FILM FEST GENT: WORLD SOUNDTRACK AWARDS CEREMONY & CONCERT
Music composed by Trevor Jones, Hildur Guðnadóttir, Xabier Doural García, Lidia Pozo Perez, and Yeakun Yoo.
World Soundtrack Awards Fanfare composed by Elmer Bernstein
Conducted by Dirk Brosse
Performed by the Brussels Philharmonic
Concert master: Otto Derolez
Featured cellist on JOKER suite: Hildur Guðnadóttir
October 10, 2026
Muziekcentrum De Bijloke
Gent, Belgium
PART 1: THE WORLD SOUNDTRACK AWARDS
Every year, as part of Belgium’s Film Fest Gent, is the star-studded World Soundtrack Awards Ceremony & Concert, an event celebrating film, TV and video game music from across the globe.
The World Soundtrack Awards (WSA) have been around since 2001, and at every year’s concert they bestow a Lifetime Achievement Award to a composer with a distinguished body of work. For the 2026 edition, this award was given to the legendary South African composer Trevor Jones, who is most known for his music for THE LAST OF THE MOHICANS, THE DARK CRYSTAL, CLIFFHANGER, EXCALIBUR, DARK CITY, BRASSED OFF, and many more.
The concert also welcomes one special “Guest of Honour,” whose music is featured alongside the Lifetime Achievement Award winner. This time, that honoree was Academy Award-winning Icelandic composer Hildur Guðnadóttir, who has scored films such as JOKER, 28 YEARS LATER: THE BONE TEMPLE, A HAUNTING IN VENICE, SICARIO: DAY OF THE SOLDADO, THE BRIDE! and more.
To recognize and celebrate other achievements in the film, TV and video game music industries, the WSA also provides awards to composers selected from a list of distinguished nominees. The full list of winners came be found at the WSA website here.
Leading up to the WSA Ceremony & Concert is a host of events such as talks, round tables, composer masterclasses, and a popular meet-and-greet event on the afternoon of the concert.
For a quick visual overview of this year’s event, check out this nice little summary video that was just released:
It’s actually my third time to attend the WSA in the last four years, with the concerts and its related events getting better and better. I for one cannot wait for next year’s edition!
PART 2: THE CONCERT SETLIST
The order of the setlist for the Hildur Guðnadóttir portions listed in the program is a little different from what was actually performed, so I’ve listed the correct order below:
– THE FIRST HALF –
COMPETITION CONTEST
- RATCHED: Composition Contest Entry #1 (Xabier Doural García)
- RATCHED: Composition Contest Entry #2 (Lidia Pozo Perez)
- RATCHED: Composition Contest Entry #3 (Yeakun Yoo)
Music by HILDUR GUÐNADÓTTIR
- 28 YEARS LATER: THE BONE TEMPLE: The Bone Temple
- THE BRIDE!: ‘Til the End of Time
- TÁR: Allegro
Music by TREVOR JONES
- CLIFFHANGER: End Credits
- NOTTING HILL: Will and Anna
- THE LAST PLACE ON EARTH: Axel Heiberg
– THE SECOND HALF –
Music by HILDUR GUÐNADÓTTIR
- WOMEN TALKING: Speak Up
- A HAUNTING IN VENICE: Pipes
- JOKER: Meeting Bruce Wayne
- JOKER: Bathroom Dance – The Kiss
Music by TREVOR JONES
- THE DARK CRYSTAL: Overture
- THE DARK CRYSTAL: Love Theme
- THE LAST OF THE MOHICANS: Main Title
- THE LAST OF THE MOHICANS: The Kiss
- THE LAST OF THE MOHICANS: Fort Battle
- THE LAST OF THE MOHICANS: Top of the World
It was a pretty solid setlist, but I only wish a bit more music by Trevor Jones was put into the program (or NOTTING HILL was swapped out for a suite from THE MIGHTY, one of my personal favorites!)
