Abel Korzeniowski’s work in film music places him in a small group of composers who seem destined to define the future of the art form. His passionate, evocative, and truly original music, grounded in modern European style, fixes a singular impression on the listener.
Korzeniowski’s scores have received tremendous critical enthusiasm and numerous awards, most notably two Golden Globe nominations, and three World Soundtrack Awards. Most recently he received the 2013 International Film Music Critics Association Composer of the Year award for his work on Romeo & Juliet and Escape From Tomorrow. The organization also singled out Romeo & Juliet as Film Score of the Year.
Korzeniowski burst into international prominence with his lush, stirring, highly original music for Tom Ford’s A Single Man, starring Colin Firth and Julianne Moore. The score caught the attention of Madonna, who invited him to create music for her feature film W.E.. Stylish and bittersweet, W.E.’s score brilliantly reflects the glamorous romance between Wallis Simpson and The Duke of Windsor. One reviewer called it “chocolate for the ears.”
Evgeni’s Waltz, a piano piece from W.E., became the basis of a new version of Madonna’s hit Like a Virgin, performed during her 2012 MDNA world tour. For Patricia Kaas, Mr. Korzeniowski reimagined the songs of Edith Piaf, arranging and producing the record album Kaas Chante Piaf, which commemorated the 50th anniversary of Piaf’s death.
Currently, Mr. Korzeniowski is scoring the Showtime psycho-horror series Penny Dreadful, produced by Sam Mendes and John Logan and directed by J.A. Bayona. In addition to his other film work, he has created musical identities for some of the world’s most prestigious brands, including BMW-i Electric Vehicles, and Tiffany & Co.
Born in Krakow, Poland, Korzeniowski studied classical composition under the brilliant and renowned composer Krzysztof Penderecki. In 2006, he moved to Los Angeles, where he currently resides.
Arturo Díez Boscovich born in Malaga (Spain) in 1979. He studied music at the Conservatory of Music of Malaga and studied composition and orchestration with teacher Jaime Martín. Fill studying conducting with teachers Miquel Ortega (Barcelona) and renowned director Mario de Rose in Vienna (Austria).
It is music director of the Teatro Lirico Andaluz (Málaga) and the Lyric Theatre in Huelva. He has been music director of the International Music Festival of Ciudad de Úbeda , where he led in concert for the first time in history of film music a suite from Spartacus by the great master Alex North, a task that continues to play today since the event moved to the Cordoba.
Receives the award for Best Soundtrack at the Curt Fictions Festival in Barcelona, for the music of the film The Dogs of Pavlov (2004) and winner of the third Jerry Goldsmith international competition for young European film music in the section free creation, for his work Don Quixote (Úbeda 2008).
As a composer, he was commissioned to write a piece for the Vía Crucis for choir, soloists and orchestra, which premiered at the Cathedral of Malaga, under his leadership, winning with this work a success. His most important work to date is undoubtedly his work for the award winning short film by Juan Antonio Espigares Fuga for which he received the Jerry Goldsmith for Best Animated Short (Cordoba 2012). His most recent credits include the television series Fragiles and the animated short Miserere and the short Desolado. Right now he is the musical director of Les Miserables in the stage during the whole season in Spain.
