The following is a jury report written by Mikko Ojala who is one of the members of the Judges Panel of the Composers Challenge:
Note: Each entry is given a rating out of 10.
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I was extremely glad to be given a chance to participate in the judges’ panel of the 6th Composers Challenge and even happier when I noted that the theme of this challenge was to be the composing of an overture for a Sword and Sandal epic, namely the story of Spartacus. My mind leapt at the chances it would allow to the composers to write expressive and less image constrained music than in the previous challenges, where syncing up the music to the film has been one important factor, naturally part of a film composer’s job. But here their imaginations would be free to roam unrestricted.
When I began to listen to the entries I had a few general guidelines in mind as I was judging the compositions. First of all I wanted to see how well had the composers captured the era and feel of such an epic film and how this would be expressed, orchestrationally and instrumentally, with ethnic colouring or allussions to well established genre conventions. Also going against the grain of the convention might produce interesting results as it did here.
Secondly I look at the themes, how expressive they are of the subject matter, how well thought out and structured they are and how they are explored in the overture. Part of this is also memorability and the ability to convey the central elements of the imaginary full movie score to the viewer/listener and for the overture to form a sort of listening guide when they see the film and pull them into the story.
Third comes the overall flow of the piece. Are the themes and the musical structure coherent and well conceived. Part of this is the musico-dramatic aspect, how well does the music reflect the drama and its elements as a whole. I especially took note of some excellent dramatic arcs among the competing compositions, where the music is the story of Spartacus in small from start to finish, a mark of a gifted musical story teller.
While I used the above mentioned broad guidelines I also tried to judge each overture on its own individual merits as all of them displayed unique way of assembling the suite from the ideas outlined in the composers challenge and formed musical stories of their own. On the other hand these common dramatic elements mean that I will be using a lot of the same vocabulary while describing certain elements in the music as peoples’ response to some story concepts has been nearly universally the same.
And finally I have to say that the level of musicianship and compositional skill was very high, which made choosing three pieces out of 13 a difficult task. There were traditional, unconvetional and everything in between among the overtures on display here, which speaks of inventive minds. It has been a priviledge and joy to participate in this panel and listen to this music created by so obviously gifted and artistically imaginative people.
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Entry #1:
Resolute horns open this entry in a heraldic manner and are soon joined by the rest of the brass section presenting the listener first variation of Spartacus’ Theme, the central idea of the overture full of courageous spirit and defiance, a very apt curtain raising musical gesture. A sinuous violin solo tinged in Middle Eastern harmonics and coloured subtly by hand cymbals offers an interesting and immeadiate contrast to the previously heard brass sounds, the Slaves’ Theme in equal part speaking of perseverance and the varied backgrounds of these people but also of fragility.
Further thematic introductions, development and interaction follows as Spartacus’ Theme is explored briefly in deeper brass before the composer introduces the Love Theme in counterpoint to the Slave’s material, this time husky flutes and tambourine enhancing the exotic flavour of the theme.
From this counterpoint grows suddenly a poignantly rising soprano voice singing the ascending phrases of the Love Theme, which offers another interesting change of dynamics, the effect quite palpably dramatic before the orchestra explores the idea further, reaching a climax that is both romantic and tragically yearning.
A short bridge melody of heroic character leads to a powerful set of variations on the afore- introduced themes for Spartacus and the Slaves, performed here by strings and woodwinds over strident percussion sounds, mingling in counterpoint, the composer applying the solo violin sounds of the Slaves and the soprano of the Love theme to these two ideas all the while he adds additional percussion into the mix.
Another heraldic brass reading of the Spartacus idea sounds, almost like a call to arms, before dynamic rhythmic string figures and percussion under forceful but jubilant choral chants unleashes the Uprising Theme that then joins the Slaves’ Theme in variations which spin both ideas in counterpoint to one another, Slaves Theme holding prominence at first with the string sounds but quickly developing into a flute and strings counterpoint to the percussively choral Uprising Theme, a powerful moment of musical storytelling.
