10th (2022) Reel Music Awards – The Winners

The winners for the 10th (2022) Reel Music Awards announced

At last! The announcement of my favourite film, TV and video game music of 2022 has been a long time coming, but I hope that wait has been worth it. This post highlights music from a number of film genres and entertainment formats that I have particularly enjoyed listening to. My post also endeavours to celebrate more generally the music of a myriad of composers who dedicate their time to creating music that both supports the music’s original projects but which also “speaks” to listeners via an emotional connection.

As with previous years, the 10th Reel Music Awards are my way of recognising and highlighting some of my favourite and memorable music written in the various areas of the entertainment industry.

I hope that my choices offer up some interesting listening for those who have taken the time to peruse my selections. There’s a healthy mix of the familiar and less familiar and, as usual, my choices are my personal favourites and feature music that has in some way attracted my attention over and above the numerous other scores I have listened to.

Putting the original shortlists together, and making my final choices, has been done during a period (over the last 10 months or so) which has been particularly challenging from a personal perspective, and I wanted to take the opportunity to that those (you know who you are!) who have helped me in ways that have allowed me to continue my score listening journey.

Now let’s see what 2023 has in store.

OVERALL SCORE OF THE YEAR 2022

THE LORD OF THE RINGS: THE RINGS OF POWER (Season 1) (Bear McCreary, Howard Shore (title theme), Amazon Content Services)

There was so much anticipation for Amazon’s show THE LORD OF THE RINGS: THE RINGS OF POWER from when it was announced to it’s premier in September 2022. Based upon J.R.R. Tolkien’s novel, The Lord of the Rings (and its appendices), the new show is set a thousand years before the famous novel and features major events in Middle Earth’s Second Age. Reading Bear McCreary’s descriptions (at http://www.bearmccreary.com) of his epic journey from his services being secured to the delivery of the final product (itself an epic journey worthy of serialisation?) it’s clear that this project consumed his life (and many others involved in the project). But the results are definitely worthy of that effort.

All aspects of the music for THE LORD OF THE RINGS: THE RINGS OF POWER – from the myriad of themes composed (more than fifteen distinct themes), the complexity of each episodic score combining the thematic material together to support the narrative, the depth of the musician’s talent displayed (orchestra, choirs, instrumentalists), the nod to the sound of Middle Earth established by Howard Shore in the movies (but maintaining an individuality from these movie scores), and the riches offered to film/TV music enthusiasts as a result of the composer’s desire for the release of the episodic scores – are of the highest quality.

Hopefully, McCreary’s experiences scoring season one of THE LORD OF THE RINGS: THE RINGS OF POWER will spur him to score subsequent seasons of the show, allowing him to achieve his vision of shepherding this musical vision towards a seamless transition to musical world of The Third Age as defined by Howard Shore’s movie scores.

ORIGINAL SCORE FOR A DRAMA FEATURE

THE CONVERSATION [RAZGOVOR] (Dalibor Grubačević, Plaza Major Company)

THE CONVERSATION is a Croatian-made drama that centres around the meeting post-World War II of two men: Josip Broz Tito and Cardinal Aloysius Stepinac. For a film that very much focuses on a series of interchanges between the two protagonists. Grubačević’s score very much reflects the almost play-like feel of the movie with a small-scale orchestra and the music is very melodic, but also menacing and is a great support for the drama’s subject matter. Overall, it’s a beautifully-realised score with the standout track (of the score and for 2022 overall) is the album’s opening track, “The Prologue.”

NOTABLE MENTION: BURNING LAND [ADAMA BOERET] (Omri Lahav)

ORIGINAL SCORE FOR A COMEDY FEATURE

MOON MAN [DU XING YUE QIU] (Peng Fei, WM China)

Based upon the South Korean webcomic series, Moon You, MOON MAN [独行月球] is a Chinese science fiction comedy about an astronaut who is stranded on the moon after an asteroid appears to wipe out all life on earth. Chinese composer Peng Fei (who composed the music for the 2008 Beijing Olympics) approaches the score from a dramatic perspective rather than emphasising the comedy – an approach I prefer (and perhaps a reflection of the tone of the film). The composer mixes grand orchestral passages and ethereal moments (which includes mystical wordless vocals) and the 75 minute album just flies by. Aficionados of film music may not recognise anything particularly novel in MOON MAN but it’s all done very well.