Musician from an early age, arrives to film scoring through his mentor and friend, the late Michael Kamen. During his time in MediaVentures, working with Hans Zimmer composing additional music for such films as “The Last Samurai” or “King Arthur”, or as orchestrator in jobs such as “Spanglish” or “The Simpsons”. He has also worked as a conductor with John Powell for “Hancock” and James Newton Howard also on several projects, like “Michael Clayton” or “King Kong”, where he also composed additional music. As for his solo career as a composer, he earned part of his fame through his work on the series “Everwood” (2002-2006), which was nominated in 2003 for an Emmy Award, which will provide him an opportunity to compose several works for television shows of all kinds. These series include the great success of “The Mentalist” (2008-2010) or “The Pacific” (2010)
Blake Neely presence at the “International Film Music Festival Ciudad de Ubeda” was a hurricane of energy, talent and fun. Neely, who joined the guest list shortly before it was closed, showed a special interest in attending the same if only as an assistant; and from the outset was more like a member of the organization. His contribution to the tribute of Michael Kamen was one of the most emotional moments of the symphony concert for both, attendees and himself. Neely, was always ready for everything and always with an attitude full of enthusiasm, constantly joking but without leaving their professionalism aside. He was close to the fans and enjoyed as much as them (or more) all the festival activities. His career as a conductor and the incredible feeling that showed from the first day with the organization, made this great American musician to become nothing but a member of the family and the perfect musical director for the festival. His contribution will be evident to all those attending the festival this summer.
Cesar Benito is a Los Angeles-based composer and music producer originally from Marbella, Spain. Best known for composing the music scores of some of Spain’s most commercially successful TV series in recent years, including Los Protegidos, La Chica de Ayer (Spanish remake of the BBC’s Life on Mars), Vive Cantando and El Tiempo Entre Costuras. His soundtrack album for El Tiempo Entre Costuras reached #2 on iTunes Store Albums, and #1 on iTunes Store Soundtrack Albums, in Spain. His work for the big screen includes the scores for the critically acclaimed films Savaged, Mía Sarah, and Ways to Live Forever.
Cesar graduated magna cum laude from the prestigious Berklee College of Music in Boston with a dual B.A. in “Film Scoring” and “Contemporary Writing & Production”. He also holds degrees in Music Theory, Piano and Composition from the Malaga Music Conservatory and the Madrid Royal Conservatory, as well as a degree in Industrial Engineering from the University of Malaga.
Benito is a voting member of the National Association of Recording Arts and Sciences (The Grammys).
Christopher Lennertz is a composer, producer, conductor, and arranger for film, television, video games, and records. He first made a splash with his breakout score for Alvin and the Chipmunks, which has grossed over $360 million worldwide. Since then he’s proven his steadfast talent through films like the highly acclaimed, star-studded comedy Horrible Bosses from Warner Bros. and the recent box office smash Ride Along starring Ice Cube and Kevin Hart. Chris’ other recent scores include the hit comedy Identity Thief from Universal Pictures, Thanks For Sharingstarring Mark Ruffalo & Gwyneth Paltrow and Battle of the Yearfrom Screen Gems.
Lennertz’ adeptness for a multitude of genres has put him on the map time and time again. His knack for comedy is undeniable through films like Think Like A Man and the cult classic spoofs Vampires Suck and Meet the Spartans. He’s also contributed his unique brand of humor to several hit family films includingMarmaduke and Cats & Dogs: The Revenge of Kitty Galore. Furthermore, he’s tapped into the indie world, scoring critically acclaimed films like Alfred P. Sloan winner Adam (Fox Searchlight) and Tortilla Heaven, which garnered him the very first FilmMusic award for Best Independent Film Score.
While Chris has achieved huge success in lighter genres, his real start was in the action- adventure world with projects like Clive Barker’s Saint Sinner, for which he was named Best New Composer by Cinemusic. On the television side, his long time run on the series Supernatural led to an Emmy nomination for Outstanding Underscore in a Drama Series. Currently, Chris writes the music for the hit J.J. Abram’s series Revolution on NBC. He’s also celebrated for his video game scores with major sellers like Steven Spielberg’s Medal of Honor series including Rising Sun, which won Best Original Score from the prestigious Academy of Interactive Arts & Sciences. He followed that up with work onJames Bond 007: From Russia With Love, Quantum of Solace, the hugely popular Gun, and most recently Starhawk and Warhawkfor Sony Playstation. Lennertz has also just completed the score for the most recent installment of the iconic Madden series.
Lennertz has worked with distinguished artists such as Basil Poledouris, Michael Kamen, Ozomatli, The RZA, and Alien Ant Farm. His groundbreaking collaboration with Ozomatli on their record Street Signs garnered a Grammy Award for Best Latin Rock Album. Still early in his career, he has already scored 39 feature films, 5 network television series, many of the worlds biggest interactive titles, and has spent weeks on the Billboard charts. Christopher Lennertz is drawing excitement as one of the freshest and most versatile young composers in Hollywood.
Craig Safan, film, television, theater, circus and song composer of great influence and importance during the last three decades, having created such iconic scores and compositions for cinema as Remo Williams: The Adventure Begins, Son of the Morning Star, The Last Starfighter, The Legend of Billie Jean, Tag: The Assassination Game, Major Payne, Mr. Wrong, Fade To Black, Stand and Deliver, o Nightmare on Elm Street IV: The Dream Child, television, Cheers, Life Goes On, Amazing Stories, The Twilight Zone, The New Alfred Hitchcock Presents, theater, & even the Greatest Show on Earth’s World, the circus, with different compositions for the Ringling Brothers or the Barnum & Bailey spectacles.
The music and the composition world took him at a very early age, even creating musicals and songs at the age of eleven. Since he was at college and high school, he knew his future will be related to music no matter what, learning from his teachers, Helene Mirich (when he was a young boy) and Alvin Lucier (who opened up his world in terms of hearing everything as possible music) and masters inspiration like Thelonious Monk or Bill Evans, working with artists like Dirk Hamilton, Rod Taylor or Emmylou Harris, becoming a friend with producer Charles Plotkin and meeting Wendy Waldman (daughter of composer Fred Steiner), Andrew Gold (son of film composer Ernest Gold) or Peter Bernstein (son of Elmer Bernstein), creating The Safan Bros, a band with his brother, and collaborating with stars like Linda Ronstadt or Jennifer Warnes (who he played piano for), until finally having its cinema composing debut with the film The Demon’s Daughter, directed by the famous John McTiernan.
One of the UK’s most successful female music ambassadors, Debbie is in demand as a composer and conductor.
Throughout the past 20 years, there are probably few people who have not heard a theme from one of Debbie’s films or television productions. Whether it is watching Stephen Fry bring to life Oscar Wilde for the big screen, hearing the latest political commentary on a Sunday morning with Andrew Marr, or poring over T.S.Eliot’s love story in the Oscar nominated “Tom & Viv”, Wiseman has gifted us iconic themes of beauty and passion, love and laughter.
Her credits, over 200 of them, for the big and small screen include FLOOD, WARRIORS, JUDGE JOHN DEED, WILDE, OTHELLO, LAND GIRLS, TOM & VIV, JEKYLL, THE PASSION, THE GUILTY, BEFORE YOU GO, HE KNEW HE WAS RIGHT, TOM’S MIDNIGHT GARDEN, ARSÈNE LUPIN, LOST CHRISTMAS, HAUNTED, FATHER BROWN, WPC 56 and THE PROMISE.
Debbie has been nominated for two Ivor Novello Awards for WILDE and DEATH OF YUGOSLAVIA, and has won a TRIC Award for THE GOOD GUYS and an RTS Award for WARRIORS. In 2007 she was awarded the Gold Badge of Merit by the British Academy of Composers & Songwriters.
Her album of music to accompany the fairy stories of Oscar Wilde, WILDE STORIES – on the Warner Classics and Jazz label – was nominated for a Grammy Award and was then made into a trilogy of animated films for Channel 4.
In Classic FM’s Top 100 Movie Music Chart of 2010, Debbie’s score for WILDE was voted in at number 12 by the station’s listeners. A suite of her music from the film was included in the 2007 Great British Film Music Prom concert at the Albert Hall.
In 2004, Debbie was honoured in the Queen’s New Year’s Honours list with an MBE for services to the music and film industry. She has been awarded Honorary Fellowships at both colleges where she studied, Trinity College of Music and the Guildhall School of Music and Drama.