And here finally the main theme for Spartacus reaches a rousing conclusion where it is in deep brass setting joined by the martial rhythms of the Uprising Theme, brass fanfares and tubular bells extolling a triumph. But the last word is given to the more downbeat Slaves’ Theme, which returns first in the solo violin guise and then on oboe duetting with the solo soprano voice, fading away suddenly, leaving the listener with a musical question which begs for an answer, mirroring perhaps the grim end of the slave rebellion and Spartacus.
The merits of this composition are in its clear structure, strong thematic content and thoughtful development of this thematic material. The overture accomplishes in the 5 minutes an introduction of central ideas to the viewer/listener and molding them into a suite that in small forms a musical narrative of the whole story of Spartacus. The orchestrations are inventive, breaking the mould of such overtures a bit, especially the use of solo instrument and voice bringing contrast and dramatic colour into the music and the composer’s skill at developing 4 central ideas without slowing the piece down is truly accomplished.
If I were to find something wanting it was perhaps more extensive exploration of the Love Theme and the lack of clear musical depiction of the Romans, the villains of the piece, which would have given contrast to the heroic main ideas of the suite, the antagonist element less prominent here, but this might have, given the number of ideas already introduced in the piece, complicated it too much.
A very dramatically strong and skillfully written piece of music. Outstanding!
Rating: 10
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Entry #2:
The piece opens with a bright and imperious Roman Fanfare, trumpets sounding above the rest of the brass in what seems an exclamation of Roman supremacy and power, before a Theme for Spartacus is introduced on horns, the setting for strings and brass warm, noble and determined yet thoughtful, part tragic, part heroic. The theme itself is a long melodic line, the composer offering extensive development of it in form and orchestrations in the variations that follow.
A brass choir interlude with subtle traces of the Spartacus’ Theme, full of militaristc bugle call like trumpet sounds, that seem to hint at the Roman elements of the story and conjure shades of Miklós Rózsa in the best possible way, introduces the March of the Slaves on slow low rhythmic strings, the pace plodding and forceful, male choir and brass further enhancing the sense of toil and suffering, snare drum beating a steady cadence. This idea is developed further, the strings and brass imparting a sense of nobility and perseverance, tolling tubular bells enhancing the dramatic weight of the theme.
Pizzicato strings flow into a Love Theme on gentle flutes, pastoral and longing, and the string section then develops the tragically tinged melody, the flute returning over the strings as the theme is repeated, oboe soliloquizing on the idea before tremoloing strings expectantly plunge us again into the tolling bells that announce a moment of dramatic decision. Nobly heroic brass and a strident rhythm takes over, a sped up version of the March of the Slaves, the music part Roman in its fanfaric nature, part depicting the Slaves in the rhythmic character and thematic contour that runs amidst the brass. These musical ideas do brief battle, neither gaining upper hand until finally the Roman Fanfare returns much in the same style as we heard it in the opening of the overture and with a swell of the Fanfare and the male choir the piece comes to a slightly dissonant and ominous conclusion.
A very accomplished piece, well conceived musical architecture wise, the flow of the ideas fluid and development of single ideas thorough. The choice of three central ideas was a good one, so as not to bog down the flow by trying to achieve too much in little time. The musical storytelling aspect is strong as well, the progression of ideas vividly reflecting the narrative of the story. Here the composer has clearly presented major ideas of the composition in a coherent form although I think the themes could have been a bit more memorable. Special merit goes to allusion to the classic Sword and Sandal music of the likes of Miklós Rózsa and other composers of the Golden Age of Hollywood, which is part of the skill set of a film composer, the knowledge of the vocabulary and history of the art form.
Rating: 8 ½
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Entry #3:
The overture opens with the orchestra bursting into a passionate rendition of the Love Theme that is overtaken by insidious sounding repeating string and low woodwind figures that build in strength and insistence into an oppressive March of the Romans, cruel brass crying havoc until trumpets introduce Spartacus Theme, a slightly Middle Easternly coloured composition which continues to develop in the orchestra, exuding both classic and modern sounds, a steadfast musical portrait. The brassy material for the protagonist then calms down into a development of the Love Theme heard at the opening of the piece, here in a more lyrical guise, an emotional piece of yearning character mainly for the string orchestra.
