Fim Scores from Spain

I cannot think of any message board or recent article about film music that brought up scores from Spain. Unlike other European markets, Spanish cinema still is limited in most areas of the United States. Even in a crowded market, composers from other European nations manage to show up in local music outlets, especially those from Italy, France and England. My own introduction to Spanish cinema, perhaps like many, was through Pedro Almodovar's hilarious Women on the Verge of a Nervous Breakdown, which made me a fan of the director's style.

Now, from the JMB label come several discs featuring music from five recent Spanish films, plus a two-disc decade retrospective of film music by composer Alberto Iglesias. The label started up about four years ago and presents the original film music of Spain. It has released over 40 CDs to date. It would seem that the intent is to present the best Spanish film has to offer. That is a good thing for those interested in exploring this music because if you enjoy the style of the music, you're generally getting good scores. The CD booklets provide useful information about the recording (mostly technical details), occasionally a film synopsis, film stills, and occasionally information about the composer. Of course, you will need to be able to read Spanish to appreciate all of that information. Finding some of these CDs will be difficult and most of the internet stores I checked required a label search to see if they carried the disc. This batch presents several of the unique voices that Spanish film audiences have had time to appreciate.

El Mar (The Sea) ***

JAVIER NAVARRETE

JMB 2020

14 tracks - 55:26

El Mar, directed by Augusti Villaronga, was an entry in last year's Berlin International Film Festival. The story revolves around three characters (two boys and a girl) who are involved in the death of two other boys during the Spanish Civil War. This shared secret haunts them throughout their lives and when they meet again, the sea becomes a place to escape from reality.

El Mar is Javier Navarrete's seventh film score. It is a dark and brooding work that emphasizes the lower spectrum of the orchestral palette, bringing out the rich sound of the City of Prague (surprise, surprise, they're not just used on those delightful Silva rerecordings) cellos and basses. This is primarily a work for string orchestra with occasional solo trumpet, flute or clarinet providing color. Navarrete tends to use long drawn out themes placed over rich harmonies that pulse and undulate in ways that subtly suggest the real character of the film.

Several of the cues are presented to flow from one into the next. One of the more interesting sections involves two tracks connected in this way: "En La Galeria" and "La Igglesia." It is fascinating to listen to the way Navarrete holds chords and then changes their harmony by the addition of a solo line, or by the subtle shift of one note in the harmony. As such it is reminiscent of the work of Eastern European composers such as Gorecki. There is occasional variety to help provide some relief. "Estigmas" builds excitingly only to return to the previous static tension.

This is a composer with his own voice who is adept at scoring dramatic music. If you enjoy the scores of Ryuichi Sakamoto (who scored his share of Spanish films), Stephen Warbeck, or even Danny Elfman (in Dolores Claiborne mode), you will find this to be interesting listening.

Yoyes ****

ANGEL ILLARRAMENDI

JMB 2022

15 tracks - 33:26

Angel Illarremendi is a composer of numerous symphonies, orchestral works and even a chamber opera. He was nominated last year for a Goya for Cuando vuelvas a mi Lado (1999). "Yoyes" is his ninth film score and what a beautifully written piece of music it is. The film was presented at last year's Karlovy Vary film festival

"Malkoak" opens the disc and states the main theme for solo viola and string orchestra. It is a simple folk-like melody filled with sadness and sporting a richly Baroque style of accompaniment. This melody recurs throughout the score in various cues. "Tension 1" is an aptly named dissonant piece with strings providing a rhythmic unison pulse against a held tone cluster in the winds. It is followed by the gorgeous "Irati," which is not only a beautiful piece of thematic writing, but also a brilliantly harmonized piece of music. This alone is worth the price of the disc. "Despidida en Paris" is yet another example of Illarremendi's melodic gift. Overall, the presentation here combines short cues, generally played by an unaccompanied solo instrument, which are later filled out in more extended pieces. This is an interesting idea that works fairly well. "Zure Barnean" concludes the disc with a vocal rendition of the main theme.

The recording itself is superb although sometimes you can hear performance "sounds" (fingers clicking on keys, breathing, especially in the brass). This is not terribly distracting and almost gives the sense of a "live" concert performance.

Illarramendi is another of Spain's obviously unique musical voices. His style is at times reminiscent of Rota crossed with a little Morricone. Fans of the music of Rachel Portman or even Carter Burwell may also enjoy this. Always fascinating to listen to because as soon as you think you have figured that you have heard everything, he brings in another surprise. The running time is a bit skimpy, but you will likely find yourself spending more time with this music than you anticipated.