Warner Classics are thrilled to welcome Debbie to their celebrated roster of artists, and her first solo album for the label, “Piano Stories”, which features piano solo performances by the composer herself of many of her acclaimed scores, entered the UK Classical Artist Album Chart at number 10 .
John Lunn’s music possesses a wonderfully unique voice that spans the spectrum of musical styles. Classically trained, yet contemporary in attitude, he combines a highly intelligent and sensitive approach, with a sound that always hits at the emotional heart of a piece. Matching the highest production values with a continual desire to discover new colours and sounds, it is not hard to see why John is continuously in such high demand. He is probably best known for scoring the hugely successful flagship ITV/Carnival Films drama, Downton Abbey. For which he has received two EMMY AWARDS, one in 2012 and then again in 2013. He was also awarded the best TV score RTS Award in 2010. John was nominated for both a BAFTA and Ivor Novello award for his evocative score for Sky’s Going Postal, and was further nominated for the BAFTA Award for Best Original Score for his wonderful music to the BBC Dickens adaptation, Little Dorrit.
John recently scored Shetland for the the BBC, and the highly anticipated BBC drama, Burton And Taylor (starring Dominic West and Helena Bonham-Carter), as well as the BBC’s The White Queen, (based on the bestselling novel by Phillipa Gregory), and the 2013 reimagining of the Hitchcock classic, The Lady Vanishes. Other works have included scoring Mob Films’ adaptation of Terry Pratchett’s Going Postal for Sky1, and the much acclaimed 2012 new year’s BBC/Masterpiece Dickens centenary adaptation of The Mystery Of Edwin Drood, for which he was nominated for an Ivor Novello Award 2013). His works also include a compelling 14 part re-imagining of another Dickens’ classic, Little Dorrit, (for which John again received an EMMY nomination); a wonderfully innovative and cutting edge score for the Company Pictures’ drama, The Silence; the ITV fantasy horror, Marchlands; and a wonderfully chilling one off Xmas special feature adaptation of MR James’ classic ghost story, Turn of the Screw, which starred John Hurt.
Earlier television credits have ranged from the BBC’s flagship productions of Cambridge Spies (FIPA Gold Award 2003), Lorna Doone, Madame Bovary and Murder Rooms, to the Channel Four/Company series North Square, World Productions 12 part series Outlaws, Scottish Television’s thriller Sirens, and the Ska Films/Ginger production, Lock Stock…. His score to Getting Hurt, the BBC Screen Two Film, won the Royal Television Society’s award for Best Original Music. His music to Bad Blood was also nominated for an Ivor Novello Award. John scored the critically acclaimed BBC series Bleak House (RTS Awards 2006 – nomination for Best Score and Best Title Music), 20,000 Streets Under The Sky, Hotel Babylon for Carnival Films / BBC (for which he was nominated for an Ivor Novello Award), and the ITV biopic based on the moors murderers, See No Evil, as well as Sorted for the BBC. He scored The Amazing Mrs. Pritchard for the BBC, starring Jane Horrocks, and the Bafta award winning Victoria Wood penned drama, Housewife 49 for ITV, along with Frankenstein for Impossible Pictures, and The Shadow In The North for the BBC. He went on to score Torn for Jeremy Gwilt and TXTV, series 2 of the acclaimed Jimmy McGovern scripted, The Street for Granada, and then completed Hotel Babylon (Series 4) for Carnival/BBC. Further credits include Criminal Justice for the BBC, which went on to be an RTS Award Winner 2008 for Best Original Score, Harley Street for Carnival Productions/ITV1, Identity, a 6 part thriller for ITV, and Material Girl for Carnival/BBC.
