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I like Marianelli, but not in this mode.


I prefer him in the style he excels at the most, i.e. post-minimalist, romantic, intimate, introvert landscapes. Like his masterpiece JANE EYRE or SALMON FISHING IN YEMEN.


This often becomes too big, mainstream and bombastic for my taste (but with the occasional highlight).

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Deutsche Grammophon will release the official soundtrack album for Joe Wright’s drama Darkest Hour. 
The soundtrack will be released on November 17, 2017 and is now available for pre-order on Amazon
Music by Dario Marianelli
Track list:
  1. Prelude
  2. Where Is Winston?
  3. Full English
  4. A Telegram From The Palace
  5. One Of Them
  6. Winston And George
  7. First Speech To The Commons
  8. The War Rooms
  9. From The Air
  10. I Wouldn't Trust Him With My Bicycle
  11. Radio Broadcast
  12. History Is Listening
  13. An Ultimatum - Dario Marianelli
  14. Dynamo
  15. We Must Prepare For Imminent Invasion
  16. The Words Won't Come - Dario Marianelli
  17. Just Before The Dawn
  18. District Line, East, One Stop.
  19. We Shall Fight

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That's some good stuff in there! Marianelli seemed quite responsive.


My favourite parts:



I was introduced to Joe by producer Paul Webster, who very perceptively imagined what Joe might need at that point in his own development, and had seen some of that in my music. “Pride and Prejudice” was probably the most important of all our collaborations, in the sense that we learnt to trust each other in many different ways, we discovered a number of things that are important for both of us. As for the classical tone, I am always at a loss when I hear that word, and I am certain that “classical” means different things to different people. I’d rather stay away from those dangerous words.



Did you do your own research into Winston Churchill after getting the “Darkest Hour” assignment?

A little: initially to find out if Churchill liked music, and what he would be listening to, if he did. Not much, it turns out. Joe was thinking of having some soldiers singing at the end of the movie, while my initial vague notion for the score was to incorporate in some way the “voice of the people”. I started researching old British folk music from the past centuries. I was following the idea that those old tunes carry something of the people from which they sprung. I also imagined that “the people” were present all along, even if what we see on screen is mostly the upper class wrestling with the nation’s destiny. I intended to rework the accompaniment of some old folk tunes, and some of that work is still in the score, even if the folk tunes have completely gone. In fact, we ended up abandoning the idea of using voices altogether, even if we recorded some. It wasn’t feeling right, because it introduced a note of nostalgia that we wanted to stay away from.



One of my favorite scores of yours is “V For Vendetta,” a more relevant-than-ever movie about a fascist takeover. Given that England was facing this, do you think there are thematic ideas in how you played Hitler’s threat that connect “Darkest Hour” to that score?

This is interesting. I can recognize in the music of “Darkest Hour” a faint connection to the music of “V for Vendetta.” There is an “aspirational” harmonic sequence, something that is forever trying to “raise”, in both scores, and they both use a particular chord shift. I didn’t do it particularly consciously, but it is there, and it might be a reflection of my gut musical reaction to the idea of freedom from bullying and oppression, literally an “up-rise”.


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15 hours ago, TownerFan said:

Dario Marianelli's violin concerto (aka "Voyager Concerto"), written in 2014 for violinist Jack Liebeck. This is a live recording from 2015 in Stockholm, with Daniel Harding conducting the Swedish Radio Symphony Orchestra and Liebeck as soloist:



Here's a description of the piece:



It's a very haunting and fascinating piece! Recommended listen.


Wow. This is lovely. I'm surprised it hasn't gotten more attention! Thanks for the share!

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