NOTABLE MENTION: LIVE IS LIFE (Manuel Riviero)

ORIGINAL SCORE FOR AN ACTION / ADVENTURE / THRILLER FEATURE

ENOLA HOLMES 2 (Daniel Pemberton, Milan Records)

Daniel Pemberton revisits the world of Enola Holmes with his excellent score for the sequel to the 2020 film ENOLA HOLMES. The composer builds upon his first score, reusing some of his music from the original and adding it to new, equally catchy melodies. The music for ENOLA HOLMES 2 is infectious, gathering up the listener and transporting them on an aural adventure. One of the things I find most appealing is the composer’s imaginative use of instruments in ways that serve the film and are not just included for inclusion’s sake.

NOTABLE MENTION: THE NORTHMAN (Robin Carolan, Sebastian Gainsborough)

ORIGINAL SCORE FOR A FANTASY / SCIENCE FICTION / HORROR FEATURE

TROLL (Johannes Ringen, Netflix Music)

TROLL is a Norwegian monster movie who join forces to stop an ancient troll that creates a spectacular level of chaos. The score – as with movie – has a number of elements familiar to those who enjoy their films with bold action. Bombastic orchestral scoring is the order of the day with TROLL. But the composer’s inclusion of traditional Nordic instruments such as Hardanger fiddle, nyckelharpa (meaning “keyed fiddle”), and langeleik (zither) introduces a level of interest that elevates the score. A dusting of Edvard Grieg’s “In the Hall of the Mountain King” at key moments is, I found, a pleasing touch that rounds off a satisfying score.

NOTABLE MENTION: SINS OF THE FATHER (Nick Montopoli)

ORIGINAL SCORE FOR AN ANIMATED FEATURE

MY FAIRY TROUBLEMAKER [MEINE CHAOSFEE UND ICH] (Martin Lingau, Ingmar Süberkrüb, Karussell)

Composing duo Martin Lingau and Ingmar Süberkrüb’s light and jolly score for this Germany/Luxembourg animation features a lovely theme for Violetta, an apprentice tooth-fairy who gains access to the human world. And mayhem ensues. Although some reviews have noted that the story is somewhat flat, there is some praise for the quality of the animation. And I would add to that the quality of the music of MY FAIRY TROUBLEMAKER. The composer’s have balanced the need of the story with the targeted audience but without resorting to annoying “juvenile” music. As such, it’s a very good score for an animated movie.

NOTABLE MENTION: CHARLOTTE (Michelino Bisceglia)

ORIGINAL SCORE FOR A DOCUMENTARY FEATURE / SHORT FILM / SERIES

QUEEN OF HEARTS (Cato Hoeben, Cato Hoeben)

With so much going on in the world at the moment there are numerous documentaries being made that feature music that is sombre. Documentaries that focus on the hardships faced by people is nothing new for documentary filmmakers (and the associated composers). But, at the moment, this feels particularly true. QUEEN OF HEARTS is a documentary feature that focuses on Larissa Swirski, a spy of Nazi Germany who became a double agent working for the British. She was “The Queen of Hearts.” Composer Cato Hoeben’s score for THE QUEEN OF HEARTS very much focuses on the person using a small string ensemble (with additional instruments including piano) to reflect the emotional aspects of the story. With his use of lower register strings there’s a feeling of dread running through the score, and the composer counteracts/counterbalances this with interesting orchestration choices and variations of tempo.