John’s film scores include two recent features for Stone City Films, Unconditional Love and Electricity, which starred Agyness Dean, and the IMAX film Giant Screen Bugs, narrated by Dame Judi Dench for Principal Film. Other film credits include the FilmFour/Shane Meadows feature, Once Upon a Time in the Midlands (Kathy Burke, Robert Carlyle, Rhys Ifans), Get Real, directed by Simon Shore, winner of the Audience Award, Edinburgh and Dinard International Festivals, and The Wisdom Of Crocodiles, directed by Po Chih Leong for Zenith Films. He also scored the IMAX film, Legend of the Loch for director Mike Slee.
Other major credits include the music for Second Sight, directed by Charles Beeson for 20/20 TV/BBC, the original series of 2000 Acres of Sky as well as Hamish MacBeth for BBC/Zenith and the Carlton/Zenith series Bodyguards. For his score to Back Up, The Guardian wrote ‘..cracking stuff, pure Bernard Hermann, and more sheer menace than anything you’ve heard…’. He wrote the music for Ghostbusters of East Finchley (BBC2), a jazz score for the YTV/Zenith series Finney (directed by David Hayman), and a largely period score for the Last Machine, a five part documentary drama for BBC/Illumination, presented by Terry Gilliam.
John’s earlier credits include Cormorant, a BBC Screen Two Film starring Ralph Fiennes, the Prairie Pictures feature The Life Of Stuff, directed by Simon Donald and produced by Linda Myles, The Gift, a BBC Screenplay production, Beatrix, a BBC drama starring Helena Bonham-Carter, Second Thoughts, written by Anthony Minghella and starring Mel Smith and Griff Rhys-Jones, and After The Dance for the BBC’s Performance series. Amongst John’s classical works, his violin concerto was premiered by Clio Gould and the London Sinfonietta at the Queen Elizabeth Hall and his two operas, Misper and Zoe (filmed and broadcast by Channel 4 in 2001) were written for Glydenbourne. He wrote the opera, Mathematics Of a Kiss with Anthony Minghella and Orlando Gough for the English National Opera. In 2005 John was commissioned by Glynedbourne Opera to write, Tangier Tattoo, an opera to be directed by Stephen Langridge.
Murray Gold nació en Portsmouth en 1969. Ha trabajado principalmente en el teatro, el cine y la televisión. Ha sido nominado 4 veces para el BAFTA en la categoría de mejor música para televisión, por Vanity Fair, Queer as Folk, Casanova, y Doctor Who entre otras.
Él es uno de los compositores más inspirados e inflexible en su campo. Desde su innovador trabajo nominado al BAFTA, Vanity Fair, a la galardonada banda sonora Queer As Folk, Murray Gold ha sido el compositor elegido cuando se trata de marcar los programas más innovadores de la televisión. Él proporcionó la música a The Second Coming (protagonizada por Christopher Ecclestone), Servants, la multi-premiada serie de la BBC Clocking Off y la controvertida Shameless.
En el mundo del cine, compuso una partitura de jazz evocador para el aclamado primer largometraje de Jez Butterworth, Mojo, a la que siguieron otras producciones cinematográficas del Reino Unido como Heavenly Creatures y Wild About Harry. Sus encargos más recientes incluyen Miranda, protagonizada por Christina Ricci y John Hurt, y Kiss of Life, escrita y dirigida por Emily Young. Fue por esta partitura que Murray se adjudicó el Gran Premio: Mozart du septième Art en el prestigioso Festival Internacional de Cine d’Aubagne.
Desde 2005, Gold ha desempeñado la labor de director musical de la nueva serie de Doctor Who de la BBC, trabajo que aun desempeña en la actualidad. Su trabajo en esta serie le ha granjeado el éxito del público en todo el mundo y de los seguidores de la serie, haciendo de sus conciertos en el Royal Albert Hall todo un acontecimiento en el Reino Unido.
Born in A Coruña, 1955 is a composer, musician and record producer. He trained as a composition and jazz musician in Sweden between 1976 and 1980 with Mariano Cortéz (a Chilean musician from Luciano Berio’s School) and Uffe Sandberg (a Scandinavian jazz pianist). At the same time, he took his Linguistic courses at the universities of Upsala and Stockholm.
