The name of Alexander Courage will of course be instantly recognizable to you as the composer of one of the most well known theme tunes for an American television series. But on this side of the final frontier, what else is there to tell about the recently-retired Sandy Courage’s life and career? What stories does…
You have been working on JOURNEY TO THE CENTRE OF THE EARTH which is due for release this year, what size orchestra did you utilise on this project? The score for Journey was recorded at Air Lyndhurst in London. The orchestra was contracted by Isobel Griffiths who put together the most incredible group of musicians….
What first drew you to music? Our family was fairly musical. My grandfather and his brother were both musicians, in fact grandfather played first viola under Carlo Felice at Genoa during the time of Verdi and Franchetti. He was also choir-master at St. Ambrose’s church, hence our connections with religious music, some of which he…
Angelo Francesco Lavagnino was interviewed in Rome in June 1984 for CinemaScore by Italian correspondent Alessandro Panuccio, from a list of questions assigned by the editor. Marco Werba translated the printed interview into English. Panuccio’s interview with Italian composer Mario Nascimbene is scheduled for a forthcoming issue. How did you first become involved in scoring…
Antón García Abril was born in Teruel in 1933. After studying in Spain he went to Italy to attend the ‘Accademia Chigiana di Siena’ musical courses, where he studied composition with Vito Frazzi, conducting with Paul Von Kempen and film-music with Angelo Francesco Lavagnino. The latter was to have a great influence upon Abril’s first…
Arnau Bataller was born in Alzira, Valencia, in 1977. Thanks to the influence of his parents, he had an early interest in music, theater and reading. At the age of seven he began studying music theory and violin at the Alzira Musical Society. After getting a professional degree in violin in 1998, Arnau decided to…
With the release of BLUE THUNDER and WARGAMES, Arthur B. Rubinstein suddenly became a force to be reckoned with in the film music world. Previously having scored a handful of low-budget movies that came and went without much ado, Rubinstein rapidly established himself in 1983 when he scored these two popular releases, both for director…
Some of Nostradamus’s prophecies must have rubbed off on me. I just knew that the music for this new film was going to be marvelous. NOSTRADAMUS could have easily been destroyed by an inappropriate score, but thanks to Barrington’s musical expertise my great expectations were fulfilled. This interview took place on October 8 after a…
What is your view of the role of music as an element of a film? I think, basically, it revolves around impressionism. Impressionism, of course, gives an impression of certain aspects of life, certain situations, certain moods, and etcetera. I think the music in a film should really cover this, and create the right atmosphere…
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