One of the novelties that Rosetta Soundtrack will bring us next month is the record with the music of Sergio Moure de Oteyza for the SON musical show of the company Nova Galega de Danza. A show where the Galician tradition embraces the Spanish, and plays with the sensitivity and rudeness of a sculptor’s creative process through 10 choreographic pieces.
“SON has been one of the most beautiful and enriching projects I’ve done throughout my career as a composer. Marrying rhythmic, harmonic and melodic elements, which are both so distant and so close, gives one the idea of what universal music and how interconnected all is”
The B.S.O. SOLO by Sergio Jiménez Lacima is one of the next novelties of Rosetta Soundtrack Records. The film starring Alain Hernandez and Aura Garrido and directed by Hugo Stuven, is based on real events and tells the story of Álvaro, a passionate about surfing, who in search of the perfect wave, falls down a cliff in the most inaccessible area of the island of Fuerteventura. Severely injured, he will have to face nature to survive.
“Yes, it’s a very exciting film, although we wanted to tell the real story, we also wanted to talk about the character’s interior, which is part of the music, which is a reflection of the emotional aspect of Álvaro (Alain Hernández), the protagonist. film is about emotions: the fear of dying, the toxic relationships he has before the accident, the relationship with his girlfriend Mar (Aura Garrido) … ‘Solo’ tells a very intimate story and this is one of the projects in which I have felt more comfortable working. “
“Music with a dose of warm nostalgia and muffled memories at the same time. Reflection of a mental image, sometimes clearer and sometimes more blurred, that music tries to express by fouling its development with strange sounds, like out of tune, that generate restlessness and instability. Details that encourage us to feel that there is something strange in those memories, a kind of bittersweet feeling. Details that, once we go into the film, will understand why. A music based almost exclusively on three chords using non-acoustic, unconventional, non-real sounds, in a way that expresses that instability inside the character and that cloudy memory, separated from reality, and with that sensation of discomfort and strangeness..” (excerpt from Fernando Fernández’s liner notes SOLO)
In the coming weeks we will make available to our clients A DOCUMENTARY COLLECTION, a double CD with the music that the composer Iván Palomares composed for the documentaries THE DARE OF HARAMBA, JUGLE PLANET, WATER WORLDS, PACIFIC and A WORLD APART.In addition to the composed themes for the ceremony of the XVII Iris Awards of the Television Academy.
Iván Palomares begins his training as a composer and orchestra conductor at the Conservatorio de Madrid (End of Degree Prize), continuing the same with various specialization courses in Spain and the United States. As a composer, he has signed the music of several feature films and short films, television series and more than forty documentaries. He has received numerous awards (Girona Film Festival, International Tournament of Music …), highlighting the prestigious Jerry Goldsmith for the best music for documentary in 2009 (for Worlds of Water) and 2012 (for A World Apart) or his prestigious award Harold Arlen Film and TV Award received in New York in 2015. He has just been nominated to the GOYA for the Best Original Soundtrack for the music of EN LAS ESTRELLAS.
Outstanding composer in the audiovisual universe in Spain, his music has been broadcast in more than 130 countries through National Geographic and Discovery Channel. In addition to his work for film and documentary, he has developed his work in fields as diverse as advertising and orchestral arrangement.
“Palomares is a competent, serious, efficient composer with a special ability to build melodies in which several emotions run simultaneously, which is not very common. He is remarkable in the strength of the epic (with moments that should not envy the powerful creations of contemporary cinema) and is exquisite in the refinement of his dramatic melodies, honest and transparent, and very emotional “(Conrado Xalabarder, Mundo BSO)
Iván Palomares does not play music on images of animals. Palomares not only transports the viewer with his work to the worlds collected by Daniel Landa’s camera, but it goes beyond and transforms those of us who delight in these great documentaries Made in Spain and that clearly leaves behind the times of Absolute prevalence of the BBC or National Geographic. Palomares transforms the viewer with his music supporting the cause of Landa, a committed director who is discovered especially in ‘Pacífico’ (2016), the second initiation journey of that trilogy formed by ‘Un mundo aparte’ (2012) and ‘Atlántico’, por por Record. (José Carlos Fernández Moscoso)
Listening to the music of Iván Palomares is unfolding the candles. It has the habit of taking you wherever you want, telling you what it feels like to sail Ha Long Bay, cross the streets of Buenos Aires or fly over the dunes of the Namib Desert. Now, when I relive my travels through documentaries, I think that without those melodies they were incomplete trips. His music is so eloquent that he manages to explain to me what I felt. And sometimes discover new stories, amplify the stage and recreate the beauty of some villages. Ivan knows that music is the universal language and does not fall into the temptation of abusing local instrumentation to take the viewer to a specific territory. He does not need it. He masters the language of emotions. (Daniel Landa)
One of the highlights of this month is the B.S.O. ENDLESS, by Sergio de la Puente, a film that will premiere on October 31st.
Directed by brothers Esteban Alenda, José and Cesar, and starring María Leon and Javier Rey; It was presented at the last Festival of Málaga-Cinema in Spanish and received a great reception by the press and the public, it won the Best Actor Award of the Official Section of the Festival. The film also won the ASECAN Award for Best First Film and the Special Mention of the SIGNIS Award.
