Soundtrack Work 2004-2008
TEHO TEARDO
Soundtrack Work 2004-2008
Boomkat Product Review:
Having found fame and acclaim at Cannes with his prize-winning score for Il Divo (the Paolo Sorrentino biopic of former Italian Prime Minister Giulio Andreotti), Teho Teardo is now poised among the elite of European cinema's up-and-coming composers. His music for that film (for which he was awarded both the Ennio Morricone Prize at the Italia Film Festival and the David di Nonatell Prize) is included on this catch-up retrospective disc, alongside soundtracks for cult thriler La Ragazza Del Lago (The Girl By The Lake), Il Passato E Una Terra Straniera (The Past Is A Foreign Land), L'Amico di Famiglia (Friend Of The Family) and 'Lavorare Con Lentezza' (Working Slowly). Key to Teardo's sound is his readiness to incorporate contemporary programmed electronics into his orchestral arrangements. This is something evident throughout the retrospective and harks back to Teardo's work as one half of Expanding Records' electronica duo, Modern Institute. There's a bold use of glitchy, abstract beat construction running through this material that perhaps to some extent recalls Olafur Arnalds' combination of sequenced electronics and strings on his earlier output; other familiar names like Max Richter are likely to spring to mind too, yet this material tends to be a little more experimental and more willing to stray beyond the confines of the established neo-classical idiom. Combining jittery, whirring percussion with guitars and languid string riffs, something like L'Amico di Famielia's 'Miss Agropontino' feels like a more progressive approach to film soundtracking, and rather than laying down a series of variations for each film, Teardo's approach remains flexible and willing to incorporate a broader variety of compositional directions. There are countless great moments strewn across this twenty-five track collection, with one particularly intriguing example being the use of extreme low-frequency electronic pulses in conjunction with conventional orchestration during Lavorare Con Lentezza's 'Con Molta Calma', prompting you to wonder how these almost subconscious components would interact with the film itself. Highly recommended.
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Boomkat Product Review:
Having found fame and acclaim at Cannes with his prize-winning score for Il Divo (the Paolo Sorrentino biopic of former Italian Prime Minister Giulio Andreotti), Teho Teardo is now poised among the elite of European cinema's up-and-coming composers. His music for that film (for which he was awarded both the Ennio Morricone Prize at the Italia Film Festival and the David di Nonatell Prize) is included on this catch-up retrospective disc, alongside soundtracks for cult thriler La Ragazza Del Lago (The Girl By The Lake), Il Passato E Una Terra Straniera (The Past Is A Foreign Land), L'Amico di Famiglia (Friend Of The Family) and 'Lavorare Con Lentezza' (Working Slowly). Key to Teardo's sound is his readiness to incorporate contemporary programmed electronics into his orchestral arrangements. This is something evident throughout the retrospective and harks back to Teardo's work as one half of Expanding Records' electronica duo, Modern Institute. There's a bold use of glitchy, abstract beat construction running through this material that perhaps to some extent recalls Olafur Arnalds' combination of sequenced electronics and strings on his earlier output; other familiar names like Max Richter are likely to spring to mind too, yet this material tends to be a little more experimental and more willing to stray beyond the confines of the established neo-classical idiom. Combining jittery, whirring percussion with guitars and languid string riffs, something like L'Amico di Famielia's 'Miss Agropontino' feels like a more progressive approach to film soundtracking, and rather than laying down a series of variations for each film, Teardo's approach remains flexible and willing to incorporate a broader variety of compositional directions. There are countless great moments strewn across this twenty-five track collection, with one particularly intriguing example being the use of extreme low-frequency electronic pulses in conjunction with conventional orchestration during Lavorare Con Lentezza's 'Con Molta Calma', prompting you to wonder how these almost subconscious components would interact with the film itself. Highly recommended.
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