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COLETTE – Thomas Adès

January 31, 2019 1 comment

Original Review by Jonathan Broxton

There is always a slight frisson through the classical music fraternity whenever a respected contemporary concert hall composer writes a film score. It happened when John Corigliano scored (and won an Oscar for) The Red Violin in 1999. It happened when Sir John Tavener contributed music to Children of Men in 2006. And now the latest composer to ‘slum it’ in the world of film is Englishman Thomas Adès, the wunderkind behind such acclaimed classical works as The Exterminating Angel, Powder on Her Face, Asyla, and The Tempest. What invariably happens is that these esteemed composers thoroughly enjoy the process of writing for film, and comment on how difficult it is and how much it stretched their creative abilities, while the highbrow music press writes lavish articles about the composer’s experiences, offering backhanded compliments about the genre while continuing to look down their nose at the entire industry as a ‘lesser art form’. Of course, the other thing that invariably happens is that the classical composer writes a tremendous piece of music too, and this is exactly what has happened here with Adès’s score for Colette. Read more…