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Personally I'm still waiting on his Caprica release. It keeps getting pushed back and back and back. Now in light of LLL's post today, it's looking like it's likely going to be July (when it was originally April). I know, they can't help it, it was mainly art approval (as seems to be most delays around here... silly studios and their legal demands).
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When they began broadcasting "DaVinci's Demons" I made it a point to watch the first episode, but just couldn't get into it and never went back. But some of the comments above make me regret that I didn't stick around long enough to pay attention to the music!
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Posted: |
Mar 31, 2014 - 6:52 AM
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By: |
mastadge
(Member)
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"Season two… was merciless. . . . There was no easing in to the music this time around. From the opening instant of the score, I was thrust back into the heat of the season one cliffhanger. I had to juggle all the themes as we catch up with all the characters. It was a dive into the deep end of a frigid pool after sitting in a hot tub.
"Juggling all the themes from the first season alone would be a tremendous challenge. At the same time, however, I had to compose and balance new themes as new characters and story arcs were introduced. This season you will hear themes representing a host of characters from Naples, Peru and the Ottoman Empire.
"The extreme geographic disparity here also required an obvious expansion of the instrumental palette. I researched the period music associated with Naples for the themes for King Ferrante and his arrogant son Alfonso. We arranged for indigenous singers to come down from the mountains in Peru to a recording studio in Lima to record vocal chants historically accurate to the per-Columbian world that Da Vinci and his cohorts will venture into. Middle Eastern percussion and new woodwinds will work their way into the score as we introduce new characters from the Middle East.
"These new elements could generate enough musical material to justify an entire score by themselves. My ultimate challenge this season was to combine the new material with the substantial body of themes from the first season. Nothing I created in season one could be tossed – it all had to be expanded upon in the second season, while I simultaneously introduced and developed the new instruments, themes and players.
"Honestly, looking back at the season now, having completed the final episode, I am amazed at how far the score has evolved. If I had realized how big this score would get as I set out to score the season premiere, “The Blood of Man,” I would probably have frozen in my tracks. Fortunately, I didn’t think about it. I just dove in, picking up the musical notes where I had last left them. The resultant score, in my opinion, is the most narratively ambitious and thematically layered music I have ever written."
See more at: http://www.bearmccreary.com/#blog/blog/da-vincis-demons-the-blood-of-man/
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