WORLD SOUNDTRACK AWARDS CEREMONY & CONCERT 2024
Music composed by Elliot Goldenthal, Philippe Rombi & Simon Franglen
Conducted by Dirk Brosse
Performed by the Brussels Philharmonic
Featured vocalist on AVATAR: THE WAY OF WATER and JOYEUX NOEL: Jolien De Gent
October 16, 2024
Muziekcentrum De Bijloke
Gent, Belgium
PART 1: THE 2024 WORLD SOUNDTRACK AWARDS
At this year’s World Soundtrack Awards (WSA) in Gent, Belgium, legendary composer Elliot Goldenthal was awarded the Lifetime Achievement Award and celebrated with a concert of his most popular film music.
French composer Philippe Rombi was also on hand as the Guest of Honour, with Simon Franglen also present to introduce an orchestral suite of music from his score to AVATAR: THE WAY OF WATER.
PART 2: COMPOSITION CONTEST
The concert kicked off with the Sabam Award for Best Original Composition by a Young Composer.
During this segment, three finalists showcased their compositional and dramatic sensibilities as the orchestra played their music live-to-film. The film they were given was an excerpt from Nicolas Roeg’s THE WITCHES, a film that traumatized me (and many others it seems!) when I first saw it as a child.
In this particular film excerpt the composers had to rescore a scene, which was originally scored by Stanley Myers, where the Grand High Witch is playing with a baby in a pram before pushing it down a hill. Before this happens, young Luke, who is the main character of the film, is running and hiding from the Grand High Witch’s minions. When the pram starts rolling down the hill, we then see Luke run frantically after it trying to save the baby from a terrible fate.
You can see the original film excerpt (with Myers’ original score) here from 00:25 onwards.
While each of the finalists’ compositions were different in how they accentuated the mood and actions on screen, they were all similar in that they were well-composed pieces that effectively created tension.
Dutch composer Florian Van Der Reijden was selected as the winner with his well-crafted and filmic piece. He did a fantastic job creating a strong sense of panic while giving the High Witch’s less than intelligent minions a fun and whimsical theme. At times, it actually reminded me of John Williams – not in terms of melodies itself, but the general feel of the music and how it effortlessly fit the scene and drove it forward. See and hear for yourself in the video of his piece below:
It really was a well-deserved award for a composer with a bright future. I’m sure I’m not the only one looking forward to what he does next!
PART 3: ORCHESTRAL SUITE FROM AVATAR – THE WAY OF WATER
A newly arranged orchestral suite from AVATAR: THE WAY OF WATER was then performed by the orchestra with its composer, Simon Franglen, in attendance.
Performed while scenes from the film were projected on screen, this epic suite was full to the brim with Franglen’s new and exciting themes from his expansive music for Hometree, to his thrilling flying theme for the tribes, to his beautiful and grand music for the creatures of the ocean – it was thrilling, uplifting, and written in that unmistakable James Horner style.
The suite really served to remind us why Franglen was and continues to be the best person to take over the music of AVATAR after Horner’s tragic passing.
I’m sure many would agree that Horner himself would have approved of last night’s stirring performance.
PART 4: PHILIPPE ROMBI PART ONE
It was now time for French composer Philippe Rombi to shine, and he did not disappoint with a stunning selection of pieces from ANGEL, DANS LA MAISON, and SOUS LA SABLE.
I must admit that the main reason I came to the World Soundtrack Awards this year was to see Rombi in concert.
I have loved his music since I first discovered JOYEUX NOEL by total accident when rummaging through the bargain bin of a local CD shop about 15 years ago.
A few years later I would get his score to UN HOMME ET SON CHIEN, which I confidently consider to be the best dramatic score of the last 20 years. I know, that’s a pretty bold statement – but please just listen to it. You can thank me later 🙂
Anyway, back to Rombi and the concert.
ANGEL opened with “Overture,” a carefree and cheerful waltz, so catchy and bright that it could light up any room. Rombi’s classic “Main Theme (Paradise theme)” then followed in all its romantic glory – it was impossible not to be swept away by its beauty.
The “Theme” from DANS LA MAISON came next, another instant earworm with its driving rhythm and gorgeous cello parts. Sadly out-of-print, this score is definitely worth the effort tracking down.
The “End Title” from SOUS LA SABLE was a deeply melancholic but beautiful piece that showcased some gorgeous interplay by the violins. As I was sitting in the front row, I could clearly see the violins taking turns with each part of the heartbreaking main theme. It was full of anguish, but oh so beautiful… I really need to give this one another spin.
PART 5: ELLIOT GOLDENTHAL PARTS ONE & TWO
It was now time for Elliot Goldenthal to showcase some of his best and most popular film music.
The pieces performed from ALIEN3 and BATMAN FOREVER had tremendous size and power, and had me somewhat concerned that the concert hall’s 13th century structure would collapse from the sound!
The latter half of “Lento” was performed first to a short montage of clips from ALIEN3. This piece was marked with that furious and pulsating string sound that Goldenthal often employed in his ‘90s film scores.
This led to a stunning performance of “Adagio.” Written for the final scene in which Ripley sacrifices herself to save humanity, the music here was both noble and full of loss, while perfectly capturing the feeling of resignation and acceptance that this was the end for Ripley.
BATMAN FOREVER was up next with a thrilling performance of the “Main Title Fanfare.”
Starting with dark slithering strings, the piece soon built up to Goldenthal’s truly iconic BATMAN theme – it was at this moment that I wished I had a cape and cowl to put on, so inspired to fight crime was I by the music!
