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A NOTE FROM THE COMPOSER | |||||||||||||||||
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There’s a Russian composer here in L.A. named Anna Drubich who has worked with me on several projects, and she mentioned to me this production that was going on and she said it looks really good, visually. She put me in contact with them and they sent a copy of the film that they were working on and I thought wow, it sounds like a really interesting project and a unique opportunity to work in Russia. The director was temping the film with a lot of my music and it just seemed like a good fit. The story is about this supposed romantic relationship between the heir to the Russian throne, Nicholas Romanov, and the ballerina of the Imperial Theater, Matilda Kshesinskaya. The idea was to use source music for the ballet scenes, but for the score the director wanted it to be a lot more minimal and to tell the emotional backdrop of the story. He didn’t want it to sound period or anything – he wanted to keep it classically inspired but more simple. Most of the score is that way. There is a cue, the first cue on the CD [Twilight of the Empire], which I wrote originally for a scene later on in the movie where there’s a fire that takes place and there’s a lot of intercutting between sequences; some of it ended up being used but it didn’t survive intact. But I’d I recorded the whole piece, and since I felt I had this great orchestra [the Mariinsky Opera] with Valery Gergiev conducting and I had to stretch a little bit so I wrote that piece for them to play and it was just amazing just to hear it, so it’s included intact on the soundtrack album. | |||||||||||||||||
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MATHILDE: Recording
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M O V I E S C O R E M E D I A / Q U A R T E T R E C O R D S (QR318) | |||||||||||||||||
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