El Portero (The Gatekeeper) *** 1/2

CARLES CASES

JMB 2027

9 tracks - 37:14

El Portero was nominated for two Goyas this year (for lead actor & screenplay). It is only one of four film scores Cases wrote last year; he has been writing film music since the mid-'90s.

From the opening title theme, "El Portero," with its harmonica, and bluesy guitar over strings, you might find yourself thinking Piovanni, or more so Morricone "western" style. The sense of the music at times reminds me most of Williams' The Reivers, a drama with comic elements. "Balada y Velada" is a beautifully scored piece of music for English horn and ethnic flute and strings. Much of the music is more pop-flavored in nature, including a brief moment where we get a little hoe-down ("El numero uno"), but Cases also brings in elements of orchestral writing to off-set his more comedic music. There is a lot to enjoy, especially if you like tuneful music. "Los Maquis" is a strange piece for male voices and orchestra saying "Hush" and then singing along with the lower strings. It's a piece that includes jazzy string writing, sometimes verging on the atonal. "Al Cuartelillo" is a fun pizzicato string piece with additional Renaissance-sounding woodwind music that moves into the style heard earlier, including a beautiful little oboe melody and central middle section. It would make a great stand-alone concert piece. The concluding waltz, "Camino de Contrabandistas" is also wonderful.

Many of the tracks appear to be compilations of shorter cues in some instances. This is most noticeable when the styles change after brief pauses.

El Otro Barrio (The Other Side) ***

PASCAL GAIGNE

JMB 2028

21 tracks - 33:00

El Otro Barrio is the seventh film score by Pascal Gaigne. It opens with a "Prelude" that's Baroque in style. "Del barrio al cielo," the longest track on the disc (at 4:16) continues in the same vein, this time featuring piano and orchestra for the first half of the cue which then moves on to the same melody played out on violin. "Gloria" is primarily an extended piece for cello and piano which builds as different instruments are added. Gaigne tends to use Baroque forms to structure his brief cues in the way Sarde does on occasion, often times verging on minimalism. While the themes reappear frequently, interest is kept by changing the instrumentation. The biggest problem is that the individual tracks are often too short to appreciate. This is offset by the "theme and variation"-like feel and the fact that the main theme is very good. In this case, 33 minutes is about right.

Obra Maestra (Masterpiece) ***

ROQUE BANOS

JMB 2020

20 tracks - 34:38

Obra Maestra is evidently one of those comedies that can come only from Spain. Two losers with a passion for film write a script but need to convince their lead actress (whose career is spiraling downward due to her drug problems as well as her general difficulty) to be in their film. They decide that the best way to do this is to kidnap her, take her to the woods and force her to be in their film.

Roque Banos was nominated this year for his score to the film La Comunidad, which is his masterpiece from last year. His score for Obra Maestra opens with "Benito Canaveras presenta.." which could easily have been a fanfare written back in the 1950s. The "Title Credits" move us more into the realm of Rachel Portman, or perhaps Danny Elfman. "Un buen dia" is a nice romantic little waltz for solo cello and chamber orchestra. Waltzes abound in this score; "Baila conmingo" is just one of many written in the style of the great Hollywood films of the past. It's all too brief a cue, however, and never really gets to develop. Overall, Banos tends to juxtapose the strangeness and potential danger of situations with more bittersweet melodies.

Banos is yet another discovery for those of us here in the US. His music is well-orchestrated and organized. Fans of Portman or Elfman will likely find themselves comparing the music in some places whereas in others you will find that Banos has his own way of doing things. Comedy films are not always the best way to be introduced to new composers, but this is a score that seems to play to the heart more than to the situational comedy. Besides that, the music is lovely, especially the "Elegia para Damian" and the reprise of the main "Vals de 'Obra Maestra'," which would make a great concert piece. If only all Banos' melodies had a chance to breathe similarly. The song "Usted" is a "bonus track" that closes the disc, but at about a minute in length, it's a wonder they even bothered.

