ARTICLE: Fimucité 3 in Tenerife (Spain).

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Last month, the third edition of the Fimucite film music festival took place in the Canary Islands, on the island of Tenerife in Spain. The brainchild of Spanish composer (and Tenerife native) Diego Navarro, Fimucite was created with the idea to not only celebrate music, but showcase the talented musicians who live on the island of Tenerife. When scoring the 2002 film Puerta del Tiempo, Navarro felt that he could assemble a live orchestra to record the score locally - not only in Spain, but more specifically in Tenerife. Pleased with the result, he put together the "Tenerife Film Orchestra & Choir", and in the summer of 2007, the first Fimucite conference was held, with guest composers Don Davis, Sean Callery and Mychael Danna. In 2008, the festival brought over composers Christopher Young, Joel McNeely, John Frizzell, Johnny Klimek and Reinhold Heil, as well as other film music industry guests, including a rather full panel of film music agents. The theme that year was Alex North's 2001, and included an impressive live performance of the unused score, with the help of Varese Sarabande's Robert Townson.

The main difference between Fimucite and other film music festivals is that the conference is entirely free. Sponsored by the local government as well as numerous other organizations in Tenerife, the only thing that people need to pay for are the concert tickets. This year, 2009 marks the 30th anniversary of the landmark sci-fi film Alien. It also happens to mark what would have been Jerry Goldsmith's 80th birthday, and in the spirit of both of those anniversaries, the Fimucite 3 festival decided to have their final concert celebrate the Alien films franchise as well as hold a tribute to Jerry Goldsmith. In addition to that, composers Clint Mansell, Mark Snow, John Ottman and Jan A.P. Kaczmarek would also have their music performed at other concerts throughout the festival. The Alien scores would be conducted by Diego Navarro, and the tribute to Jerry Goldsmith would be conducted by last year's attendee, Joel McNeely. At the last minute, however, McNeely fell ill and was unable to attend the festival. Mark Snow stepped up and would take over the conducting duties for that portion of the festival.

Mark Snow, Diego Navarro and Robert Townson discussing the Goldsmith concert

In addition to the concerts, panels were held at the TEA (Tenerife Espacio de las Artes). ASCAP's Nancy Knutsen spoke about performing rights organizations (Tuesday, July 21), Robert Townson and Diego Navarro spoke about the work that Varese Sarabande is doing on a DVD release of the Fimucite 2 concert (Wednesday, July 22), and each of the composers had a panel to discuss their works (Thursday, July 23). The panels went a little slower than one would have hoped for, since translating from Spanish to English (and vice versa) took time, but overall they were well received. Townson also held a panel about Jerry Goldsmith (Friday, July 24).

Diego Navarro, Manuel Diaz Noda and Robert Townson

The last panel that afternoon was a roundtable discussion featuring First Artists agent Robert Messinger, publicist Ray Costa, composers John Ottman, Mark Snow and.... David Arnold.? Arnold - who was not officially on the program - was visiting the conference to support his good friend Clint Mansell, but since Clint had left back to London and Jan A.P. Kaczmarek was unable to attend the roundtable since he was busy writing his current film score from his hotel room, Arnold was convinced to join in the discussion. It was a lively debate that focused around album releases, digital downloads, and more.

First Artists agent Robert Messinger, publicist Ray Costa, and composers John Ottman, David Arnold and Mark Snow

But the highlight of the festival was the concert series. The evening of Wednesday, July 22nd saw a performance of Clint Mansell and the Sonus Quartet performing a selection of works from his scores - primarily focused on the works of Darren Aronofsky. Held at the Teatro Leal in the historic town of San Crist?bal de La Laguna, the concert featured music from The Fountain, Pi, Requiem for a Dream, The Wrestler and Mansell's latest score, Moon. The show was more-or-less the same as the one that Mansell had recently performed in London earlier in the week, and was full of high energy.

