CENTERED IN THE UNIVERSE – Alan Ett Music Group

Original Review by Alan Rogers

As part of the celebrations marking the re-opening of Los Angeles’ Griffith Observatory in 2006 after a 4-year renovation programme, a computer animated show (that features a short night sky simulation sequence) called Centered In The Universe was first shown in the Planetarium Theater (it is now a regular attraction at the Observatory). Not the usual exploration of the night sky that is usually held in a planetarium, Centered In The Universe takes the viewer on a historical perspective of our interaction with the night sky: soaring to 2nd Century Alexandria and astronomer Ptolemy, on to Galileo observing the sky through his telescope, then onwards to Edwin Hubble in the 1920s and his work in understanding the expansion of the universe, before we see representations of the Big Bang and the conceptual theories occupying today’s astronomers and physicists. Through all of this computer animations illustrate the beauty and grandeur of the universe.

Centered In The Universe features a musical score from the music production company Alan Ett Music Group and whose collective credits include compositions for numerous TV shows as well as several movies (e.g., “additional music for” The Virgin Suicides, The Hills Have Eyes and Home Alone 3). The score release credits composition to Alan Ett, Scott Liggett and William Ashford and what we have with this score is almost 30 minutes of music that reflects the grandeur and majesty of the night sky, the solar system and beyond, as well as highlighting the complex conceptual problems astronomers have today of understanding the mechanics of the universe.

The score begins with a solo piano cue (“Walk-In Music”), background music for people making their way into the theatre. The cue is mainly based around a rising and falling pattern and has a sort of “floaty” feel to it.

Ten Tracks Today – 9th September 2011

01 – Gloria y Joao En El Bosque – Cuando Vuelvas A Mi Lado – Ángel Illarramendi

Illarramendi’s writing for strings very much reminds me of Georges Delerue and this track is no exception. Quite a romantic track this one.

02 – Eftertext – Saltön – Magnus Strömberg

A light cue this one, composed for a small ensemble almost exclusively for woodwinds. Plus the inclusion of what sounds like a harp. It’s a lovely melody that the woodwinds play.

03 – Theme – Harlem Globetrotters – Ben Bernie

I hope that I am correct in my crediting Bernie for such an infectious theme. From the cartoon series, this is one I grew up with as a child. The Harlem Globetrotters seemed to be constantly on TV when I was growing up.

EVERY DAY – Jeanine Tesori

Original Review by Alan Rogers (First uploaded at maintitles.net)

Every Day centres around a couple who have to deal with the mundane chores of uneventful family life as well as the unforseen challenges that put pressure on the status quo. Most families will be familiar with the situation: everyday life being dominated by the routine, and people wishing something exciting would happen to break the monotony, then perhaps wishing that they could go back to the “boring life” when something happens that they may not like. The music for the film is composed by Jeanine Tesori, best known more for her theatre work (Twelfth Night, Thoroughly Modern Millie, Shrek The Musical) than her film compositions. Tesori has composed scores for films such as Nights In Rodanthe, Wrestling With Angels and has written songs for Disney DVD releases such as Mulan II, Lilo and Stitch II and The Little Mermaid III.

For me, Tesori has composed a surprising complex score (both in idea and in the variety of musical styles) considering the fragmented nature of the release (a 16-minute running time divided into 18 tracks) and the relatively small ensemble of instruments used(including piano, guitar (acoustic and electric bass), double bass, percussion). What the composer has achieved with this score is to mirror normal family life. There is the early optimism and enthusiasm of the frantic and exhausting scherzo of the “Opening Titles”, there is the attacking of early challenges by the family head-on being reflected in the slightly repulsively-titled cue “Smell of Pee” with music that is light and vibrant (echoing the “go get ‘em” attitudes of families setting out on life), and there is the phase of family life where there are the endless passing days as life wears you down and being punctuated with occasional highlights (the subdued piano lines and strings of “Picnic At The Beach”).