Gabriel Yared - Film Music Stories : Camille Claudel #1
#FILMMUSICSTORIES : Camille Claudel directed by Bruno Nuytten (1988)
Towards the end of 1985, I was in Los Angeles currently working on the music for a film by Glenn Caron called 'Clean and Sober'. I got a call from Isabelle Adjani, who wanted to talk to me about a film, 'Camille Claudel', which she had finished shooting with Gerard Depardieu and directed by Bruno Nuytten. There was a particular rush, as the film had originally used music by Benjamin Britten, Anton Bruckner and Gustav Mahler - great composers! However, Britten was not in the public domain and the use of pre-existing music could not convey the passion, beauty and tragedy between the two great sculptors.
After returning to Paris a few weeks later, I watched the film in its initial length of… four hours! I was blown away by the story, the images, the scenery and particularly the acting performances. The film was then edited further, before reaching a duration of approximately two and a half hours.
How do you 'replace', or equal the brilliance of these highly respected composers?
I proposed to Isabelle and Bruno to write four orchestral suites, much like musical 'oeuvres', which were inspired by two screenings that followed. From this I worked with the memory of the film and tried to write music inspired by the impression it gave me, rather than following the story 'shot by shot'.
I chose a very specific orchestral palette, a large string section, harp, timpani and a small string quartet (sometimes a sextet), which would work alongside the large ensemble. I began work on the score right away, as I had less than two months left to complete it. At this time I was meticulously listening and studying the scores of three classics that fascinated me:
Richard Strauss's 'The Metamorpheses', Arnold Schoenberg's 'Transfigured Night' and the first movement of Mahler's Tenth Symphony, the only movement he had time to orchestrate before his death.
These works, with their intricate writing and musical structures, greatly inspired me to write the four orchestral suites which were used as the music for Camille Claudel.
Find more here : https://www.facebook.com/gabriel.yared.5
Discover my new album with my musical duo
https://www.facebook.com/YaranYared
Видео Gabriel Yared - Film Music Stories : Camille Claudel #1 канала gabriel yared
Towards the end of 1985, I was in Los Angeles currently working on the music for a film by Glenn Caron called 'Clean and Sober'. I got a call from Isabelle Adjani, who wanted to talk to me about a film, 'Camille Claudel', which she had finished shooting with Gerard Depardieu and directed by Bruno Nuytten. There was a particular rush, as the film had originally used music by Benjamin Britten, Anton Bruckner and Gustav Mahler - great composers! However, Britten was not in the public domain and the use of pre-existing music could not convey the passion, beauty and tragedy between the two great sculptors.
After returning to Paris a few weeks later, I watched the film in its initial length of… four hours! I was blown away by the story, the images, the scenery and particularly the acting performances. The film was then edited further, before reaching a duration of approximately two and a half hours.
How do you 'replace', or equal the brilliance of these highly respected composers?
I proposed to Isabelle and Bruno to write four orchestral suites, much like musical 'oeuvres', which were inspired by two screenings that followed. From this I worked with the memory of the film and tried to write music inspired by the impression it gave me, rather than following the story 'shot by shot'.
I chose a very specific orchestral palette, a large string section, harp, timpani and a small string quartet (sometimes a sextet), which would work alongside the large ensemble. I began work on the score right away, as I had less than two months left to complete it. At this time I was meticulously listening and studying the scores of three classics that fascinated me:
Richard Strauss's 'The Metamorpheses', Arnold Schoenberg's 'Transfigured Night' and the first movement of Mahler's Tenth Symphony, the only movement he had time to orchestrate before his death.
These works, with their intricate writing and musical structures, greatly inspired me to write the four orchestral suites which were used as the music for Camille Claudel.
Find more here : https://www.facebook.com/gabriel.yared.5
Discover my new album with my musical duo
https://www.facebook.com/YaranYared
Видео Gabriel Yared - Film Music Stories : Camille Claudel #1 канала gabriel yared
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