In the 90s, he started combining his activity as a soloist with his work as a producer and musical arranger for different Galician artists and Galician national editorials.
In 2004, immersed in a personal and professional search, he went into artistic partnership with Miguelanxo Prado in a project that became a reality in 2006 in the animated film De Profundis, which was internationally recognized. This work allowed him to get directly into symphonic music creation, getting involved and fostering his role as a composer. Apart from other works, such as soundtracks for movies and series, (Guante Blanco – TVE, El niño de barro), in 2009 he premiered the narrated operetta for voice and clarinet quartet A Berenguela, based on a text by the poet Manuel Maria. One of his latest works, Wrinkles based on Paco Roca’s acclaimed comic of the same name, has received the praise of the critics and fans alike.
Unexpected texture, sounds and a signature musical personality are the hallmarks of British film composer Rolfe Kent, who has scored more than 50 films, including Academy Award nominated UP IN THE AIR (for which he won a Golden Satellite award), SIDEWAYS (for which he was nominated for a Golden Globe and Critics Choice Award in 2007), YOUNG ADULT, CHARLIE ST. CLOUD, ABOUT SCHMIDT, ELECTION, MEAN GIRLS, LEGALLY BLONDE and LEGALLY BLONDE II, WEDDING CRASHERS, THE MATADOR, REIGN OVER ME, THE HUNTING PARTY, THE GHOSTS OF GIRLFRIENDS PAST, and THANK YOU FOR SMOKING. Kent also composed the Emmy-nominated main title theme for the Showtime hit, DEXTER. In 2012, he received the Richard Kirk award for career achievement.
Born in England into a non-musical family, Kent intuitively felt at age 12 that he wanted to be a film composer, although his early musical training was brief and not so formal. Citing Jarre’s Lawrence of Arabia and Morricone’s The Good, The Bad and the Ugly, as inspirations, Kent took the advice of an early music teacher to avoid rigid course work that would dampen his enthusiasm. He followed an entirely different path and, taking counterpoint to what is often cited as culture mired in cynicism, profited from his early course work in theology to relate it to music. After enrolling in psychology studies at University of Leeds in Yorkshire, Kent’s musical career was casually begun at a dance club when the director of a play offered him a chance to “do” the music. His jump-start was his composition for a stage musical Gross at the Edinburgh Fringe Festival, a springboard for authors, composers and performers.
In the confines of his musically busy studio, one can immediately see why his musical personality is as distinct and his own. Constantly on the go, adventurous and curious, Kent has developed a style that is not only distinct, but indicative of his aversion to the-anticipated-score in tone, texture and rhythm. The walls are lined with many familiar and many more unfamiliar instruments, gingerly handled and gleefully demonstrated for their sonic qualities. Among his collection are the Indonesian percussion instrument the angklung, the shawm (first used in military maneuvers as a psychological weapon), the melodica, used for the light, soothing effect in Kent’s jazz-infused score for his Golden Globe-nominated Sideways, and an instrument he discovered and cannot name that sounds like the world’s beaches at their most romantic high tide… combined.
At first blush, Kent takes his initial cue from the film’s director and infuses it with his own voice, striving to make the difference between looking at a film and being absorbed by it. In Jason Reitman’s LABOR DAY Kent took intimate instrumentation, including guitars, charango and sounds of crickets, and processed them to create intense moody ambiences, at once both organic and other-worldly, delicately navigating a line between tension and emotion.
In addition to Reitman, Kent has the distinction of attracting and sustaining relationships with directors as popular and diverse as Alexander Payne, Mark Waters, Richard Shepard, and Burr Steers. Kent’s upcoming films include LABOR DAY (Jason Reitman), DOM HEMINGWAY (Richard Shepard), BAD WORDS (film directorial debut of Jason Bateman) and THE SCAPEGOAT (Nicolas Bary).