NOTABLE MENTION: IN SEARCH OF TOMORROW (Weary Pines)

ORIGINAL SCORE FOR A TELEVISION SERIES

THE LORD OF THE RINGS: THE RINGS OF POWER (Season 1) (Bear McCreary, Amazon Content Services)

Amazon’s THE LORD OF THE RINGS: THE RINGS OF POWER, the highly anticipated American fantasy TV show based upon major events of Middle Earth as described by J.R.R. Tolkien features an astonishing score from composer Bear McCreary (as well as a title theme from Howard Shore). McCreary is no newcomer to epic episodic television scoring: his resumé includes music for the multi-season TV reboot of BATTLESTAR GALACTICA. For this Middle Earth-set show the composer expertly juggles over fifteen main thematic elements over the course of the eight episodes, creating a musical narrative that ably supports the show but also offers a immersive aural experience. One of many highlights is McCreary’s theme for the elf Galadriel; a theme that I frequently find myself replaying in my mind. A score that may rate as one of – if not THE – greatest achievements of the composer’s career, the score to THE LORD OF THE RINGS: THE RINGS OF POWER takes the listener on a journey that is dramatic, emotional, and sensitive in equal measure. And the journey is illustrated by the release of multiple, episode-related soundtrack albums (and a separate album summarising the score’s thematic material).

NOTABLE MENTION: MOON KNIGHT (Season 1) (Hesham Nazih)

ORIGINAL SCORE FOR A VIDEO GAME OR OTHER INTERACTIVE MEDIA

A PLAGUE TALE: REQUIEM (Olivier Deriviere, Ameo Publishing)

Olivier Deriviere’s music for A PLAGUE TALE: REQUIEM takes a portion of the thematic material from this game’s predecessor (A PLAGUE TALE: INNOCENCE), adds a few new elements, and elevates the original music universe to a highlight of 2022. The composer mixes beautiful melodies, aggressive moments – when needed – and interesting solo instruments to create a wonderful aural tapestry. The use of the choir adds an emotional depth the the score; a score that supports the gameplay in way that doesn’t swamp the player experience.

NOTABLE MENTIONS: THE FAITH OF THE THREE KINGDOMS (Chad Cannon, Shigeru Umebayashi (theme)), UNEXPLORED 2: THE WAYFARER’S LEGACY (Matthijs Dierckx)

ORIGINAL SCORE FOR A SHORT FILM

LARVAE (Francesco Cerrato, Machiavelli Music)

LARVAE is an atmospheric short film that appears to be very much a Gothic tale. A founder of the area of criminal anthropology challenges an elderly illusionist to prove the existence of the supernatural, which may be responsible for a terrible crime. Italian composer Francesco Cerrato combines solo instruments (including harpsichord, organ, and cell0) with virtual instruments to create a thirty minute “Gothic Symphony” that works wonderfully well as a stand-alone listen.

NOTABLE MENTION: THE SMEDS AND THE SMOOS (René Aubry)

ORIGINAL SCORE FOR OTHER MEDIA

THE LORD OF THE RINGS: THE RINGS OF POWER (Season One) (Bear McCreary, Amazon Content Services)

Bear McCreary’s score for Amazon’s much anticipated TV series THE LORD OF THE RINGS: THE RINGS OF POWER is a body of music that is epic in scale and complexity. With over nine hours of music composed for the eight-part season one series, the composer wrote over fifteen themes with each theme having it’s own ‘beginning, middle, and end’ (my shorthand summary of the composer’s description of the work he put into writing these themes, http://www.bearmccreary.com). This season one summary album provides self-contained tracks showcasing all the major thematic material for the first season, and bringing together additional material from the scores into specifically fashioned pieces of music for the best listening experience. This season one album provides the best listening experience for those with an interest in hearing the music but who may not be the “die hard” film and TV music enthusiast and doesn’t want to hear the music in the level of detail set out in the episodic albums.