Sergio de la Puente was born in Granada, in 1975. He began his studies at the School of Musical Youth of Granada, later entering the Royal Conservatory of Music Victoria Eugenia de Granada. In 1996 he began his career as a concert pianist that will take him to many points of the Spanish geography and in 1998 he joined the Pablo Picasso Chamber Orchestra, performing in numerous theaters of the country and premiering some of his compositions. He currently composes works for film, theater, television and advertising. Some of his most recent soundtracks, such as those composed for Extraordinary Tales of Allan Poe, Azul y no tan rosa (Rosetta, 2018), Amigos, La dama y la muerte o El lince perdido, have contributed to the international recognition of these works, both in the ceremony of the Oscars and in the Goya and other awards.
The film, which will premiere on October 26, is directed by Mar Targarona and starring Mario Casas, Alain Hernandez and Macarena Gómez. It tells the fascinating story of Francesc Boix, a photographer imprisoned in Mauthausen who risked his life to remove from the concentration camp photographic negatives that revealed the atrocities committed by the Nazis.
“The music of “EL FOTÓGRAFO DE MAUTHAUSEN” shows the epic dimension of this story, without forgetting the overwhelming weight of the tragedy of its context. It often creates constrasts between the exterior and the interior, contrasting the frivolous and extreme cruelty of the nazis with the weight of human misery, making a rich and complex experience, marking the suspense, heroism or fraternity. ” (Mar Targarona)
Diego Navarro was born in Santa Cruz de Tenerife (Spain) in 1972. He premiered his first work before the public at the age of 13 and directed his first concert at the head of an orchestra with 21. He was originally a self-taught artist and subsequently studied at the Higher Conservatory of Music. of S / C de Tenerife and the Associated Board of the Royal Schools of Music. As a conductor specialized in repertoire of music for cinema, he currently enjoys great international prestige. Today, specialized critics consider him one of the leading composers of music for cinema in Spain.
Navarro combines his career as a composer of music for the cinema, orchestra director and maximum responsible and creator of FIMUCITÉ (Tenerife International Film Music Festival).
“I decided to structure and develop my score for the film through an orchestry of strings, piano and harp, accompanied by woodwind. Like I said, cello is the absolute protagonist together with other solo instruments like violin or the English horn. I didnt score for Symphonic Orchestra until the end of the film, as that was the moment in which it was necessary a less intimate music, bigger, though equally emotional”
The film, which premiered on March 9, is directed by Samu Fuentes and starring Mario Casas, Irene Escolar and Ruth Díaz. Tells the story of the last inhabitant of a remote village in the mountains. His only contact with other human beings occurs in the spring, when he descends into the valley to trade in the skins of the animals he catches. However, with the arrival of a woman in your life, you will begin to experience new feelings.
“Among his values stands out the excellent photography of Aitor Mantxola, both indoors and outdoors, in both day and night scenes, which together with the remarkable score of the almost new filmmaker Paloma Peñarrubia end up granting the film, very much in the past but with elegance in the staging ” (El Pais)
Coinciding with the premiere of the film directed by Gonzalo Bendala, we announce the next edition of the B.S.O. WHEN ANGELS SLEEP by Pablo Cervantes.
“When The Angels Sleep” is an exciting thriller in which Germán, an honest father of a family driving on his way back home, will see his world in danger when his destiny crosses path with two teenage girls in a road accident, making that night the worst of nightmares. And so, the very road that should take him to his family, leads him instead into a darkness we all sense but no-one would look into.
We announce one of the novelties of Rosetta Soundtrack for the beginning of the course.
The B.S.O. from THE HOUSEMAID that Jerome Leroy composed for this film by the Vietnamese director Derek Nguyen.
An Asian story of ghosts.
“Jerome delivered a score that was frightening yet beautiful. There are times when I just listen to it on its own without the film because I find it so beautiful, lyrical, and melodic. The music is so emotionally true to the characters in the film. It really enhanced its emotional core.”
We are very happy to present a very special new project for us.
We are already working on the next release of a box with 4 CDs by maestro Carles Cases. A project coordinated and directed by our collaborator and friend Frederic Torres, in which we have been working for several months.
The box, which is titled STYLES, includes the BSO of the films MIL CRETINS by Ventura Pons, OVIEDO EXPRESS by Gonzalo Suarez, the music of the TV series DES EL BALCÓ by Jesús Garay, and a CD with solos and piano duos of several BSO.
A very special product that will be available to all our customers at the end of the summer.
“Cases observes film music from different angles, which are at the same time different, complementary. The musical practice on the cinematographic image needs of own codes that the composer understands differently at the time of carrying out the corresponding record. It is not about softening the listening with more digestible arrangements for the general public, a practice that some famous composers carried out past the ecuador of the previous century in order to reach higher levels of commercialization of their scores for the cinema (something that Cases managed to spread this type of music among the general public), but Cases has their creations to offer them in what they see as a completely different context, almost detached from the images for which it would have served, so that the cinematographic evocation is present but in a very particular way, becoming a thematic excuse like any other … “