THE NAME OF THE ROSE - James Horner


					 
			  	
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Sound engineer: Harry Schnitzler
Music editor: Robert Hathaway
Assistant music editor: Rainer Standke
Synthesizer programming: Ian Underwood
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JAMES HORNER’S PLACE IN FILM MUSIC HISTORY

0 Introduction and terminology James Horner was one of film music’s greats. Understanding his talent requires thorough study of what made him an outstanding and influential individual composer, but also of the changing landscape of film music itself. What is it exactly that drew James Horner to film music back in the seventies? And what had so changed by the 2010s that it made him grow impatient with his trade? This text sets out to answer these questions and serve as an introduction to film music in general and to James Horner’s film music in particular. The first part of this article[...]

CINEMA MUSICA: INTERVIEW WITH JAMES HORNER

Conducted by Basil Boehni, Vice editor-in-chief of Cinema Musica. Held: 31 October 2011, in Frankfurt Am Main (Germany). Published in Cinema Musica in April 2012 (in German). The two photos of James Horner were taken by Matthias Keller. Basil Boehni (BB): You’re working in the movie business for over 30 years very successfully. Can you still just sit back, relax and enjoy a movie or do you immediately jump into an analytical viewing of the film? James Horner: Well, when I’ve finished a film I really don’t ever watch the movie again. I see the movie when it’s been mixed – the music, the effects[...]

eDIT FILMMAKER’S FESTIVAL: MASTER CLASS WITH JAMES HORNER

Following several statements from James Horner from his Master Class talk conducted by Matthias Keller, Editor of Bavarian Radio, on 31 October 2011. How he got into film music: I studied classical music and first wanted to become a classical composer. For getting commissions and grants you’re told to have a proper so-called power base. So I did the PHD and started writing ‘serious music’ (like Conversations and Spectral Shimmers). And one day I was asked to score a student film. And I agreed to it. I didn’t know anything about film. I wasn’t a great film buff. I was doing[...]

THE NAME OF THE ROSE: JAMES HORNER’S POETICS

Up against very tight time constraints, James Horner succeeded in translating into music the essence, the very substance of what Jean-Jacques Annaud wanted to preserve from the immense opus by Umberto Eco. From this "millefeuille", as he called it, the director pulled a "palimpsest" by putting forward his own take on the name of the famous Rose (a riddle which even Umberto Eco wanted to be ... enigmatic) as well as a personal and emotional translation of a novel that he believed "was written for him." A project that was close to his heart and which he pulled off brilliantly,[...]

ENEMY AT THE GATES: ONCE UPON A TIME IN THE EAST

"I am a stone … I do not move…" Opening shot: two characters hunched down in the snow... immobile... waiting... silent. The strands of music come and go, thin and crystal-clear. (James Horner actually has built-in pauses for this scene, truly a rarity in film scoring.) The music is in a state of suspension, mirroring the calm before the storm that is about to descend upon Stalingrad. The music breathes as the characters do, with eerie strings drifting through the scales, reflecting the glances that the hunters and prey interchange. Acting instinctively, the old hunter is torn between hunger and fear,[...]

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