NOTABLE MENTIONS: DINOSAURS: A STORY OF SURVIVAL (Sergio de la Puente), VEIL OF DARKNESS (Mnthrn)

NEW ARCHIVAL RELEASE (PHYSICAL MEDIA)

FRENZY (Ron Goodwin, Henry Mancini (unused score), Quartet Records)

The score for Alfred Hitchcock’s 1972 thriller, FRENZY, has an interesting history, and is wonderfully highlighted by Quartet Records’ CD release (with subsequent digital and vinyl releases [the former from Back Lot Music]). Henry Mancini’s original score was deemed to be too dark by the director (although it’s the one I prefer) and was replaced by one written by Ron Goodwin. Quartet Records release – celebrating the film’s 50th anniversary – makes available both scores for the first time which have been produced, restored, and mastered by Mike Matessino from elements from the composers’ estates. And the CD booklet features wonderfully informative notes from writer and composer Deniz Cordell.

NOTABLE MENTION: CONAN THE DESTROYER (Basil Poledouris)

NEW ARCHIVAL RELEASE (DIGITAL MEDIA)

DOGTANIAN AND THE THREE MUSKEHOUNDS [D’ARTACÁN Y LOS TRES MOSQUEPERROS] (Manel Gil-Inglada, MovieScore Media)

Many scores are released that just miss out on being released the same year as their respective movies. And so they end up in this Archival Release section where they can still be highlighted. Barcelona-based composer Manel Gil-Inglada’s music for the 2021 CGI-animated feature DOGTANIAN AND THE THREE MUSKEHOUNDS is wonderfully animated (no pun intended) and the composer uses the large orchestra to great effect, adding a mischievous quality to the animation as well as supporting the action. Although the main theme written by Guido and Maurizio De Angelis for the 80s cartoon series is featured, it’s use is only occasional and does not distract from Gil-Inglada’s original creation for this feature.

NOTABLE MENTION: TIDE OF ERA [TAO NA SHIH] (Guo Sida)

NEW COMPILATION RELEASE (PHYSICAL OR DIGITAL MEDIA)

THE MAGNIFICENT SEVEN COLLECTION (Elmer Bernstein, Quartet Records)

The theme is iconic. This 4-CD set has been lovingly put together to show off Bernstein’s music for THE MAGNIFICENT SEVEN, RETURN OF THE SEVEN, GUNS OF THE MAGNIFICENT SEVEN, and THE MAGNIFICENT SEVEN RIDE! (Leo Shuken and Jack Hayes adapted Bernstein’s themes for THE MAGNIFICENT SEVEN RIDE!). Chris Malone’s mastering and the booklet notes (written by Frank K. Wald) are icing on the cake for this presentation of scores that have been available in several formats (physical as well as digital). Quartet Records’ set allows for convenient comparison between the scores and to easily appreciate the development of the music over the course of the series. This release is an excellent example of how to best present music from a group of movies that are musically connected.

NOTABLE MENTION: OTICONS FACULTY 2021 (Inbal Cohen-Rasner, Karel Bredenhorst, Christoph van Hal, Matthew Chin, Alessandro Speciale, Henri Salonen, Robert Neumair, Alessandro Mastroianni, Saki Furuya, Stefano Sciascia)

NEW RE-RECORDINGS RELEASE (PHYSICAL OR DIGITAL MEDIA)

JERRY GOLDSMITH AT THE GENERAL ELECTRIC THEATER (Volumes 1 & 2) (Jerry Goldsmith, Klassic Film Music)

With the aid of Kickstarter backers Leigh Phillips was responsible for two new rerecordings of two previously unreleased Jerry Goldsmith scores written for THE GENERAL ELECTRIC THEATER: “The Bar Mitzvah of Major Orlovsky”, and “Sarah’s Laughter”. It goes without saying that these two very short scores from Goldsmith are great examples of his early TV work, but what is equally impressive is Phillips’ dedication (along with the talents of members of the City of Prague Philharmonic Orchestra) to preserving TV music that would otherwise be difficult to see being done otherwise. At time of writing this volumes 3 and 4 have now been released (to further acclaim) and I hope that subsequent volumes are forthcoming.

NOTABLE MENTION: TWO CLASSIC POLITICAL FILM SCORES (Silvestre Revueltas [REDES], Aaron Copland [THE CITY])