Exploring the Soundscape of a Cinematic Journey
The Initial Mix: Voice and Percussion
Capturing the Essence
In the early stages of the mix, the creative team experimented with various vocal elements. The piece begins with a prayer, which is suddenly juxtaposed with the resounding beats of drums and chest percussion. This unique percussion was recorded in the intimate setting of Steve Noble’s kitchen in London, where the simplicity of a drum skin on a lap transformed into a powerful auditory experience.
Developing Erzsébet’s Theme
The Emotional Journey
The theme of Erzsébet evolves from a profound narrative arc—the reunion of László with his wife after the harrowing experiences of war. This overwhelming concept serves as the thematic backbone of the score. Initially, László’s theme is presented in a pure form, which gradually disintegrates as the story progresses. This transformation culminates in a chaotic and drug-laden depiction during a pivotal scene.
A Session of Improvisation
A key session featuring Axel Dörner and Carina Khorkhordina took Erzsébet’s theme as a foundation. The team began with a precise rendition of the theme, transitioning into an improvisational segment before returning to its original form. This creative process encapsulates the idea of disintegration, mirroring the emotional unraveling of the characters in the film’s second half.
The Art of Prepared Piano
Recording Techniques
The prepared piano sessions took place at Café Oto, prior to the main production. Collaborating with Billy Steiger and Tom Wheatley, the team experimented with unconventional objects like paper, screws, and Blu-Tack to manipulate the piano’s sound. Using an array of 16 microphones, including the accurate U 89 and a stereo mic on the bass, they captured rich, resonant sounds that would feature prominently in the film.
Influences of John Tilbury
John Tilbury’s approach to prepared piano, influenced by John Cage, primarily involved the use of screws and coins. His wife, Janice, contributed to the preparation by delicately placing these items on the strings, adding a layer of beauty to the recording process.
Sophie Agnel’s Unique Technique
In contrast, Sophie Agnel does not prepare the piano in the traditional sense. Instead, she plays the strings directly, employing techniques such as bouncing balls and using mallets. This method produces a rich tapestry of sound that resonates like a full orchestra.
Composing for the Marble Quarry
The Inspiration Behind the Scene
The marble quarry shots in Carrara, Italy, presented a stunning visual backdrop that prompted an exploration of sound dynamics within the space. The unique acoustics of the marble slabs inspired the team to experiment with sound recording techniques.
Innovative Sound Design
To capture the echo and reverberation of the quarry, the team recorded a gunshot within the space. By utilizing software to isolate the reverb from the original sound, they created an algorithm that could be applied to other audio elements, notably Evan Parker’s saxophone. This innovative technique allowed the score to resonate with the visual grandeur of the quarry.
Conclusion
The intricate sound design and thematic development throughout the film showcase a profound understanding of how audio can enhance storytelling. From intimate recordings to innovative techniques in prepared piano, every element contributes to a rich auditory experience that mirrors the emotional journey of the characters.
FAQs
What inspired the use of prepared piano in the score?
The prepared piano was utilized to create unique sounds and textures that complement the film’s emotional landscape, allowing for a more immersive experience.
How did the team capture the sound dynamics of the marble quarry?
The team recorded a gunshot in the quarry and used software to isolate the natural reverb, applying it to other audio elements to enhance the sound design.
What distinguishes Sophie Agnel’s piano technique from others?
Sophie Agnel’s technique involves playing the strings directly, creating resonant sounds that differ from traditional prepared piano methods, which typically involve modifying the instrument with objects.