Clint Mansell and The Sonus Quartet perform Requiem for a Dream

Friday, July 24th was the concert featuring the works of the guest composers. Beginning with Mark Snow conducting his works from "Millenium", "The X-Files" and Crazy in Alabama, the Tenerife Film Orchestra & Choir did a marvelous job. As a fan of Snow's scores for "The X-Files", I have to say that it was a real treat to hear his traditionally synth music performed with a live orchestra and choir.

Mark Snow conducts "Surgery" from The X-Files: I Want to Believe

John Ottman's program included music from Valkyrie, Superman Returns, Fantastic Four: Rise of the Silver Surfer, and - in what is likely the fastest turnaround time from scoring for the film to live audience performance - two selections from Astro Boy. Ottman, who was a little concerned about the performances during the orchestra rehearsal, had his fears alleviated when the orchestra - under the baton of Diego Navarro - nailed difficult passages. It makes sense that the orchestra would only give 70% during rehearsals - but they gave 110% at the performance!

The second half of the concert featured music from Oscar-winning composer Jan A.P. Kaczmarek. Finding Neverland, Quo Vadis, Unfaithful, Passchendaele and an extended selection of cues from the mini-series War and Peace. It was a lengthy portion of the concert, but was quiet enjoyable and well performed, again conducted by Navarro.

Diego Navarro conducts music from Finding Neverland

Jan A.P. Kaczmarek, Mark Snow, John Ottman and Diego Navarro take their bows

Saturday evening's concert was the highlight of the festival. Dubbed "The Biomechanical Symphony", music from Jerry Goldsmith's Alien, James Horner's Aliens, Elliot Goldenthal's Alien 3 and John Frizzell's Alien Resurrection were performed by the Tenerife Film Orchestra & Choir, under the direction of Diego Navarro. It was a real treat to hear the Goldsmith material performed live, and the orchestra did an amazing job performing the tough material. A short overture from Brian Tyler's score to Aliens vs. Predator: Requiem was also performed, and Tyler announced (via video) his intention to attend next year's Fimucite 4!

Diego Navarro conducts "Bishop's Countdown" from James Horner's Aliens

Diego Navarro conducts soprano Karolina Gorgol Zaborniak in "Lento" from Elliot Goldenthal's Alien 3

Brian Tyler announces his intention to attend next year's festival

The second half of the concert was the tribute to Jerry Goldsmith. Marking what would have been his 80th birthday, as well as the 5-year anniversary of his untimely passing - the concert was put together by Navarro with Robert Townson. Townson, a long-time friend of Goldsmith, decided to put together a program that not only showcased his diverse talents, but also focused on pieces that are rarely heard in concert (if at all)!

Mark Snow conducts the Goldsmith concert program

Conducted by Mark Snow, the second half of the concert began with the "End Titles" from Star Trek: First Contact, and then went to the "Main Titles" from Capricorn One, and choir master Cristina Farrais was employed for the "Main Title" from The Illustrated Man. The toughest pieces Snow had been practicing all week were "The Clothes Snatchers" and "The Hunt" from Planet of the Apes, and while it was a little rough in some areas, it was for the most part an excellent performance.

Mark Snow conducts "The Clothes Snatchers" from Planet of the Apes

Zaborniak returned to join the choir for "The Mission" from The Sum of All Fears, and the "End Titles" from The Swarm were heard for the first time in concert. Two traditional concert arrangements that Goldsmith had performed in the past were also played: "Carol Anne's Theme" from Poltergeist, and a suite from Gremlins. It was unfortunate that - with a full choir sitting there - no vocals were used during the Poltergeist piece, but it was still a very good performance. I still miss the synths in Gremlins, but that is a complaint that goes back to Goldsmith's original concert arrangements.

At this point in the concert, new awards were given out for people who had helped immeasurably to make the festival a success. McNeely received one in absentia, as well as Robert Townson, and Goldsmith's widow, Carol Goldsmith.

Carol Goldsmith receives an award from Diego Navarro

For the final piece of the concert, Diego Navarro came out to conduct a suite of music from Goldsmith's masterpiece, The Omen. It was powerful and epic, and an excellent way to conclude the concert. But it wasn't over! Two more encores were performed. First up was a concert arrangement of the main title to Total Recall, and the very last thing played was the penultimate way to conclude the evening: music from The Final Conflict. One of my favorite scores, The Final Conflict is full of powerful, epic and emotional music, and hearing it performed live with a full orchestra and choir was certainly one of the highlights of the year.

Diego Navarro conducts Goldsmith's masterpiece, The Omen

Next year's Fimucite is already being planned. Navarro and his team have a lot of work ahead of them - they will be celebrating the collaboration of Steven Spielberg and John Williams, in honor of the 35th anniversary of Jaws. With another Fimucite under their belt, the Tenerife Film Orchestra & Choir is quickly establishing itself as a significant presence for world class film music concert performances.

Special thanks to Ray Costa, Diego Navarro, Pedro J. Merida, Ana Molowny and everyone else at Fimucite.

ARTICLE: 2009 ASCAP and BMI Film & TV Music Awards

SoundtrackNet: Article-2009 ASCAP and BMI Film & TV Music Awards > music > soundtrack channelSoundtrackNet Navigation home new critical features Albums artists films market resources Podcast research Interviews. Exclusives. Articles. Pick of the weekArticle

by Dan Goldwasser
Publication: 2009-05-25

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Earlier this month, ASCAP and BMI - two major performing rights associations - held their annual awards ceremonies honoring composers who had worked on the films more than success and the highest rated television shows of 2008.

Director Catherine Hardwicke, ASCAP President Paul Williams, composer Carter Burwell, Director Bill CondonHeld on May 12 at the Hilton Hotel in Beverly Hills, the ASCAP Film & TV Music Awards is a black tie gala that honored composer Carter Burwell with Henry Mancini Awardthe highest distinction confers the organization. Side to celebrate with Burwell was Twlight Director Catherine Hardwicke and gods and monsters Director Bill Condon. The Coen brothers - with which Burwell has had a long and fruitful collaboration - were not present and sent a video a little convoluted message instead.

Most of the winners of the film was not present at the ceremony, but many composers television did attend, Sean Callery, David Vanacore, Bear McCreary, Reinhold Heil and Johnny Klimek, Trevor Morris, and others.

For a complete list of winners of the ASCAP Film & TV Music Award, read here full press release.

Chairman of the IMC Del Bryant, composers David Newman and Mike Post and Film/TV Music VP Doreen Ringer-Ross.

A little over a week later, on 20 may, BMI held their annual dinner in the price, at the Regent Beverly Wilshire Hotel. The participation rate was slightly better than the ASCAP show, and many composers were on hand to celebrate David Newman receives Richard Kirk award and acceptance of Mike post BMI classic Contribution Award. A video tribute Newman featured some of his longtime collaborators, including the Director Danny DeVito. When accepting the award, Newman was shy but gracious and discussed the importance of young musicians following their dreams (Newman is the President of the American Youth Symphony Orchestra).

For more than 20 years, the famous television composer Mike Post participated with Pete Carpenter Fellowship BMI. The name of collaborator for a long time in the Post of this series of classic television as "Magnum P.I.", "Few", "The Rockford Files" and other scholarship gives young composers a chance to look at and work with Post on music television.

Many composers more were at the BMI awards to receive their prize, including composers of television Kevin Kiner, Bill Brown, James Levine, Nathan Barr Rolfe Kent, Jan Stevens, Charlie Clouser and much more. For feature films, composers Trevor Rabin, Harry Gregson-Williams, Randy Edelman, Cliff Eidelman, John Ottman, Theodore Shapiro, Aaron Zigman, Lyle Workman and many others were also in place to make the evening a Super success.

For a complete list of winners of BMI Film & TV Music Award, read here full press release.

Composers:Carter BurwellDavid NewmanMike Post






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ARTICLE: The Princess and the frog - Sing Me A Story

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SoundtrackNet : Article - The Princess and the Frog - Sing Me A Story ?>?music ?>?soundtrack channelSoundtrackNet Navigation Home News Features Reviews Albums Movies Artists Marketplace Resources Podcast Search About Interviews | Exclusives | Articles | Picks of the WeekArticle

by Dan Goldwasser
Published: 03/09/2010

Printable Version

Music has always played an important role in Disney's animated films. The combination of music and lyrics propels the story forward by expressing the characters' aspirations, emotions, and thoughts, as well as defining time and place.

