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Home , Brussels Philharmonic, Film Fest Gent, Gabriel Yared, Gustavo Santaolalla, Marco Beltrami, Quiet Life

(1996) The Drop (2014) Warner/Chappell North America EMI Music Publishing (20th Century Fox) 01 Suite 5.05 07 End Cue 4.29 Marco Beltrami

Hellboy (2004) Gods of Egypt (2016) Sony/ATV Music Publishing (UK) Ltd Universal/MCA Music Ltd 02 Suite 8.08 08 Suite 10.57 Marco Beltrami Marco Beltrami

World War Z (2013) (2018) Sony/ATV Harmony UK Sony/ATV Harmony UK 03 World War Z Suite 5.32 09 A Quiet Life 2.54 Marco Beltrami and Brandon Roberts Marco Beltrami 04 Chasing the Tail 3.54 Marco Beltrami (2018) Kobalt Music Publishing (2013) 10 Final Climb 5.12 BMG Rights Management UK Ltd Marco Beltrami 05 Suite 11.19 Marco Beltrami

The Homesman (2014) Downtown Music UK Ltd 06 Suite 10.47 Performed by PHILHARMONIC Marco Beltrami and Buck Sanders Conducted by DIRK BROSSÉ World War Z (2013) The Drop (2014) A Quiet Place (2018) Marc Foster’s tense zombie apocalypse thriller The master of bombast can also be a minimalist, As grandiose as his Gods of Egypt score is, as MARCO BELTRAMI World War Z offered Beltrami a chance to as you can hear in his subtle score for The subtle and eerie is Beltrami’s contribution to A experiment with unusual sounds. ‘We found that Drop, a gritty, no-nonsense crime thriller written Quiet Place, an apocalyptic tale, entirely told MUSIC FOR FILM there are these feral pigs called Javelina, and they by Denis Lehane and directed by Belgian through the prism of a single family. ‘Due to budget, have big . Then I have a friend of mine who is filmmaker Michaël Roskam (known for his Oscar I didn’t have a full to record,’ Beltrami Introduction by: Patrick Duynslaegher a hunter and he gave me a lion skull, and we had nominated Bullhead). ‘It’s sort of understated, explains. ‘However, I didn’t need it because the some raccoon skulls. We just played around with the score. It serves the characters,’ Beltrami film is truly intimate and contained. All I needed that and it became elements that we later used as explains. ‘The movie is really a slow burn, and were strings and a piano. I actually de-tuned the Scream (1996-2000) percussion elements. Sometimes it’s covered if it’s not set up really carefully, with expectation piano’s black keys to make it a little askew. For the In 1996, Marco Beltrami made a spectacular entry by orchestral percussion and all, but sometimes it and a dramatic sense of what’s to come, it might monster’s sound, I took the strings and drums and in the world of film music with his innovative score stands out and I think it adds to the tension.’ not quite make it there. So the studio was very processed it to become electronic. I really wanted for ’s seminal Scream that conscious of that, and my first challenge was to to come up with a signature monster sound, spawned three sequels. It also started a creative Snowpiercer (2013) score that Super Bowl sequence. They wanted something we haven’t heard before that installs collaboration that lasted till Craven’s death in Beltrami’s enjoyment in surprising innovative that scored first because there were so many fear, even if the monster isn’t on screen.’ 2015. Here’s what the director had to say about scoring can also be heard in the Snowpiercer different scenes cut together and the score had their partnership: ‘Marco’s music has in many ways Suite, from Joon Ho-Bong’s fantastical action ride to thread them together, so I worked on that and Free Solo (2018) defined the very heart and of the story and its aboard a perpetually moving train. ’The idea was it became the same music as the opening. Fairly The final track on this comes from the characters - the off-beat charm of Dewey Riley, the to use familiar sounds - piano, strings, brass - and simple, a small chamber orchestra and some breathtaking documentary Free Solo about Alex brass of Gale Weathers, and the complex beauty, treat them in such a way that they were alienating, electronics.’ Honnold’s heroic climb of the sheer face of El mystery and strength of Sidney Prescott. Oh, and perhaps intimidating,’ the composer explains. ‘We Capitan in Yosemite National Park in California. that haunting, mocking, chilling darkness behind the also registered all sorts of train and steam sounds Gods of Egypt (2016) ‘The directors (Jimmy Chin and Elizabeth Chai mask itself. Without Marco’s genius, Scream would and used that as an underlying pulse. The sound Fasten your seat belts: Beltrami brings out the Vasarhelyi) and I went through the movie together have been little more than a whisper. Thanks, Marco!’ world and music world became blurred.’ heavy artillery for Gods of Egypt, a grand folly and talked about what music should be playing,’ about mortals, Gods and CGI overload. ‘This two Beltrami says. ‘There were like two thematic Hellboy (2004) The Homesman (2014) and half hour score is the biggest project things: there’s the mountain itself and it needed In his scores for cult director , The tough offbeat The Homesman marks I have ever undertaken, after all these years, that it something simple and humbling. And then there’s Beltrami’s music tends to enchant rather than the third time that Beltrami and saying something. Just mixing it took over a month the emotional journey of Alex. The whole thing is terrify. Hellboy proved to be a real challenge for have worked together. ‘Jones gave Beltrami free reign but it was all worth it as it is really fun to stretch like a metaphor for life. There is the dark element the composer: ‘Some comic book movies turn into to be as innovative as he liked with the music; the my wings a bit. The director and I did of “I can die, it’s really dangerous,” but at the same films that are very serious all the way through. This composer responded with one of his most unusual, some research together to create the right sound. time it is almost like a ying/yang thing. Because film had a lot of different elements in it and allowed beautiful, and creative scores. A concept running We watched some of the great films that reflected it also supplies Alex’s life and gives him freedom, me a lot of musical flexibility. I had seven themes through the score is that of wind; the movement of the area and sensibility we were going for, such expression and all that. It’s like having two chords for all different characters and they were always air through the grasses, across the plains, capturing as Raiders of the Lost Ark, Black Narcissus and that alternate - one being a dark minor chord that’s intertwining. One of the challenges was to make the openness and daunting size of an endless Lawrence of Arabia.’ sort of low and then one like a layer, a major chord this work as a whole.’ horizon.’ (Jonathan Broxton, Movie Music UK) at the heart.’ score and, as legend tells, he barely needed three this film, Beltrami and Sanders blurred the line DAMPENING SOUND notes to create the satanic film’s musical universe. between sound design and music to such an extent, it was practically erased. For other films, Remakes can be added to Beltrami’s list of genres the pair used “found objects”, like the clanging Marco Beltrami is horrified by horror and doesn’t he does not particularly care for. The composer of containers in ’s ‘Logan’. find superheroes particularly ‘super’. And yet the nonetheless has created noteworthy scores for 52-year-old New Yorker’s iconic oeuvre consists of remakes. His work on ‘3:10 to Yuma’ - an honorary For the original score to ‘Logan’, Beltrami compositions for bone chilling, and edge-of-your- saluto to - was rewarded with an struggled with finding the right angle to seat films like ‘Scream’ and ‘Hellboy’. Beltrami’s Oscar Nomination in 2008. As for his music to approach the film from. “When I’m asked to scores give substance to genres such as horror, other remake films, including ‘Carrie’, ‘Flight of the start composing with only the script to base sci-fi and action. If asked, the composer is even Phoenix’ and ‘Ben Hur’, Beltrami was able to find the sound on, I’m more likely to fail than to capable of making a paradox seem natural: he the line between own original score and homage to succeed. It all revolves around the visualisation most recently scored ‘A Quiet Place’, the post- predecessors with a few notes or a small theme. of the script, how the words are brought to life. apocalyptic horror film by where the I try and figure out an emotional context for least sound could lead to the characters’ death. Ultimately, Wes Craven’s ‘Scream’ (1996) would the film – what would be the simplest musical In programming the material for this album I catalyze Beltrami’s fame and success, something description of the music? Sometimes it will be wanted to encompass a stylistic diversity that In Beltrami’s oeuvre, which contains around Beltrami himself is still baffled by. “Maybe I was in the form of a simple melody or even just the would make for a fun listen and also be a varied one hundred and thirty film titles, innovating composing from the audience’s point of view,” he sounds. For Logan, it took about two weeks challenge for the orchestra. Not having been and pushing boundaries are two key concepts. theorizes. In the same interview, Beltrami describes before I had an idea of what I wanted to do. part of the recording or rehearsal process, I Nevertheless, classical roots form its basis. his music as “an emotional response to what’s You can sit around and wait for inspiration, but was very curious as to what the results would happening on screen. While working on ‘Scream’, in the end, you might have to create it yourself.” be... I am pleased to say very impressive! From an early age, Beltrami has been fascinated Beltrami was also able to experiment with his Beltrami once colourfully described composing Brussels Philharmonic has a beautiful tone and by what sound can add to visuals - ever since he orchestral and instrumental arrangements. Working as “dampening the noise in my head to a cohesiveness. The soloists are inspired and saw Disney’s ‘Fantasia’ as a child. He went on to on a low budget, Beltrami managed to mimic the minimal volume.” However, the voices of those entrancing. Most of all, Maestro Brossé has study concertante music at the Music department of sound of a full orchestra and cleverly mask the small who inspired him the most - Ennio Morricone, shaped exciting performances that brilliantly Yale, and later transferred to USC Thornton School production value with a fusion of classical and rock. and Nina Rota - remain represent my musical intent! Needless to of Music in . Renowned composer Percussion and strings got a new sound idiom and prominently secured in his mind. Wondering if say, I am very excited to attend the festival in , famous for his scores to the ‘Star their interplay a new rhythm. Continuously changing Belgian filmmaker Michaël R. Roskam discovers October and hear the music live for myself and Trek’ franchise and classics such as ‘Alien’ and technology has allowed Beltrami to forever reinvent that touch in the music Beltrami scored for his finally meet those who have interpreted it, as ‘Chinatown’, was Beltrami’s instructor at Thornton. his sound. To make this flux possible, Beltrami owes American production ‘The Drop’. well and personally thank those who helped From Goldsmith, Beltrami learned that in music less a debt of gratitude to Buck Sanders - technology put this concert and album together. I am very is often more, a wisdom that has stayed with Beltrami wiz and Beltrami’s partner in crime. Both are But just like his idols, Beltrami has built an honored that the throughout his career. This notion was particularly constantly trying to treat music and sound as two oeuvre that cannot be contained to a single have selected my work to feature this year. prominent in Beltrami’s mind while writing a score parts of the same unit. Their collaboration has genre nor a nation all the same. Thank you! for the remake of ‘The Omen’, since Goldsmith landed the pair a second Oscar nomination when himself was the brain behind the original ‘The Omen’ scoring ’s ‘’. In Raf Butstraen Marco Beltrami DIRK BROSSÉ - COMPOSER, CONDUCTOR BRUSSELS PHILHARMONIC