Alberto Iglesias: Film Works 1990-2000 ****

ALBERTO IGLESIAS

JMB 503-4

Disc One: Todo Sobre mi Madre -1999 (4 tracks - 9:44); Los Amantes del Circulo Polar -1998 (6 tracks - 15:12); La Camarera del Titanic -1997 (4 tracks - 10:04); Carne Tremula -1997 (4 tracks - 12:57); Tierra -1996 (6 tracks - 17:38)
Total Time: 70:02

Disc Two: Pasajes -1996 (6 tracks - 8:31); La Flor de mi Secreto -1995 (8 tracks - 9:43); Dispara -1993 (6 tracks - 19:15); La Ardilla Roja -1993 ("Suite in 4 fragments" - 10:32); Vacas -1992 (7 tracks - 17:22)
Total Time: 71:38

Alberto Iglesias is one of the top film composers in Spain so it's no surprise that JMB would put together a collection taken from his scores of the past decade. Iglesias most recently penned the score for Pedro Almodovar's Todo sobre mi madre (1999) (All About My Mother) for which he won his third Goya in 2000. (Incidentally the score for that film is presented as an isolated score track on the DVD presentation.) He has been writing for film since 1984 and has received two previous Goyas for scores also represented here: in 1999 for Los Amantes del CirculoPolar; and in 1994 for La Ardilla Roja (1993). The scores included here are for three films by Pedro Almodovar; four films by Julio Medem; and films by Bigas Luna, Daniel Calparsoro and Carlos Saura. At nearly two-and-a-half hours this is more than a generous sampling of the composer's canon.

Generally speaking, I do not see the logic in starting from the present and working our way backward to Iglesias' earliest score. One would think it'd be the other way around! This is a strange way to present the work of this master composer. But I think JMB's intent is to ease you in to the earlier more experimental pieces. For the purposes of understanding any progression here, it's best to work our way from the earliest to the last score, so I will start with disc two.

Vacas takes place over a period of 61 years, from the beginning of the Civil War, 1875, until 1936. A single cowardly act sets in motion the shape of three generations of two Basque families and the intense rivalry that consumes them. It was this film that brought attention to director Julio Medem, who received several awards for this film. Opening with the bellowing of a cow, we start an exploration of this score. The first cue includes blowing wind and associated sound effects against a slow moving string background. These effects are part of the musical fabric and as they reappear they lend an almost surreal quality. Iglesias' music here tends toward minimalism. One particularly fascinating technique is the use of quickly repeating notes on bass clarinet that almost sounds like reverb feedback. Occasionally there's too much bass emphasis. Given Iglesias penchant for musical spaces, this may be intentional. "Setas" is an amazing work for solo chorus that makes your hair stand on end. Melody is not Iglesias' game plan here for this chilling score which shows off his excellent compositional techniques.

In La Ardilla Roja, a man contemplating suicide ends up coming to the assistance of a girl whose motorcycle flies off the bridge. She becomes amnesiac and at the hospital he pretends that they are a couple -- a lie that reaches its unearthing four years later. The music from La Ardilla Roja is presented in the form of a suite of four fragments. The first fragment begins with flutes followed by energetic string writing, almost "train-like" in quality. This is music not for the weak of heart. It is striking in its originality and is relentless in barely suggesting a tonal center. It's no surprise that it received a Goya for Best Original Score in 1994.

Dispara revolves around an equestrian sharpshooter who meets up with a female reporter, played by none other than Antonio Banderas. Fans of string quartet writing will find much to admire in this album. The final "Vals" must accompany one of the circus scenes and features accordion and saxophone. It is a near cousin to Rota.

La Flor de mi Secreto is about a romance novelist who wishes to change her life. It is one of Almodovar's more accessible films and his first collaboration with Iglesias. The brief opening title cue for solo violin and what sounds like dancing (or body drumming) is interesting. "Casa con ventanas y libros" gives us the first real melody for violin and a reduced mixed ensemble. The "Tango de Parla" reminds us that Astor Piazzolla did not corner the market, but it is very brief. "Existe alguna posibilidado?" is interesting because it combines the technique Iglesias used in his earlier scores with the addition of a more extended melody. The final cue included here carries the film's title and encapsulates one of the main themes in the film; it's brilliantly tossed from violin to cello, flute or clarinet. Morricone fans will find a kindred voice in places.

Pasajes is evidently about two lesbians on a strange crime spree. (This must be what you get after you work for Almodovar.) Now imagine that kind of film with a score for cello quartet -- how's that for unusual! It is put together here in six "movements." The opening is elegiac in nature. The second is in two parts with a jazzy rhythm in the lower register and jagged melody followed by a beautiful upper register theme. The remaining brief movements are mostly tonal pieces with unique rhythm combinations including one that hints at boogie-woogie. Iglesias makes interesting use of this limited combination of instruments.