But the calm is momentary and the March of the Romans grows out of the sensual Love Theme in the woodwinds and brooding strings and builds slowly in power but is happily stopped by the appearance of the Spartacus’ Theme and the two ideas are simultaneously developed in an energetic and clashing climax where orchestra and organ rise thunderously higher and higher and the Love Theme finally appears to bookend the overture with a sense of finality.
The music in this entry is energetic and the central ideas well defined. Surprisingly the idea for the Romans was to my ears the strongest aspect of the thematic development, having a good clear character of menace and oppression. I found the allusions to the sounds of the genre classics appealing, the composer applying them to the slightly modern sounds and stance of his composition. The overture’s structure is clear and works well, but I feel the piece would have benefitted from more thematic interaction as the ending of the overture shows the potential in it.
Solid work.
Rating: 7 ½
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Entry #4:
A Stentorian brass Fanfare motif bursts forth in the midst of cymbal crashes ushering us with pomp and circumstance to the story after which a beautiful plaintive and dignified horn solo over a bed of strings, Spartacus’ Theme, emerges and is first taken up by the string section, exploring both the heroic and the tragically noble aspects of the idea, and then growing into a full orchestra and choir reading of the idea, unabashedly dramatic.
Now sharper rhythms on the strings, a definite reminder of the music of the Near East, augmented by snare drum and other percussion introduce us the resolute Slaves’ Theme. It is first heard in the brass accompanied by a constant percussion rhythm, the main melody of the idea carried by the horns with sharp trumpet interjections after which the main melody is repeated in the strings but comes to a sudden halt as the driving music of the Gladiators appears.
With a small orchestral swell a wild string and percussion rhythm begins and edgy brass exclamations from trumpets and trombones, what sounds like an electric violin and shouts from the male choir add intensity and savagery to this musical imagery, the Spartacus Theme appearing in the midst of the Gladiator material, urgent and tense as the music reaches a swelling crescendo and makes sudden change of pace. The thematic interaction and combination of the Slaves theme’s rhythmic presence and Spartacus’ theme for the Gladiator music is skillfully and intelligently implemented.
What follows is a musical depiction of Varinia, a love theme with spiritual dimension and fragility provided here by the choir first singing a cappella but then further enhanced by the clear serene sounds of the flute, creating a moment of lyrical calm in the middle of all the driving musical material of the overture.
But this respite is brief as the theme for Varinia swells into a final passionate statement of the Spartacus Theme, poignantly powerful at the end, rising to an emotional cresendo that halts with a heavy crash of cymbals and bass drum with a sense of certain finality.
A well conceived whole with memorable thematic material that was developed and explored in a satisfying way as nearly all the themes are offered enough development as individual ideas and in conjunction with one another, but again here I wish the Love Theme was more elaborated on. The musical ideas capture the subject matter very well and provide terrific emotional connection to the story. Orchestrations are well thought out and the structure of the piece quite cohesive although I found that some of the transitions between sections could have been smoother so as not to slow down the momentum of the piece.
Well done indeed
Rating: 9
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Entry #5:
After a set of repeating celebratory brass fanfares the Spartacus Theme is introduced over a snare drum cadence, rising optimistic and romantic, painting an image of a heroic figure. This basic motif is then developed through the orchestra, gaining new contours and embellishments until solo flute sings out an innocent and bright Love Theme, which is youthful and exudes old fashioned Romantic sensiblities of the Golden Age of Hollywood, the flute idea passed around the strings and rest of the orchestra.
Then gradually the musical canvas darkens as the composer weaves in the theme for Romans and Crassus, the main antagonist of the story, nervous motoric figure on the string section pierced by staccato brass and the woodwinds performing the gloomy main melody of the theme, which reaches a peak in high flutes, slightly gothic in its menacing character.
The opening celebratory (Roman) fanfares sound again in near formal fashion before the heroic optimism of the Spartacus Theme takes over, reaching for a final variation on the main musical idea before swelling into a subtle crescendo.
While the suite is quite well constructed it somehow lacks gravitas of the subject matter. The themes are suitably well developed but I missed the interaction between them and there is more a feel of a classical concert suite than an opening to a dramatic film, the time and place more of Viennese woods than Ancient Rome. Which leads to my next observation that the emotional direction of the music was a bit off along with the dramatic impetus, considering the story of Spartacus, which is in the end a tragic tale and that a composer would develop a score from these materials.
A decent effort.
Rating: 6
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Entry #6:
Timpani and tubular bells make a dramatic pounding entrance after which the brass section, busy strings and woodwinds join them in fanfares. The opening timpani phrase is repeated and deeper brass chords and more burnished fanfares usher us to the Spartacus Theme, a driving idea, which marches on until a string interlude further develops the material in a same energetic manner.
What follows is the Spartacus Love Theme on solo violin above the accompanying strings that is both a reflective and romantic melody that is soon overtaken by toiling musical material for the Slaves on strings and martial snare.
Next is introduced Varinia’s Love Theme on oboe with playful flute gestures, both gentle and youthful and the composer soon joins the two Love Themes into one but the development is cut short when the March of the Romans appears, suitably ponderous, oppressive and threatening on brass with woodwinds and the military snare setting the pace. Noble brass and choral effects appear as Spartacus Theme returns to oppose the Romans, and the orchestra offering a new variation on the idea, which ends the piece powerfully in sudden dissonances, aftermath of clash.
This piece has a bit more avant garde feel, at times having the shades of Alex North in its musical gestures, especially the robustly brave use of clashing musical sounds and the dissonance at the end. What I particularly liked in this piece is the same kind of nervous energy that North’s music often has. The thematic material was for me a bit isolated and compartmentalized, which meant that the overture did not flow particularly well, having a jumpy feeling in places. I also wondered was it wise to write 2 love themes for the same overture. I would have concentrated more in capturing Spartacus the hero in one idea and the Love Theme in another. Also the thematic ideas lacked to my ears certain memorability I would expect from an overture, which works not only as an opening musical presentation but also as a sort of listening guide for the listener to the central musical material of the score.
A good effort.
Rating: 7
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Entry #7:
Spartacus Theme is heard immediately at the onset of the overture, first as a fanfare and then elaborated further by the brass and the rest of the orchestra, the Dorian mode giving the theme a feel of the Ancient times and the string section expressive in the calmer B section of the melody, which is further coloured by the Fate motif, full of inevitability, heard on brass like a reminder of the conclusion of the tale.
Roman March is also a traditional affair full of victorious sounds of brass fanfares, cymbals and snare drums, a presentation of the might of the nation, entirely uncaring of the suffering of its slaves and a very good depiction of this story element. I especially like the brightness of it, a nod to the older film scoring tradition and a good contrast to the villanous nature of Romans in the story, more concerned with the outward than inward aspect, glorious even in tyranny.
A brief string interlude hinting at the Love Theme in the harp figures is informed by a gentle yet slightly foreboding woodwind rendition of the Fate motif (B variation according to the composer), that becomes a longer meditation on the idea by the woodwinds and strings, somber and haunting. The Fate motif B slowly intertwines with the Love Theme in a serene orchestral reading, linking fate with love as well as inevitability here, a nice touch, until the Love Theme is played in fully romantic string version complemented at the crescendo by dramatic bursts of the Fate motif.
The Love Theme continues poignantly bittersweet but in the end it passes through brass fanfares to a rising exclamation of Roman supremacy as the Roman March appears, building to a finale of dissonant brass as the Fate motif rings out the last time, joined by hints of the Spartacus Theme and concludes the piece on a heroic and anticipatory note.
The composer has done an excellent job in building the piece. His themes are very appealing and quite memorable, they interact in interesting ways through the entire piece, showing the skill at developing them on their own and together. There is a definite dramatic arc here, almost like the story of Spartacus told in the overture from start to finish, which I consider a strong asset. The musical ideas are well chosen and complement each other and the composer does a good job at linking this to the tradition of these epics but still finding ways to make it his own.
If there is a minor critique I could give, the Spartacus Theme might have been reprised more often to further solidify its prominence as the main theme of the score.
Excellent work!
