For those years when Rocket Post remained u score kept the film alive for me and other me you dipped into their gorgeous score, there c financiers would finally release it. Working w producer’s joy. They understood immediately current of strong emotion. And they worke Nigel beavered away orchestrating all the man doing the job of ten men, and all the Michael’s piano playing bringing to life film. And then there was the day when Michael and Nigel’s music. I do ho enjoyment from Michael and Ni have all had. – Mark Shorroc March 8th, <strong>2007</strong> . The Islands (2.09) 5. Impressions (1.55) . Building the Rocket (1.44) cross the Sea (1.37) ty (1.12) • 14. Failure (1.40) ) • 17. Paint Dance (1.01) tant Shores’ (5.20) EL CSÁNYI-WILLS CHESTRA AGE E MCKENNA YI-WILLS ISTIAN HENSON l Air Lyndhurst, N METSOVITIS c Service) sá nyi-Wills: r: IAN MACLAY on Sibelius 2 sy of gel Clarke Michael ald t the love story of Catherine and Gerhard, the and the evocative beauty of the Western Isles w cal themes. It was wonderful. over again and feeling so uplifted. The boys It was a summer’s day on the west c of those days when Scotland is the m earth. I had the first demo of Michael a Rocket Post and had driven out to a favou to listen to their musical thoughts, car doo grassy knoll above the beach. I remember p A NOTE FROM THE PRODUC FILM MUSIC NEWS THE ROCKET POST This recording A 2006 G&J Sales & Distribution. Original score © 2003 Nigel Clarke, Michael Csányi-Wills, copyright administered by Air-Edel Associates Ltd. S <strong>2007</strong> MovieScore Media Sweden. All rights reserved. BAR CODE HERE! m ITHE ROCKET POST • Nigel Clarke & Michael Csányi-Wills MMS-07006 Nathan Barr: Tortured n With the stories of the two Hostel films in mind, it doesn’t come as a surprise that Nathan Barr has been hired to score a film called Torture. The composer of the two Hostel scores is scoring this film, which is actually more of a dramatic crime thriller. It tells the story about an FBI agent who faces a moral dilemma when he’s asked to torture a criminal. Emmanuelle Chiriqui and Laurence Fishburne star in the film, which is directed by Nolan Lebovitz. mc Abel Korzeniowski: Terra n The animated adventure Terra, featuring the voices of Luke Wilson, Chris Wilson, Brian Cox, Evan Rachel Wood and James Garner, gets an original score by Polish composer Abel Korzeniowski (The Half Life of Timofey Berezin). The film is produced by MeniThings LLC and Snoot Entertainment and directed by Aristomenis Tsirbas, a digital effects wizard who has worked as an artist on films such as Hellboy and Titanic. mc and WILLIAM MORRISSEY produced by MARK SHORROCK directed by STEPHEN WHITTAKER music composed by NIGEL CLARKE and MICHAEL CSÁNYI-WILLS line producer ALISON BARNET producers DAVID KENNAWAY CATHERINE DAVIES executive producers ROBERT BEVAN KEITH HAYLEY CHARLIE SAVILL GUY HANDS JULIA HANDS screenplay by JAMES MACINNES casting director JANEY FOTHERGILL make-up & hair designer ALISON DAVIES costume designer STEWART MEACHEM production designer ALISON RIVA edited by IAN CRAFFORD & BEVERLY MILLS director of photography RICHARD GREATREX, bsc in association with LITTLE WING FILMS ULRICH THOMSEN “THE ROCKET POST” SHAUNA MACDONALD GARY LEWIS KEVIN MCKIDD PATRICK MALAHIDE EDDIE MARSAN CLIVE RUSSELL JIMMY YUILL IAN McNEICE and JOHN WOOD G&J SALES AND DISTRIBUTION present an ULTIMATE PICTURES UK production Special thanks from MovieScore Media to Alison Wright, Simon Waite, Guy Hands, and Nigel Clarke & Michael Csányi-Wills. Composers’ web site: www.moviefonics.com Nigel Clarke & Michael Csányi-Wills March <strong>2007</strong> an idea to the fully orchestrated end product. terial on which to comment. Periodically the conductor for the score Robin Page called in to see how the score was progressing and pass useful comments. A highlight of any film score is working with live musicians – in this case we were privileged to record the score with