Dirk Brossé is a multi-faceted composer and Thinkers Forum Award for Excellence in Cultural Brussels Philharmonic was founded in 1935 Another speciality for which Brussels a respected conductor on the international Creativity. In 2013 he was elevated to ’s by the Belgian public broadcaster (NIR/INR). Philharmonic has gained critical acclaim is film music scene. Since 2010, Brossé is entitled hereditary nobility, with the personal title of Knight. It performs both great classics as well as music. Recognition has come, among others, Music Director of ‘The Chamber Orchestra of He is a member of the Royal Flemish Academy of new compositions. As of 2015-2016, French in the form of the Oscar-winning score for ‘The Philadelphia’ and Music director of . Belgium for Science and the Arts and since 2018 a conductor Stéphane Denève is the orchestra’s Artist’ (2011). The vast discography of Brussels Dirk Brossé has composed some 400 works, Fellow at the University of Brussels (VUB). music director. He has launched a new plaform, Philharmonic (Deutsche Grammophon, including concerti, oratorios, lieder, chamber the Centre for Future Orchestral Repertoire, Palazzetto Bru Zane, Klara, Film Fest Gent, music, symphonic works, musicals and film scores. www.dirkbrosse.be that collects core information about symphonic Brussels Philharmonic Recordings) has His score for the BBC/HBO series ‘Parade’s compositions since the year 2000. received numerous awards, including an ECHO End‘ was nominated for an Emmy Award. His Klassik, Cecilia Prize, Choc de Classica de score for ‘Knielen’ was nominated for The Golden At the international level, Brussels Philharmonic l’année and Diapason d’Or de l’année. Brussels Calf Award. Maestro Brossé has conducted all has made a name for itself, with regular Philharmonic is an institution of the Flemish the leading Belgian . He has conducted appearances in the major European capital. Community. over 120 orchestras all over the world such as International representation by IMG Touring Symphony Orchestra, Vancouver Opera, brings further tours and concerts on new stages photo Luk Monsaert