Rating: 8 ½
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Entry #8:
After initial fanfarish and heroic opening measures an ominous and reflective woodwind theme is introduced, possibly for the Romans, surprisingly gothic in nature and quite a different in mood than in most other entries. This leads into a rhythmic tugging march figure on double basses and steady pace of snare drum, first horns and then trumpets in turn presenting a new thematic idea, somewhat grimly determined but unabashedly brave, most likely the Spartacus Theme, that develops as it marches on until it transitions to a B section of the theme on sweet and glowing strings and decorated by flurries of accompanying flute figures before returning to the exotic, near Spanish bolero flavoured victorious march.
The music then calms into a beautiful duet for oboe and slowly cascading gentle harp figures, a Love Theme, which is then passed on to the strings, longing and sensuous, developing the long melodic line until the Spartacus Theme returns in triumph, marching on to a grand finish of trilling flutes and bright brass fanfares and resounding crash of bass drum and cymbals.
I thought that this take on the overture was effective in its application of only two major thematic ideas and developing them to full extent. The material itself was very memorable and well conceived, a warm nod to the direction of Miklós Rózsa I felt, especially the Spanish flavoured main theme reminding me of El Cid. All in all a very effective overture with striking material but although it fully introduces two ideas, I would have liked to hear more themes in the mix and the themes interact a bit more as now while they flow decently would have been interesting to hear intertwined. And although the piece carries itself quite well, there are some transitional moments that might have been better handled for a more natural flow.
Well done!
Rating: 8
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Entry #9:
Absolutely delicious shortened version of Jerry Goldsmith’s classic Universal Fanfare opens this composition and then it suddenly and quite cleverly subsides as striking percussion and cold glittering harp introduce us to a fateful rising and falling string figures and woodwind trills that presage the main theme, Slave Army/Spartacus Theme, dark and gothic, furious and menacing, Goldenthalian in character and quite oblivious to convention, string figures saw and churn underneath as brass belts out towering phrases, an expression of gritty almost savage bravery.
The Love Theme/Lost Comrades idea somewhat calms the stormy musical expression as it introduces a lyrical string theme and noble horn lines, speaking of longing and loss at the same time, the love music having more of a character of elegy that is suddenly broken by native horn that opens the Legions of Rome theme, perhaps mimicking the signal horn, tuba, of Roman forces, complemented here by echoing sharp marimba effects, and ruled by growling brass performing a 3-note motto and relentless expanding percussion effects, music of a war machine.
From the march idea also grows Crassus’ oppressive staccato theme which is coloured by the same marimba effecs as above, the music having a strange start and stop feel in its rhythm, an air of ruthless conquest, as the brass and percussion and urgent string figures, even tubular bells lending dramatic weight drive the theme forward with battering force.
After this long musical examination of the Roman material the composer presents us first a variation on the Spartacus’ Theme as fervently gothic and driving as before, brass phrases hurtling at the listener with sense of aggression and then proceeds to extrapolate on the Love Theme/Fallen Comrades idea which progresses from beautifully lyrical to dark desperation. From this grows, introduced by a steady timpani pulse, the fateful Fight to the End theme, fragile sound of the violin first presenting the Fallen Comrades theme as the Roman Legions Theme’s marimba and percussion effects surround it and finally a 4-note phrase full of tragic inevitability proceeds through fanfares and pounding timpani to a somber and grim finish.
A refreshingly different approach to a Sword and Sandal overture. The Goldenthalian and Goldsmithian spirit of the piece heard in the use of brass and percussion and certain progressions and rhythms was potent if unorthodox. The suite is well conceived, orchestrated and build piece and wonderfully visceral in its effect. The use of Goldsmith’s Universal Fanfare at the opening was a great nod to the master and well handled in the transition. I particularly enjoyed the “black and white” assignment of the musical colours here, blurring the sounds of “good and evil” although you still convey the heroism and villainy clearly even though they are from the same steely and gritty part of the musico-dramatic palette. The shades of Goldsmith and Goldenthal here are both an asset and reliability as your own voice might be a bit lost in the midst of the sounds of these two masters, who you channel so well. As a minor issue I would mention a couple of transitional sections from one theme to the next that might have been more smoothly handled, perhaps with bridging material.
Great effort!
