‘THE WAR AT HOME” is Nina Seavey’s visually stunning doc describing life in the United States during WWII. The film, produced by John & Rhoda Allen of Signature Communications for the National Park Service – a division of the Dept of Interior. The film will be in permanent exhibition at the NPS’s “Homefront” museum near San Francisco. My score, for orchestra, conveys a sense of Americana. I also was called to create songs for this project – in the style of 1930s American pop! For this, I enlisted lyricist June Ospa. The music was recorded with Grammy winners, Vince Giordano & the Nighthawks – who provide the period music for Martin Scorcese’s “Boardwalk Empire.”
the opening sequence begins with my song “It’s a New Day” playing over a radio. The orchestral score assumes the music as the drama is established:
The final sequence of the film closes with its credits. The score is for orchestra:
“REBUILD” is Eddie Rosentstein & Rick Velleu’s doc commissioned to be presented in Washington DC at the 10th anniversary commemoration of the 9-11 attacks. Because of time constraints, I had to compose the score in one week – without benefit of a film nor even a script. Instead, the directors gave me a series of words and phases as inspiration; “memorial,” “loss,” “rebirth,” “a shining tower” and “rising.” Here is the film – featuring VO by Tom Hanks
“THE LAST FLIGHT OF PETR GINZ” is Sandra Dickson& Churchill Roberts’ animated feature documentary about the short and tragic life of Petr Ginz – an extremely gifted boy who grew up during the Nazi occupation of Prague and who was murdered at Auschwitz at 16. At 12, Petr began a diary describing the effects of the occupation on Jewish life in his city of Prague. By this time, he had written and illustrated 5 complete novels. Over the next years he created volumes of writing and artwork. His work continued after being transported to the Terezin concentration camp soon after his 14th birthday.
My score used 4 instrumental groups – a symphony orchestra, a string orchestra, a chamber ensemble and solo piano. The piano is included in all of these groups and is the score’s unifying element.
This sequence describes the Terezin concentration camp, outside of Prague:
In this sequence, for orchestra, Petr’s diary provides the words describing the events and feelings arising when he learned he was going to be transported to the concentration camp at Terezin:
The credit sequence, for symphony orchestra, is a testament to the spirit of Petr Ginz: