki”); and the eight-part third season of “The Mandalorian,” with music by Joseph Shirley. All aired on Disney+.
Britell spent more than two years on “Andor,” the backstory of “Rogue One” hero Cassian Andor (Diego Luna), including several months creating music that was played on the set during filming – from the Time Grappler’s hammer-banging signals on Ferrix to the alien electronica in the clubs on Morlana and the amateur funeral band playing a...
- 6/5/2023
- by Jon Burlingame
- Variety Film + TV
English composer Rachel Portman today releases her first solo album. Titled “Ask the River,” it’s a collection of original pieces for piano, violin and cello that reflect her feelings about our fragile environment.
That the release happens to come in the middle of a global pandemic is coincidental, but it also couldn’t be more timely. Portman’s music conjures up images of a pastoral English countryside: warm and breezy, cool and contemplative, green fields and babbling brooks.
“I had spent a lot of time immersed in nature, and I wanted to try and express that,” she says from her country home 50 miles outside of London, “and express the beauty of what I see as many, many different aspects of nature around us. We’re increasingly unconnected to the natural world. We don’t seem to be part of the land; we seem to use it as a resource instead.
That the release happens to come in the middle of a global pandemic is coincidental, but it also couldn’t be more timely. Portman’s music conjures up images of a pastoral English countryside: warm and breezy, cool and contemplative, green fields and babbling brooks.
“I had spent a lot of time immersed in nature, and I wanted to try and express that,” she says from her country home 50 miles outside of London, “and express the beauty of what I see as many, many different aspects of nature around us. We’re increasingly unconnected to the natural world. We don’t seem to be part of the land; we seem to use it as a resource instead.
- 5/8/2020
- by Jon Burlingame
- Variety Film + TV
“1917,” Thomas Newman
The 20-year collaboration of director Sam Mendes and composer Thomas Newman has encompassed midlife crisis (“American Beauty”), crime in the Depression (“Road to Perdition”), the Gulf War (“Jarhead”), marriage in the 1950s (“Revolutionary Road”) and two James Bond adventures.
Now they’ve tackled World War I, with “1917,” but Mendes’ much-talked-about approach – two British soldiers on a desperate mission in enemy territory, filmed as if it is one continuous shot – posed a unique challenge to its composer. “The movie is in present tense and because of that, music cannot comment because that puts you a couple of seconds behind present tense,” says Newman.
“Music is there to help, but the way in which it helps must be fundamental and visceral as opposed to intellectual and reflective,” adds the 14-time Oscar nominee. “Certain musical elements repeat, and there is a kind of friendship theme that doesn’t. It needs to...
The 20-year collaboration of director Sam Mendes and composer Thomas Newman has encompassed midlife crisis (“American Beauty”), crime in the Depression (“Road to Perdition”), the Gulf War (“Jarhead”), marriage in the 1950s (“Revolutionary Road”) and two James Bond adventures.
Now they’ve tackled World War I, with “1917,” but Mendes’ much-talked-about approach – two British soldiers on a desperate mission in enemy territory, filmed as if it is one continuous shot – posed a unique challenge to its composer. “The movie is in present tense and because of that, music cannot comment because that puts you a couple of seconds behind present tense,” says Newman.
“Music is there to help, but the way in which it helps must be fundamental and visceral as opposed to intellectual and reflective,” adds the 14-time Oscar nominee. “Certain musical elements repeat, and there is a kind of friendship theme that doesn’t. It needs to...
- 12/7/2019
- by Jon Burlingame
- Variety Film + TV
Varèse Sarabande will release the Everest – Original Motion Picture Soundtrack digitally and on CD September 18, 2015.
The album features the original music composed by Dario Marianelli (Atonement, The Boxtrolls). The score is great and it’s what makes the movie even more intense!
“My initial instinctive approach to the score, which our director, Baltasar Kormákur, liked and encouraged me to follow, was to have a calling voice, a distant siren call,” explained Marianelli. “It is at the same time a voice that represents the ancient goddess-like mountain, but also a luring and irresistible calling to one’s own destiny.”
Marianelli’s musical “siren call” was performed by singer Melanie Pappenheim. “The same tune that I wrote for Melanie was also played by two wonderful string players in many variations—Caroline Dale and David La Page, with whom I also have worked on several other movies,” he said. “There were also moments...
The album features the original music composed by Dario Marianelli (Atonement, The Boxtrolls). The score is great and it’s what makes the movie even more intense!
“My initial instinctive approach to the score, which our director, Baltasar Kormákur, liked and encouraged me to follow, was to have a calling voice, a distant siren call,” explained Marianelli. “It is at the same time a voice that represents the ancient goddess-like mountain, but also a luring and irresistible calling to one’s own destiny.”
Marianelli’s musical “siren call” was performed by singer Melanie Pappenheim. “The same tune that I wrote for Melanie was also played by two wonderful string players in many variations—Caroline Dale and David La Page, with whom I also have worked on several other movies,” he said. “There were also moments...
- 9/17/2015
- by Michelle McCue
- WeAreMovieGeeks.com
Until Audiobro’s La Scoring Strings: First Chair (Lass First Chair) library first made an appearance a couple of years ago, Vienna Symphonic Library’s DVD Solo Strings library was pretty much the only serious solo string game in town. Lass First Chair was never originally intended to be for lead parts as such – as the name suggests, it’s the first chair in the full Lass ensemble and strictly speaking not lead at all. But it has nevertheless been adopted for this purpose by many composers – it was eventually launched as a standalone product; it has a good expressive range and it is very easy to play.
Now into the marketplace comes a completely new offering: Spitfire Audio Solo Strings. In contrast to Lass, which is relatively dry, Spitfire makes their space an integral part of the library, recording at the world renowned Air Studios in London. Perhaps even more significant,...
Now into the marketplace comes a completely new offering: Spitfire Audio Solo Strings. In contrast to Lass, which is relatively dry, Spitfire makes their space an integral part of the library, recording at the world renowned Air Studios in London. Perhaps even more significant,...
- 12/23/2011
- by Guy Rowland
- SCOREcastOnline.com
Win Spitfire Audio’s Newest Creation Solo Strings in SCOREcast’s 2nd Annual Cue Contest
This year, SCOREcast is teaming up with Spitfire Audio to give away a copy of their hot new sample library, Solo Strings—the premiere solo string library for Kontakt.
SCOREcast wants to hear what you can do with limited instrumentation, and if you blow our minds, you’ll win your very own copy of Solo Strings by Spitfire! To enter to win, all you need to do is compose a melodic cue that is 60 to 90 seconds long, and uses Three virtual instruments—one of them being a solo instrument of your choice. So, get your palette together, dream up a memorable melody line, and get to crackin! The contest starts Today!
We’ll get to the complete contest rules and eligibility requirements in a second, but right now, here’s the scoop on your prize...
This year, SCOREcast is teaming up with Spitfire Audio to give away a copy of their hot new sample library, Solo Strings—the premiere solo string library for Kontakt.
SCOREcast wants to hear what you can do with limited instrumentation, and if you blow our minds, you’ll win your very own copy of Solo Strings by Spitfire! To enter to win, all you need to do is compose a melodic cue that is 60 to 90 seconds long, and uses Three virtual instruments—one of them being a solo instrument of your choice. So, get your palette together, dream up a memorable melody line, and get to crackin! The contest starts Today!
We’ll get to the complete contest rules and eligibility requirements in a second, but right now, here’s the scoop on your prize...
- 12/15/2011
- by SCO Staff
- SCOREcastOnline.com
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