Black Robe Music Credits

Music Composed by Georges Delerue (cast) Musicians Denis Plante Daniel Thonon Mlle LaFontaine Cordelia Beresford Music Co-ordinator Martin Armiger Music Engineer Michael Stavrou Assistant James D'Arcy Orchestra Leader Phillip Hartl Strings Plus Choir The Sydney Philharmonia Musical Director John Grundy Boy Soprano Christopher Taplin Music Recorded at the Australian Film, Television & Radio School Sydney Traditional native songs provided by: Intertribal Round Dance Joe Campeau Ojbway Travelling Song Alex Skead Intertribal Pow Wow Song Alberta Cree Early Music Advisor Gilles Plante Recorder Solo Doen Daphne D'Over Schoone Maeght by Jacob Van Eyck Live appearances in the film: Live music appears a number of times in the film. In an early sequence, there’s a ‘compare and contrast’ of the music-making and dancing of the Indians and the French; later, the director’s daughter Cordelia Beresford turns up to play the recorder, a scene which is echoed in the wild when Laforgue offers his instrument to an Indian girl; and finally, confronted by torture, Chomina, Laforgue and Daniel produce a mix of Indian chanting and French spiritual. (Below: stills from the sequences showing live music and dancing). CD Release: The film’s soundtrack was released on CD: CD Varese Sarabande VSD-5349 1991 Black Robe Main Title (1’52”) Daniel And Annuka (1’47”) The Journey Begins (1’11”) Daniel Rescues La Forgue (0’56”) First Kiss (1’35”) Flashback (1’21”) Conspiracy (1’25”) Lost In Forest (3’18”) Flagellation (1’41”) The Journey Continues (0’44”) Traveling (0’29”) Hostile Country (1’21”) The Iroquois Attack (1’45”) The Natives Abandon La Forgue (2’17”) Chomina Decides To Go Back (0’50”) The Escape (2’36”) Chomina Prepares To Die (3’59”) The Final Canoe Trip (1’21”) La Forgue’s Farewell To Daniel And Annuka (1’06”) Taretendi And La Forgue (0’38”) Libera Me (5’02”) Composer: Georges Delerue is a composer who is much to well known to detail at length here. He wrote over 350 film scores and has a detailed wiki here. Delerue wrote a number of scores for Bruce Beresford, but otherwise had little contact with the Australian film industry. His score for Black Robe is particularly evocative, lyrical and atmospheric. (Below: Georges Delerue) Beresford on Delerue: Director Bruce Beresford wrote an affectionate memoir of working with Delerue. The original, published 11th March 2009, is available at Beresford’s site here. The site contains a number of interesting insights into Beresford’s work, including other writing by him, and rewards a visit. I think that the first film score I ever heard by Georges Delerue was Jules and Jim in the early sixties. I was captivated by its melodic charm and the manner in which it captured the spirit of the movie. Today, the score has not dated at all, a claim that can be made for few films over even ten years old, but this is a characteristic of all of Delerue’s film music. Through the sixties, seventies and into the eighties, I continued to find Delerue’s scores fascinating. Not just those for virtually all of the Truffaut films, but also movies such as Bertolucci’s The Conformist with its invigorating jazz rhythms. At first I thought of him as best suited to comedies, probably because the Truffaut films were made with a gentle Gallic touch, but his gift for melody and enormous versatility were demonstrated with films such as A Man for All Seasons, The Pumpkin Eater, Our Mother’s Houseand, in America, Salvador, Silkwood and Platoon. Every score he wrote fitted the film so perfectly. His understanding of story and character was so acute that his music always added depth and subtlety. In the mid-eighties, Delerue began to spend months of each year in Los Angeles scoring American movies, and I decided to approach him about my film Crimes of the Heart. At this time (1985), he spoke barely any English and we had to speak mostly through an interpreter. Any qualms I had about his understanding of the movie vanished on the first day of recording, when the first chords of his inventive but unmistakable style were played against the images of the film. Actually, Georges was charmed by Crimes of the Heart, which was uncommonly well-written by Beth Henley, and adapted from her successful stage play. I wanted him to capture the intimacy of the three sisters and the southern ambiance. For the main title, a haunting ballad, Georges suggested the saxophone because one of the sisters, Diane Keaton, plays it in one scene. Over the next five years, Delerue scored another four of my films: his music for the comedy Her Alibi has some of the vivacity of the Truffaut scores although, regrettably, the film is not in the same class. But Georges wrote a delightfully light and witty score that made this rather dull film appear much better than it was. For Mister Johnson I asked him to write an English violin concerto and he produced one which Elgar would have been proud to write. There was another drama set in Canada in 1630, Black Robe, and finally the dramatic comedy Rich in Love, his last score, in which his music hit the exact tone we had never been able to find with any of the temporary tracks used for test screenings. Georges Delerue’s command of English improved (though it was always colourfully bizarre), to the point where we dispensed with the interpreter (my earnest study of French helped a little), but language was curiously unimportant with a man of so much instinctive human understanding, so much wit, so much charm. Every film he saw he appeared to comprehend immediately in every detail. If, during the editing, the most minor changes were made he would instantly notice. Even a major reshuffling of scenes appeared not to bother him. He would seemingly calmly and effortlessly rearrange the music cues to fit once again, as seamlessly as ever. He worked like a demon with a brilliant flair for organization that was obviously geared to give him as much time as possible to actually sit and write his beloved music. Georges was the best-organized person I’ve ever met. Every conducting session went like clockwork. If the start was nine a.m., you could be sure his baton would be coming down for the first note exactly on time. He was courteous to the musicians, encouraging and appreciative. Every section of music was flawlessly prepared and always precisely fitted the scene. He invariably cleverly changed the orchestration during dialogue passages, so that the music never struggled against the words. From a human point of view, Georges was very kind by nature, very amiable (I never saw him lose his temper even to a minor degree) and had that relaxed manner that I tend to associate, perhaps naïvely, with French friends. He was intensely musical and appeared to know absolutely everything about music from every country in the world. As I said before, he was extraordinarily well-organized. Every appointment was kept, every piece of music was ready exactly when he said it would be, every recording session worked precisely as he predicted. Yet he did all this with no apparent effort and with cordiality. During my career, I’ve collaborated with many gifted composers but Georges will always be my favourite . Today, when I look at old films of his on TV, I am captivated all over again by his music. It never seems to date and always enhances the mood. He could go from comedies to drama with equal skill. I think his music for Back Robe is one of the greatest film scores ever written – so much of the film is without dialogue that it was left to the images and music to convey mood and character. As well as film scores, Georges wrote numerous classical pieces (he trained with Darius Milhaud) that fascinatingly revealed a darker side to his personality. His total output places him among the astonishing number of gifted French composers the twentieth century has produced. Physically, Delerue was a small and somewhat misshapen man because of a childhood spinal deformity. He had a huge head and a thick mane of blonde hair. Despite his ungainly appearance I always imagined he was tremendously attractive to women, just as he was to men. He was greatly loved by all who knew him, all of whom will always miss him..

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