Roque Baños began his studies at the Music Conservatory in Murcia, where he finished elementary level specializing in saxophone, achieving the Music Theory Award and a Degree of Distinction in Saxophone. Later, in 1986, he moved to Madrid, where he joined the Royal Conservatory of Music of the city, where he completed his studies. He was the recipient of the End of Degree Thesis award, along with several entries and honors, achieving the degrees of Superior Professor of Saxophone, Piano, Music Theory, Harmony, Counterpoint, Composition and Instrumentation and Orchestra Conductor.
In 1993, he received a scholarship from the Ministry of Culture, and studied at the Berklee College of Music, majoring in Music Composition for Film and Jazz, and receiving the “Robert Share Award” for demonstrating “the highest musical-dramatic level in the area of film music composition”, and in the field of jazz the ”Achievement Award” for his great performing skills. In 1995 he graduated with “Summa Cum Laude” distinction in the fields of Film Scoring and Performance.
In 1998 he received his first commission as a composer of film score to “Carreteras Secundarias” by Emilio Martinez-Lazaro. He has since worked with some of the most prominent directors in Spanish cinema such as Alex de la Iglesia, Daniel Monzón, Carlos Saura, or the aforementioned Martínez Lázaro, and other international directors such as Jonathan Glazer, Marcelo Pineyro, Brad Anderson, and Gerard Junot. In his work as a film composer he has been awarded and nominated in multiple times to several awards, both nationally and internationally, among them, three Goya Awards, one of them received in 2003 in the category of best song for “Sevillana for Carlos” from the film Salome directed by Carlos Saura. The other two were granted in 2008 and 2009 in the category of Best Original Score for his scores for the movies The Thirteen Roses and The Oxford Murders, respectively. He has also been nominated for such awards in other seven times for the films “The Community”, “800 Bullets”, “The Machinist”, “Fragile”, “Alatriste”, “Cell 211” and “The Last Circus”.
Born in Granada (Spain, 1975) and musician by heart, Sergio de la Puente is, nowadays, one of the most prominent spanish promises in the world of movie and TV soundtrack composition. Furthermore, Sergio is a great pianist who shared the stage with renowned artists among whom, Patrick Doyle, Michael Giacchino, Christopher Young and Philippe Rombí.
Some of his most recent soundtracks – as the ones composed for The Fall of the house of Usher, ‘The Lady and the Reaper’ and ‘The missing Lynx’ – leaded to the international acknowledgment of these works, being nominated for the Oscars, the Goyas and the many other prizes.
Other works for cinema include Azul y no tan Rosa, Amigos, The Facts in the Case of M. Valdemar, Los ojos de la guerra, Inertial Love, Bitseller, Clandestinos and El orden de las cosas.
Nowadays, Sergio de la Puente lives in Madrid where he opened his recording studio, combining his job as film composer and pianist.
Sergio Moure Oteyza, born in La Coruña in 1969, he studied harmony, composition, arranging and guitar in the Aula of modern music and jazz at the Conservatory of Liceo de Barcelona.
He works as a composer and teacher for ESCAC (Graduate School of films of Catalonia) and as composer and music coordinator for the CECC (Center studios of Catalonia).
In 2004 composed the soundtrack for “Inconscientes”, which is his first score for film, getting a nomination for the Goya and Gaudí Awards.
This work has been followed by his score for “Cargo”, composed jointly with Stephen Warbeck (Oscar winner for Shakespeare in Love) as well as other television works as the tv movie “Ecos” directed by Oriol Paulo or “Relíquias” Toño López .
His latest soundtracks for feature films have been “Kidnapped” by Miguel Angel Vivas, “Lobos de Arga” by Juan Martínez Moreno, “Todo es silencio” by José Luís Rope, “El Cuerpo” directed by Oriol Paulo and starring Belén Rueda, Hugo Silva and José Coronado, “Tesis sobre un homicidio” by Hernán Goldfrid starring Ricardo Darin and Alberto Ammann or “Somos gente honrada” by Alejandro Marzoa starring Paco Tous, Miguel de Lira, Manuela Vellés and Unax Ugalde .