Given the importance of New Orleans to the development of jazz, the music in The Princess and the Frog was particularly integral to establishing the authenticity of the story. Songwriter and composer, Randy Newman combined jazz and later music styles, centered in and around New Orleans, to energize the mood of the film.

DOWN IN NEW ORLEANS
The opening song establishes the theme and tone of the world in which our story is about to be told.

Performed by Dr. John
Style: RAGTIME

One of the essential predecessor musical genres to jazz, ragtime (or 'ragged' time) used syncopated rhythms to create a danceable style of music intended for couples rather than groups; enjoyed its peak popularity between 1897 and 1918.

ALMOST THERE
The Hero/Heroine of every story is usually on a quest of some sort, and this song reveals our main character's desire or purpose.

Performed by Anika Noni Rose as Tiana
Style: NEW ORLEANS JAZZ

The blending of such diverse cultures as French, Spanish, Caribbean and others residing in the New Orleans area, contributed to the sounds that emanated from this melting pot of music by the early 1920's.

FRIENDS ON THE OTHER SIDE
When explored through song, a broader sweep of the villain's true character and evil plot can be displayed in an entertaining manner.

Performed by Keith David as Dr. Facilier
Style: BIG BAND CARIBBEAN SWING

Swing jazz caught on in the mid-1930s when big bands toured the United States. Unlike other types of jazz, Big Band music is carefully composed to show off the instrument groups. This style is often peppered with various inflections of regional rhythms, as in this Caribbean flavored song.

WHEN WE'RE HUMAN
A lively song that explains or explores the changes our character's must go through to reach their goal.

Performed by Michael-Leon Wooley as Louis, Bruno Campos as Prince Naveen, and Anika Noni Rose as Tiana and featuring Terence Blanchard on Trumpet
Style: DIXIELAND JAZZ

Sometimes called "hot jazz" or "New Orleans jazz", this style is marked by the improvisation of trumpet, trombone and clarinet over a rhythm section composed of piano, guitar or banjo, drums, and a double bass or tuba.

GONNA TAKE YOU THERE
This spirited song signals an important event or change for our characters within their journey.

Performed by Jim Cummings as Ray and featuring Terrance Simien on accordian and frottoir
Style: ZYDECO

Zydeco translates into English as: 'snap beans.' This style of music stems from Louisiana's bayous, blending Afro- Caribbean rhythms with folk roots, blues, and Cajun music. Originally created at social gatherings and house dances, Zydeco most often includes rub-boards (frottoir) and accordions.

MA BELLE EVANGELINE
Whenever love occurs within a story, either as the goal, or something that happens along the way, the impact is double-felt when conveyed through song.

Performed by Jim Cummings as Ray, featuring Terence Blanchard on trumpet
Style: CAJUN BALLAD

A slow, contemplative song, but when performed with specific rhythmic approaches, certain inflections and instrumentation, a ballad becomes jazz. This delicate country waltz is rooted in the Cajun style of ballads of the French-speaking Acadians of Canada. and around New Orleans, to energize the mood of the film.

DIG A LITTLE DEEPER
This joyous song performed well into the story, energizes the audience for the final scenes and is so entertaining that it sometimes 'stops' the show.

Performed by Jenifer Lewis as Mama Odie, featuring The Pinnacle Gospel Choir
Style: GOSPEL / NEW ORLEANS FUNK

Gospel is often accompanied by instruments associated with blues and "Dig A Little Deeper" weaves strong funk rhythms and blues styles into a joyous Gospel celebration.

Disney's The Princess and the Frog will be available on Blu-ray and DVD March 16th, 2010.

Special thanks to Dre Birskovich at Click Communications. Imagery c Disney Animation, used with permission.

Related Composers:Randy NewmanRelated Movies:The Princess and the Frog (2009) [Animated]

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