PART 3: THE COMPOSITION CONTEST
Every edition of the WSA has a competition contest where a young composer (under the age of thirty-six) is tasked with rescoring an existing piece of visual media. For this year’s edition, the opening title sequence for RATCHED, the American psychological thriller television series, was selected.
The original opening titles use the iconic “Danse Macabre” by Camille Saint-Saëns, which you can see and hear below:
While you cannot fault this masterpiece of composition by Saint-Saëns and how the images are perfectly timed to the beat of the music, I just don’t think the tone is right – the piece is a bit bright, almost suggesting that what we’re seeing is a quirky fantasy and not a psychological thriller.
In any case, the start of the WSA concert had pieces by the three competition contest finalists performed live by the Brussels Philharmonic under the baton of maestro Dirk Brosse.
It was Xabier Doural García, who is a Spanish composer, conductor and trombonist, that was selected as the winner of the contest and it is not hard to see why: he wrote a tremendous piece for full orchestra that left a huge impression. In fact, as soon as García’s piece had ended, I knew he was the one to beat.
As of writing, there seems to be no official recording of Garcia’s winning piece, so let me do my best to describe it.
It started with a positive tone, but shimmering strings and a shift of chords suggested something darker was underneath. As the piece became more and more unsettling, it finally made a complete shift to a dark and gloriously filmic theme. The piece then came to a close with that bright and delicate tone of the beginning, inviting you into this dark world even though you knew you shouldn’t.
Garcia’s piece was expertly crafted and told a compelling story in a very short amount of time. It really was an amazing piece that was fully deserving of its win. He certainly has a bright future ahead of him, and I cannot wait to hear what he writes next!
PART 4: THE FIRST HALF MAIN PROGRAM
It was now time for the main program with three string-dominated pieces of film music by Guðnadóttir.
28 YEARS LATER: THE BONE TEMPLE
– The Bone Temple
The first piece was the somber and somewhat repetitive “The Bone Temple” from 28 YEARS LATER: THE BONE TEMPLE. Performed by string orchestra, at a tempo brisker than the original album recording, the piece had shades of light but was mostly dark and unforgiving. Because of the repetitive nature of the piece, it almost sounded like a dirge of death and tragedy, building with intensity towards the end.
THE BRIDE!
– ‘Til the End of Time
Due to the abysmal press about the film and its less than appealing trailer, I never got around to seeing the film or listening to its soundtrack, but what a mistake that was because the piece performed at the concert, “‘Til the End of Time,” was a real stunner.
Featuring a gorgeous violin solo by concert master Otto Derolez, the piece effectively evoked images of a dark romance laced with tragedy. But it also had moments of light, perhaps emphasizing the human side of the “monsters” portrayed in the film. While the piece was a bit brief, it was gorgeous – I really need to track down the soundtrack CD and (maybe!) see the film.
TÁR
– Allegro
Next came the “Allegro” from TÁR, a fabulous piece full of menace and unrelenting obsession, expertly evoking Cate Blanchett’s character in the film. Brass and percussion finally made an appearance here, helping colour the manic feel of the music. Unlike the original soundtrack recording that used a string quartet (the London Contemporary Orchestra), this performance used full orchestra, giving the music much greater weight.
CLIFFHANGER
– End Credits
It was now time for the music of Trevor Jones to shine, and what better way to kick off his set with the iconic “End Credits” of CLIFFHANGER.
Those opening brass calls followed by the orchestra cascading upwards until a glorious statement of THAT main theme had me – and everyone else in the audience – in absolute raptures. The music that followed was equally memorable, masterfully capturing that sense of wonder and awe of being on top of a mountain range and taking in the magnificent views.
I actually remember my dad taking my brother and me to see this film at the cinema years ago (1993 in fact!) and being blown away by the main theme in the opening credits. This live performance brought back that wonderful memory as if it were yesterday…
NOTTING HILL
– Will and Anna
Next came a fine performance of Jones’ “Will and Anna” from NOTTING HILL. Featuring piano and electric guitar, it was a light romantic theme that was perfect for the rom-com it was written for. The piece ended nicely with the sublime swell of the orchestra for that perfect fairytale ending.