Remembering that this music hits you in reverse, you basically move from a common sound for contemporary art music into the less sure realm of atonal writing and eventually in a new direction to minimalism. Perhaps Iglesias felt that some of this is easier to take at the end of the disc instead of from the onset.

And now for a look at the first disc featuring the more recent scores:

Tierra is a surreal story in which a local fumigator thinks he has been especially chosen for a divine mission. The album begins with a low rumbling before shimmering strings break forth (reminding me of 2001). This atmospheric score for piano and strings at times approaches some of Jerry Goldsmith's writing, especially in "Maizal," but even with the repetition of fragments and motifs it still bears Iglesias stamp. As such, this plays more like North's Journey into Fear in terms of its style. "Fin," which may be the end title music, shares its main themes gorgeously harmonized and extended. This will recall Morricone for some listeners and is a highlight of the set.

Carne Tremula was Iglesias' next score for Almodavar. It is about a pizza delivery man and the young cop who is accidentally shot during an argument with a young woman. This bizarre love triangle is revisited four years later when the pizza man is released from prison, and the young woman has married the paralyzed cop who is now a wheelchair basketball star. Iglesias' score for this film tends toward the "normal." "La Carta" is the first cue included and is more traditional in its melodic presentation, featuring a wonderful main theme. This does not mean that more experimental orchestration does not occasionally appear; it's just not the main fabric of the score. "Navidad 1996" is a more aptly sweet piece for strings and harmonica and later mandolin. At a length of 7:36, it is the longest cue in this collection. This is a score many will find attractive to return to again.

La Camarera del Titanic is actually a French romance that evidently does not take place on the doomed ship, but is more about the tale-telling of a young foundry worker who meets up with a girl who says she is a chambermaid on the vessel. "Marie" is not a typically romantic piece and is one of the few pure thematic tracks in this collection. "La Carrerra" is interesting only in its orchestration in which Iglesias returns to spreading his melodic ideas coloristically throughout his orchestra. "Vals del Titanic" does not provide any real thematic interest, but is more dramatic in nature. Morricone comes to mind mostly as the samples from this score work their magic.

For Los Amantes del Circulo Polar, Iglesias teamed again with director Medem for this much lauded film where things always come full circle. Iglesias must have had more freedom to try new sounds and ideas here, for the music recalls his earlier interest in sound combinations. Some of the edges have been removed here and there, but there's still a great mix of ideas and colors. There are moments reminiscent of Tierra, especially in "Siento su mano en la tuya." The addition of an electric bass to the texture gives this score a more contemporary "urban" feel. Iglesias returns to the use of fragments over slowly moving harmonies, again brilliantly orchestrated, with combinations of vibraphone and other muted tubular percussion in "Ana." The "Nocturno amor" is a highlight of this score, taking different turns and twists. This is definitely one of Iglesias' better works; it won him a Goya and an award at the Brazilian Gramado Film Festival.

We conclude with Almodovar's Todo sobre mi Madre. The film revolves around a woman who is an actress for hospital organ donor films. When her own son is tragically hit by a car, she returns to Barcelona and teams up with an unusual cast of characters. The film itself is a masterpiece and the score somehow manages to highlight both the rhythm of its daily life along with the general sadness that accompanies the main character throughout the film. Iglesias explores jazz in his main title music. A sparse muted trumpet is punctuated by unusual percussion and interrupted by an orchestral elegy that is a hint at the ironies that will play out in this film. Unlike with most of his earlier scores, Iglesias adds a "normal" percussion set to his rhythm section and as such makes this score feel more in keeping to our own living. "Otra vez huyendo y sin despedirme" hints at Iglesias earlier minimal qualities, but has a beautiful melody that plays out in a fairly traditional way. This is one of the great scores of the '90s and should be checked out on the DVD.

The accompanying booklet features an extended interview with Iglesias conducted by Jesus Reguiera (and translated into English). It is a fascinating discussion of his work habits, musical approaches and influences. There are also artist and orchestra listings for each score. The booklet itself could have benefited by the inclusion of some photos from the films besides the two photos of the composer.

Overall this is an excellent production with much to offer anyone with the time to spend with the music. It tends to progress from the least challenging to the more challenging as you wade through the music. Most listeners will likely spend more time with disc one, while admiring the talent that emerges on disc two.
 

Comments regarding this review can be sent to this address: stev4uth@hotmail.com.
 
 
 

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