Rating: 9
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Entry #10:
Lightly tremoloing violins quote subtly Spartacus’ Destiny Theme, a rising melodic snippet, creating expectation before paced timpani hits and harsh muted horn growl call for attention. Over a steady double bass tremolo alto flute and duduk in a pairing of familiar orchestral and foreign sound introduces the Spartacus Theme, a gentle and introspective melody with a hint of melacholy, which is quickly followed by a contrasting terse staccato string motif for Crassus, harsh and direct, growing into a militaristic reading with snare drum and cymbals backing the halting string motif.
Alto flute and duduk of Spartacus Theme return and alternate with the Crassus’ motif in the orchestra, the Destiny motif appearing in their midst, the composer gradually adding percussion, repeating the snare drum and cymbal idea and developing it further, deeper brass making occasional interjections to give it weight and finally it becomes a new theme for Roman Ambitions. The deep drums and subtle string tremolos carry this nervous yet oppressive idea forward, the textures surprisingly sparse and the Spartacus Theme makes fleeting appearances among the clangor of different percussion instruments and the overture draws to a terse close on lower strings and Spartacus Theme making one final appearance on duduk, a small glimmer of hope.
Certainly a different kind of approach to the overture. Whereas one would expect larger sounds for a subject matter of this kind, this composition reminded me of avant garde in the subtleness and original choice of instrumentation, conjuring hues of Goldsmith’s Planet of the Apes and Alex North’s experimental and challenging music. The use of duduk was a good instrumental choice here, a nice nod to the nationality of the protagonist, who came from Near East and lent the character theme certain dignity and emotional strength.
Alas the subtlety is also one of the weaknesses of the piece, the thematic ideas fleeting and difficult to grasp, giving the listener no clear indication of what is to come musically. The sparse textural and largely percussive nature of the music leaves me a bit emotionally cold, the economy of expression hampering the impact of the overture and damming the flow of the piece.
Decent work
Rating: 5
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Entry #11:
Bass drum and double bass bolero rhythm kindles the overture with energy from the start and gradually the composer adds more instruments, first trombones, then horns and finally strings all passing the Spartacus Theme between them. The main theme for the protagonist is straighforwardly heroic and determined, driven by the rhythm established at the beginning and to my mind thus containing a slightly Spanish flair, the orchestra joined by the choir in a grand and romantic reading of the idea before it transitions to Varinia’s Theme. Here a flute plays a lovely melody over string harmonies and the steady rhythm before the drums continue the established rhythmic bolero pace and deep strings take over, lower woodwinds and middle register strings creating slightly agitated cascading up-and-down figures, brass section rising menacingly over subtle dissonances, this nervous march perhaps presenting the Roman threat.
After a small rising crescendo of the march idea harp arpeggios take up the motoric aspect of the piece, considerably gentler, as we hear an introspective and lyrical reading of the Spartacus Theme on woodwinds with light choral accompaniment, a lovely exploration of a different side of the protagonist’s musical idea. But again the bolero rhythm returns and transforms the Spartacus Theme into a victorious march on brass and strings which develops into a the grandest reading of the theme yet by the full ensemble but is cut abruptly short in its last measure, depriving an entirely fulfilling conclusion.
A very good effort with solid thematic writing and strong musico-dramatic structure. I found the composer’s idea of keying everything to the rhythm here very effective, the bolero driving the piece forward with no loss of momentum but there was also the lovely bridge development of Spartacus Theme to stop the drive from being too relentless. While the Spartacus Theme is a strong one I would be liked to hear more ideas thrown into the mix to provide variety and some thematic interaction but the main theme almost makes up for this through the long lined development.
A very energetic and rousing piece.
Rating: 8
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Entry #12:
Tragic rising string harmonies and exotic wail of a female voice welcome us and the string orchestra takes up the variation of the Love Theme, a heart tugging and somewhat doom laden idea, which turns suddenly quite dark, the wailing female voice again appearing to make a solitary exclamation of sorrow, presaging the toil and defeat to come, the love theme almost funereal in character the music constantly coloured by an exotic plucked instrument sound.
New rhythm takes hold and the drums and brass along with marching strings reveals Crassus’ Theme, suitably menacing and cruel sounding musical construct, that proceeds to trample over the musical landscape imperious and grim. But it is soon met by the Spartacus Theme, a heraldic and bright brass idea that dispels discomfort, rising march-like through the orchestra, and soon augmented by a choir swells to dramatic proportions, very rousing and vigorous musical moment.