the Royal Philharmonic Orchestra and added Scottish flutes played by the wonderful Francesca Hanley. Another musical highlight was recording the title song of the film with Mae McKenna who brought a real authentic Scottish flavour to the film. The project took five weeks from the first germ of ORIGINAL MOTION PICTURE SOUNDTRACK THE ROCKET POST ROCKET POST THE ROCKET this project. Every few days Mark and music supervisor Alison Wright stopped by our studio to hear our ideas. As with all our scores we made synthetic demonstrations of all the cues which gave both Mark and Alison ma- put in place Alison Riva as music adviser for A NOTE FROM THE COMPOSERS As so often happens when scoring films, one day you do not know it exists, the next day you are working every hour under the sun. This was the case with The Rocket Post. After a phone call from our agent, we met the film’s producer Mark Shorrock and two days later we were working around the clock. Nonetheless, it was a pleasure to do so as the film has an abundance of romance, beauty and drama set against the backdrop of the Western Isles in Scotland. Sadly the director Stephen Whittaker had passed away before we were brought on board. As a result, Mark MUSIC BY NIGEL CLARKE & MICHAEL CSÁNYI-WILLS PERFORMED BY THE ROYAL PHILHARMONIC ORCHESTRA Thematic, romantic, orchestral... British composers Nigel Clarke and Michael Csányi-Wills has composed a wonderful score for The Rocket Post, a romantic orchestral work filled with memorable themes and exciting dramatic writing – performed by the legendary Royal Philharmonic Orchestra and featuring a beautiful song, “Distant Shores”, sung by Mae McKenna. Available on CD and online now! m MovieScore Media Learn from a Master of Orchestration. MAURICE RAVEL His music is alive and well and still influencing film composers today. But what about you? 6 ISSUE 29 • SEPT. 5, <strong>2007</strong> FILM MUSICweekly H ow Ravel Orchestrated: Mother Goose Suite may be the one book you must have in your library with its newly engraved score, complete analysis, and CD of the recorded performance licensed from the Grammy winning Naxos Recordings. It was composed by a Frenchman passionate about sound and color, who spent hours questioning musicians and pondering musical combinations in his imagination, hearing internally how to voice the low end of the clarinet with the celeste, muted French horn with pizzicato violas, rising string ensembles that lift you into the heavenlies (hello E.T.) then anchor you to earth with the entrance of the basses, love at first sight, happily ever after, the sound of the orient, and many more devices and combinations in this one score that originally started out life as a four-hand piano piece for children. There are five suites matched to their original short story (several of which are surprisingly violent to the point you might not want to read them to your own children!): The Sleeping Beauty In The Woods, Little Tom Thumb, Little Ugly: Empress of The Pagodas, Beauty & The Beast, and The Fairy Garden. In one book, you get the story, the score, and a very practical orchestration analysis with techniques you can apply immediately in your writing, and can test out through sequencing with your libraries. Such learning! There’s also a bonus piece written by one of Ravel’s favorites, Edgar Allan Poe. For easy study, the score is 8.5 x 14, and you can download a bonus PDF version that you can mark up to your heart’s content. How Ravel Orchestrated: Mother Goose Suite book/CD combination, is a mere $49.95 (including the bonus score). A downloadable PDF edition is also available for just $39.95. To order, visit our web site or call 1-804-733-6122 (Monday through Friday from 10AM to 4:30PM Eastern Daylight Time).
C M Y CM MY CY CMY K NES_flyer2_rgb_final2.pdf 7/15/07 5:15:30 PM FILM MUSICweekly ISSUE 29 • SEPT. 5, <strong>2007</strong> 7
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