Again, huge brass characterized this piece with thunderous percussion giving it a huge helping of epic heroism.
It would have been perfect if they had also included “Batterdammerung,” the triumphant music used in the finale of the film. Next time, please!
The Goldenthal program continued in the second half with a sensational 2-punch knockout from TITUS consisting of “Arrows of the Gods” and “Finale.”
“Arrows of the Gods” was full of fury and driving martial music, no doubt giving the whole orchestra a mighty workout.
The “Finale,” as the name suggests, provided a satisfying end to the story of TITUS. As the music built, I was immediately drawn to the solemn, yet uplifting feel of the music; finally hearing it performed live was such a privilege.
Coupled with the striking scenes from the film projected on screen, I was again reminded how diverse, inventive, and masterful Goldenthal’s score was at the time and continues to be today. TITUS really was a game changer that proved that diverse musical styles could coexist and be used effectively in film to not only support the narrative but also push it forward.
When the pieces from TITUS ended, conductor Dirk Brosse then took up the microphone to say a few words about Goldenthal. One of the key takeaways from his speech was that listening to Goldenthal and seeing Goldenthal’s music on paper were two very different things, and that there was always something new to discover in his music. No disagreements there!
And with that, Goldenthal got up on stage to a lengthy standing ovation.
While giving his Lifetime Achievement Award acceptance speech to the audience, something caught my eye: his shoes. Despite being decked out in a sharp black suit and dark shirt, he was sporting casual Nike jogging shoes LIKE A BOSS.
Two deliciously dark pieces from INTERVIEW WITH THE VAMPIRE came next, with strings and brass dominating to leave a lasting impression.
Natalie Holt, composer of LOKI and OBI-WAN KENOBI, was in fact so impressed with Goldenthal’s music that night that she later proudly proclaimed on stage that she had become “Elliot Goldenthal’s new fan girl.”
PART 6: PHILIPPE ROMBI PART TWO
Angelic. Transcendent. Life-affirming.
No better words can be used to describe the music that opened Part Two of the Rombi program last night.
I am of course talking about the performance of Rombi’s “Hymne Des Fraternisés (I’m Dreaming of Home)” from JOYEUX NOEL.
Starting with solo piano and soprano Jolien De Gent singing in English, the orchestra then joined to create the most moving moment I have ever experienced in a concert.
I simply cannot put into words how emotionally affecting this piece was – just thinking about it again makes me well up…
(Update Oct. 27) The WSA have just uploaded the performance to YouTube for all to discover and enjoy:
To contrast the emotional wallop of JOYEUX NOEL, we were then treated to an exciting piece of battle music from ASTERIX: LE DOMAINE DES DIEUX while the scene it was written for was projected on screen. Needless to say, the music and visuals fit like a glove.
The concert ended with Rombi taking the stage to perform the piano for his gorgeous “Overture & Love Theme” to JEUX D’ENFANTS.
This was another tremendous piece that began with Rombi at the piano with the orchestra later joining to bring full force to that unforgettable love theme. The piece ended with Rombi delicately playing the theme to the gentle strains of the orchestra… a perfect way to end the night.
(Update Oct. 27) An official video of the performance has just been uploaded to YouTube:
PART 7: A MEET & GREET EVENT
As is customary with the World Soundtrack Awards, a meet and greet event is run every year before the ceremony and concert gala.
This time I was able to meet, briefly chat with, and get autographs from the following composers:
ELLIOT GOLDENTHAL
How does one even start a conversation with someone as distinguished as Elliot Goldenthal?!
We somehow got talking about his admiration for Seiji Ozawa (RIP), the Matsumoto Festival, and how Ozawa had conducted his “Fire Water Paper – A Vietnam Oratorio” many years ago.
The conversation then moved to Philip Glass and how I had recently attended a performance of the “Mishima Concerto.”
What was interesting about the conversation is that Goldenthal spent the whole time talking about the composers that he admired – he didn’t once talk about himself or his accomplishments. A modest, chill and friendly guy!
PHILIPPE ROMBI
When it was my turn in line to meet Rombi, he was immediately surprised to see the CD jacket I’d brought with me of the Japanese release of JOYEUX NOEL. It was actually his first time seeing it!
As he took out his phone to take a photo of it, I quickly interrupted and said, “You can have it. It is your music after all!”
He at first politely declined my offer but later happily accepted.
In the end he signed my copies of ANGEL and UN HOMME ET SON CHIEN:
JERSKIN FENDRIX
A laid-back dude who was happy to shoot the breeze about the film music he likes such as Julian Nott’s theme to WALLACE & GROMIT and the film music of Mica Levi.
CARLOS RAFAEL RIVERA
Super friendly and highly likable, Rivera was also surprised by the CD jacket I brought for the Japanese release of A WALK AMONG THE TOMBSTONES. It seems that the liners for the Japanese release have text and images not on the US version.
When signing the jacket he asked if he should write any special messages. Having no particular preference, I jokingly said, “You’re a legend” and that is exactly what he wrote!! I’m too embarrassed to post a pic of it so… I won’t 🤣
OTHER COMPOSERS
I was also very fortunate to briefly chat, pose for a selfie, and get autographs from Simon Franglen, Natalie Holt, Anthony Willis, and Martin Phipps. All nice people that happily gave up their time for the fans.
Thank you always to the WSA for holding these fan events!
(Now if only they could get John Williams or Hans Zimmer to one of these events… haha)
PART 8: OVER TO YOU
Did you also go to this concert? How did you like it?
And what did you think of my report? Feel free to comment below or reach out to me directly in the “Contact Me” section.