l’Orchestre de la Suisse Romande, Camerata St © both in Europe and beyond (e.g. , USA). www.brusselsphilharmonic.be Petersburg, Philharmonic, l’ Orchestre de l’Opéra de Lyon, Philharmonic Orchestra of Shanghai.

Dirk Brossé has made over 100 album recordings and has collaborated with world-class artistes such as José Van Dam, Barbara Hendricks, Julia Migenes, Julian Lloyd Webber, Salvatore Accardo, Alison Balsom, , Emma Thompson, Randy Crawford, and Marcel Khalifé.

Dirk Brossé has been awarded the title Cultural Ambassador of Flanders, the Flemish Parliament’s Gold Medal for Merit, the Achille Van Acker Prize, the Joseph Plateau Honorary Award and the Global BRUSSELS PHILHARMONIC MUSICIANS HENRY RAUDALES - CONCERTMASTER / FIRST VIOLIN

Conductor Fien Van den Fonteyne Daniele Giampaolo Mieke Ailliet (2) Piano/Celesta/ Belgian violinist Henry Raudales concerts and recitals throughout Dirk Brossé Bram Van Eenoo Simon Luce Evi Baetens Synthesizer was born in into a the world, sharing the stage Francis Vanden Heede Anastasia Goldberg (2) musical family. His father Enrique with renowned artists such as Concertmaster Flute Trumpet Erik Brabants (2) Raudales, a student of Zino Pierre Amoyal, Nigel Kennedy Henry Raudales Viola Lieve Schuermans (1) Ward Hoornaert (1) Francescatti, Henryk Szeryng and Yehudi Menuhin. His ties to Paul De Clerck (1) Eric Mertens Luc Sirjacques Mandoline (violin) and Erich Kleiber Belgium remain strong: having First violin Griet François (2) Maaike Cottyn: Robby Boone Janos Koolen (2) (conducting), started Henry on played as a concertmaster at Bart Lemmens (1) Philippe Allard piccolo (2) the violin at the age of four. Aged the Royal Flemish Opera, he Sylvie Bagara Phung Ha Trombone Guitar seven he played his first public is also a founding member of Olivia Bergeot Hélène Koerver Oboe Alexandre Mainz (1) Jo Mahieu (2) concert with the North Carolina the Belgian chamber orchestra Eva Bobrowska Agnieszka Kosakowska Joost Gils (1) Pieter Vandermeiren Symphony Orchestra which Enkabara and since 2005 the Annelies Broeckhoven Maryna Lepiasevich Maarten Wijnen Tim Van Medegael: caught the attention of Yehudi concertmaster of Brussels Cristina Constantinescu Barbara Peynsaert Lode Cartrysse: bass trombone (2) Menuhin, who recommended Philharmonic. Additionally, since Bartosz Korus Korneel Taeckens English horn (2) him for a scholarship in London. 2001 he has been the Frederic Preusser Patricia Van Reusel Tuba At age 14 he received the award concertmaster of the Münchner Justine Rigutto Clarinet Jean Xhonneux (2) Young Violinist of the Year by the Rundfunkorchester, with whom Elizaveta Rybentseva Anne Boeykjens (1) Panamerican Union. he has recorded over 80 Anton Skakun Karel Steylaerts (1) Danny Corstjens: Timpani CDs, both as soloist as Philippe Tjampens Kirsten Andersen E-flat clarinet (2) Ken Gybels (1) Henry studied conducting and well as conductor. His most Gillis Veldeman Barbara Gerarts Midori Mori: violin at the conservatory of recent recordings include a Julius Himmler bass clarinet (2) Percussion Guatemala, Guildhall School critically acclaimed disc of Second violin Sophie Jomard Titus Franken (2) of Music and Drama (London) Mendelssohn’s six symphonies Mari Hagiwara (1) Eduardo Lacerda Tonietto Bassoon Jonas D’haese and the Royal Conservatory of and early violin concerto, as Naoko Ogura (2) Emmanuel Tondus Karsten Przybyl (1) Bjorn Denys Antwerp with teachers such as well as of the orchestral Pablo Ases Urenya Elke Wynants Alexander Kuksa Tom Pipeleers Nathan Milstein, Erick Friedman, music of Paul Graener, works Ana Bajo Djurasevic Kensuke Taira: Stijn Schoofs Henryk Szeryng and Mrs. Kogan. by Walter Braunfels and the Vania Batchvarova Double bass contrabassoon (2) Glossary: Concerto Gregoriano for violin Keren-Peta Lorier Jan Buysschaert (1) Harp (1) principal In 1985 he won the 3rd by Ottorino Respighi. Henry Sayoko Mundy Elias Bartholomeus French Horn Eline Groslot (2) (2) soloist prize at the Queen Elisabeth Raudales plays a Guadagnini Eline Pauwels Helena Custers Joost van der Elst (1) Competition in Brussels. Since violin from 1787. Stefanie Van Backlé Thomas Fiorini Pierre Buizer then, he has given innumerable JOLIEN DE GENDT - SOPRANO FILM FEST GENT