Right now working on the soundtrack to Welcome to Harmony, film directed by Miguel Angel Vivas, starring Matthew Fox ( Lost ) and produced by Jeffrey Donovan and Vaca Films ( Cell 211, Secuestrados) and Ombra Films ( Jaume Collet- Serra ) .
Steven Price is a British composer and musician whose passion for music began early: he was a guitarist at the age of five and he went on to achieve the maximum degree in musical studies at the University of Cambridge. After graduating, he worked in the London studio Gang of Four owned by guitarist / producer Andy Gill, where he did programming, string arrangements and played instruments on albums with artists such as Michael Hutchence and Bono.
Steven went on to work as a programmer, arranger and performer with film composer Trevor Jones, writing additional music for projects like Thirteen Days; The League of Extraordinary Gentlemen; Around the World in 80 Days by Frank Coraci; Dinotopia TV series; and Crossroads, where he was also the lead guitarist with the London Symphony Orchestra.
A recommendation from the Abbey Road studios caught the attention of Howard Shore, prompting Steven to work as musical editor with the Oscar winning composer in the Pete Jackson trilogy of The Lord of the Rings. His later films include as music editor include Christopher Nolan’s Batman Begins for which he shared with his colleagues in the assembly a nomination for a Golden Reel Award. In its first project with filmmaker Edgar Wright, Scott Pilgrim vs. the World, he collaborated with film composer Nigel Godrich. Among other composers he has worked and learned are Hans Zimmer, James Newton Howard, Harry and Rupert Gregson-Williams, Patrick Doyle, George Fenton, Dario Marianelli and Anne Dudley.
He has also composed music for various advertising campaigns in the UK and U.S. After writing additional music for Rocked Richard Curtis, he composed the score for the sci hit film Attack the Block by Joe Cornish, winning several awards prizes at the Sitges – International Film Festival of Catalonia. In 2013 he wrote the musical accompaniment to the epic round of pints hatched by Edward Wright and Simon Pegg in The World’s End.
Steven Price has won the Oscar for best original score last February 2014 for his acclaimed original score for Gravity by Alfonso Cuarón, starring Sandra Bullock and George Clooney.
His recent compositions include television series Believe and he has been assigned to the anticipated adaptation of Ant -Man by Edward Wright.
He began his professional career as a drummer in the folk group “Red Bird ” while he was admitted to Aoyama Gakuin University . Also at this time, thanks to the support of the band ” Grape”, began working as an arranger and record producer.
In 1979 he moved to Boston, where he studied conducting methodology, work techniques for contemporary jazz and classical music at the Berklee College of Music. Also studied with Albert Harris in Los Angeles, to learn technique of composition for film and Hollywood style orchestration.
After returning home, he got a lots of assigments as a composer for numerous films, television series and animation.
Its reference works in recent years are the NHK Taiga drama for television “Toshiietomatsu”, “Mori Motonari”, “Dondo hare”, Fuji TV drama “Friendly Time”, works for films such as “Mothra”, ” Kainatsu” “UDON”or his latest hit the animated series “Space Brothers”, for which he is nominated to our Goldspirit Awards.
With music for the last chapter of “The Ring” series, he won the award in the category of Theater Music Awards at the 20th Academy Television Awards. He was also awarded at the 53rd Japan Record Awards for his arrangements for the song “Sun – Important you” from the famous pop singer Ayaka Hirahara .
After a lifetime as a conductor in 2008 he celebrated its 35th anniversary in the music world, and launched the CD “The Best of Toshiyuki Watanabe”, performing a commemoration concert with the Philharmonic Orchestra of Japan in the wonderful setting of Suntory Hall Great Hall. Since then, every year, along with the Japan Philharmonic offers several concerts being one of the most regular directors of the orchestra.
Within his busy schedule he also serves as professor of music and sound design in Senzoku Gakuen College of Music.