A subtly exotic interlude for brass and tapping percussion follows, curiously containing a hint of James Horner’s infamous danger motif, intentional or unintentional.
Coloured again by the aforementioned plucked exotic instrument and female voice the string section present another variation on the Love Theme, here more romantic and less tragic before a lyrically somber woodwinds reiterate the material with choral accompaniment, the fateful ending of the story mirrored in the sorrowful finale, further coloured by the wailing woman voice before fading into silence.
A very appealing entry with strong thematic writing and overall flow. The opening sets a bit depressing tone to the whole work, so doom-laden and funereal is the Love Theme at the beginning but this development makes the appearance of Spartacus Theme all the more powerful, a welcome relief from the previous gloomy ideas. The basic themes are well conceived, very apt musical portraits of the characters and situations. The dramatic arc of the overture is quite strong, besides the above mentioned reservations about the whole musical story of the piece having too tragic a tone. The wailing woman voice effect is a bit of a cliché these days but the judicial use here adds to the appeal and slightly exotic coloration of the piece.
An appealing entry indeed
Rating: 8
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Entry #13:
A quick and clever condensed quote of the Universal Fanfare with a snare and timpani curtain opener leads to a regal string idea for the Roman Empire with an air of largesse full of wonder that grows through the orchestra into a glinting choral cresendo, bedecked with slight dissonances, hinting at darker underpinnings of the overbearing Roman might.
A woodwind rendition of Spartacus and Varinia Theme conjures an air of cautious love but soon the orchestra lifts the yearning idea to new heights, a truly ravishing development of the motif, that keeps rising hopefully before receding to a solitary oboe guise again.
And from a woodwind setting grows also the Slaves of Rome Theme, a beautiful yet undeniably melancholic idea that conveys their inner turmoil in a poetic way, harp and strings following the gentle oboe, choir subtly adding a sense of sorrow in captivity but also telling us of strength. The composer develops the theme gradually, the sorrowful idea growing to majestic proportions and becoming uplifting in the process, yearning for freedom and full orchestra and choir bring the overture to an optimistically sweeping finale.
What makes this entry interesting is the focus on lyrical content and strong themes. The piece is well laid out and build, the central ideas all given ample room for development. These ideas are also emotionally highly appealing and memorable, an asset in any film score, helping to establish these themes in the audiences’ minds and prepare them for what is to come. Also the choice of themes, Spartacus notably lacking his own motif, was an interesting one, the overture highlighting the more personal and introspective themes but still succeeding to convey all the important aspects of the story and making striking impact on the listener. Roman Empire was presented intelligently with a highly positive theme, perhaps illustrating pure outward appearance of their might but with some hints at the negative aspects of their rule and conquest, especially in the dissonances of the crescendo. The composer has with the Slaves to Rome theme conjured up a folk song like melody, which is not only beautiful but also highly fitting for these people, the idea growing from the humble roots to almost an anthem. Impressive, most impressive!
Rating: 9 ½
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Entry #14:
This entry opens with a cool string line dotted by staccato timpani pulse, which flows to a reflective oboe melody. This idea then gradually develops through a steady string rhythm into a fateful sounding orchestral reading of the theme, probably Spartacus musical idea, here slightly somber but yet somehow determined, music for a fated hero, finally trumpet alone rising to sing the thematic line.
This plunges us to a primal two part rhythm on percussion and brass, string and woodwinds coming in to weave their up-and-down figures into the texture of the rhythm, which gains momentum and is just about to present a new development when it unfortunately falls silent in the middle of the brass phrase.
Alas this promising entry was left unfinished. I see potential in the opening, yet I feel a more direct and powerful rendition of the main theme at the opening would have been more impactful. The percussive idea, I guess for the Slaves, was interesting but ends without full exploration and development. I see good work here, which might become something great with further development.
Rating: 7
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The Top 3:
Entry #1 10/10
Entry #4 9/10
Entry #13 9½/10
All the best to all participants!
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Composers Challenge 