Ghent coloratura Jolien De Gendt studied at the in ‘Die Zauberflöte’, ‘The Governess’ in ‘The What makes Film Fest Gent unique in the fully “’s World Soundtrack Awards have Ghent Conservatory with Gidon Saks, Marcus Turn of the Screw’ and ‘Belinda’ in ‘Dido’ booked festival calendar is the focus on music inspired clones throughout Europe” (Variety). Pujol and Mireille Capelle, as well as Opera among others. She often participates as a and the celebration of the film composer, The approach of Film Fest Gent has been very repertoire from baroque to contemporary soloist in the oratory repertoire such as Bach’s unfortunately often the forgotten key figure in influential and has a great follow-up. Many other compositions at the Operastudio Vlaanderen. ‘Passions’, Carl Orff’s ‘Carmina Burana’, and the artistic and/or commercial success of a film. festivals started to spend more attention to film also in the new repertoire’s creations. music or also started to organize concerts and De Gendt has performed as both a soloist and Ever since 1982 Film Fest Gent has experienced award composers. “However, Ghent can lay a chorister with names such as Hervé Niquet, Since 2014-2015 season, De Gendt has a growing focus on music in cinema with a claim to having played a pioneering role in this Dirk Brossé or Stéphane Denève. joined the Flemish Radio Choir as a chorister, special section dedicated to music in films. This field” (). performing in the greatest international led to the addition of screenings with live musical At the Opera she sang ‘La Reine de la Nuit’ theaters. performances, big film music concerts, annual Film The culmination point of Film Fest Gent’s Music Seminars and recordings of several CDs. film music programme is the annual World Soundtrack Awards Gala where several awards Over the years, Film Fest Gent became a meeting are distributed to celebrate outstanding place for composers such as , achievements in scoring music for motion JO MAHIEU - GUITAR JANOS KOOLEN - , , Ennio pictures. Each year a major film composer Morricone, Gabriel Yared, , is invited to present his work during this / ELECTRIC GUITAR MANDOLIN Hans Zimmer, , , prestigious event. Furthermore Film Fest Gent , , , and partner Brussels Philharmonic record and . an album with their music. This year we are honoured to welcome Marco Beltrami, two-time Jo Mahieu studied at the conservatory of Janos Koolen (1981) is one of the leading To consolidate this growing focus on music Oscar nominated composer and one of the most Brussels and Ghent with Karl Van Deun, Peter mandolin players from the , who in cinema, the World Soundtrack Academy brilliant film composers of his generation, known Hertmans, Bill Frisell and others. operates in a wide variety of styles including was created in 2001, aiming to offer a strong for his unique collaborations with some of the bluegrass, balkan, jazz, Arabic, Irish, popular platform for emerging film music talent, through world’s most respected and iconic filmmakers Mahieu has played with names such as Arno, Bj and classical music. the presentation of awards, as well as through such as Kathryn Bigelow, Guillermo Del Toro, Scott, Yasmine, Stan Van Samang, Tom Helsen the development of other activities, such as James Mangold, Wes Craven and more. A and has toured all over the world. He is often Besides being a musician Janos is also a seminars, workshops, master classes, music selection of his film work is collected on this asked for tv work, theatre and production. composer for his own groups and for theatre events, etc. unique and exclusive compilation album. productions. As a producer he has his own He teaches guitar and music theory at PXL music. studio, where he has recorded many albums. www.filmfestival.be www.worldsoundtrackawards.com CREDITS

Album produced by: Film Fest Gent Recording & Mix: Motormusic Jim Seynaeve, Judith Van Eeckhout, & Brussels Philharmonic (www.motormusic.eu) Nicola Mascia, the entire crew and Under exclusive license to: Recording Supervisor: all musicians for their enthusiasm, Silva Screen Records Ltd. Hans Vercauteren expertise and energy Recording Engineer: Steven Maes Motormusic: Hans Bellens All music composed by: & Nathan Blontrock & Steven Maes Marco Beltrami Editing: Hans Vercauteren Silva Screen Records: David Stoner Orchestra: Brussels Philharmonic Mixing Engineer: Steven Maes The entire crew of Film Fest Gent Conductor: Dirk Brossé Mastering Engineer: Steven Maes Marco Beltrami would like to thank: Producer: Film Fest Gent Album Mastering: Rick Clark My family, Laura, , Mikael, Valerie, General Manager: Dirk, the Film Fest Gent team, and Marijke Vandebuerie Introduction: Patrick Duynslaegher most of all, the hardworking musicians, Coordination Music & Sound Biography Marco Beltrami: including our soloists: Henry Raudales, projects: Valerie Dobbelaere Raf Butstraen Jolien De Gendt, Jo Mahieu, and Assistant producers: Janos Koolen Thomas De Keere & Katrien Destuyver Cover Picture by: Dawn Jones Executive producers for Music arranged by: Mikael Carlsson Film Fest Gent wishes to thank: Silva Screen Records Ltd: (World War Z, The Homesman, Marco Beltrami, Laura Engel, Reynold D’Silva & David Stoner Hellboy, The Drop, Gods of Egypt, Ray Costa & Tyson Lozensky, Release co-ordination: A Quiet Place) Dirk Brossé Pete Compton & Rick Clark Brussels Philharmonic: Gunther Design & layout: Stuart Ford Broucke, Véronique Bossaert, ⓟ & © 2019 Film Fest Gent & Brussels Philharmonic exclusively licensed to Silva Screen Records Ltd. SILCD1607