THE LAST PLACE ON EARTH
– Axel Heiberg
The piece from THE LAST PLACE ON EARTH, a 1985 British TV series about a race to the South Pole, received a fantastic performance of its epic adventure theme with the drum kit providing a catchy pop rhythm. Elements of wonder and danger also made an appearance, before a welcome return to that catchy adventure theme to conclude the piece and the first half of the concert.
(Note to soundtrack record labels: please release the full soundtrack on CD!)
PART 5: THE SECOND HALF MAIN PROGRAM
WOMEN TALKING
– Speak Up
The second half kicked off with the string and wind-led “Speak Up.” This piece featured a memorable theme that had elements of danger and tragedy, building with urgency until the end of the piece.
A HAUNTING IN VENICE
– Pipes
I wanted to like this mysterious and dark string-dominated piece, but it kind of ended suddenly as the suspense was building. I’ll have to give the digital download another listen.
Guðnadóttir was then called to the stage for a quick chat with the night’s MC, Carlo Siau. Guðnadóttir mentioned that she still practices the cello quite often because she still needs to learn and improve – “there is no end point,” I remember her saying.
She also recounted initially thinking that she was not the right person to score JOKER – for which she won an Academy Award – but changed her mind once she read the script.
As Guðnadóttir eloquently regaled the audience with these anecdotes, she remained cheerful, charming and full of laughter. I remember thinking that this was very much at odds with her music that is often dark or tinged with sadness!
JOKER
– Meeting Bruce Wayne
As soon as Guðnadóttir concluded her on stage talk, she quickly took her seat on stage to perform as cellist on two pieces from JOKER.
“Meeting Bruce Wayne” came first with a tick-tocking rhythm underlining a somewhat dark and painful theme. There was also a hint of evil in there too, but it was restrained and bubbling under the surface. As cello became more prominent and built in volume, I expected that evil to fully reveal itself, yet it remained in the shadows.
JOKER
Bathroom Dance – The Kiss
The dark and painful theme from “Meeting Bruce Wayne” returned, this time for solo cello with a very desolate sound – almost as if it was the Joker speaking directly from his soul with no mask and no illusions. Orchestra later joined to give the theme weight, perhaps signifying that he was gaining confidence and becoming the Joker, his true self.
I honestly don’t remember what scene this music was written for, but hearing it performed live with its composer on the cello created a brilliantly chilling portrait of its titular character.
Trevor Jones was now beckoned to the stage to accept his Lifetime Achievement Award.
After mentioning that he was no good at giving speeches, he then proceeded to give an articulate and honest speech about the current and future generation of composers, how A.I. stifled creativity, and that his wife knew his bank PIN number! He also spent a few moments mentioning the sudden passing of composer George Fenton, who had died only a few days earlier. It was a lovely tribute, making me appreciate Jones even more.
It was now time for Jones’ music to bring the concert to a close with some unforgettable selections of music from his most popular scores, THE DARK CRYSTAL and THE LAST OF THE MOHICANS.
THE DARK CRYSTAL
– Overture
The “Overture” immediately got my heart racing with its dark fantasy grandeur. And when those gorgeous strings came in, I think my heart stopped!
The music then slowed, focussing on the emotional aspects of the story before a return to that glorious main theme backed by thunderous percussion and brass. It really doesn’t get better than that!
THE DARK CRYSTAL
– Love Theme
What a gorgeous love theme full of longing and melancholy! Opening light and fantastical, it then hinted at moments of sadness and loss all while the main theme appeared in fragments. And just as it had opened, the piece ended light and fantastical, leaving us all in a wonderous trance.
The four-part suite from THE LAST OF THE MOHICANS would close the concert with a bang.
THE LAST OF THE MOHICANS
– Main Title
First up was the iconic “Main Title” which was GLORIOUS hearing live. It’s such an epic and expansive theme that is impossible not to like. And when the brass joined with strings to play the theme as the percussion section marched on in the background, I just couldn’t contain myself.
THE LAST OF THE MOHICANS
– The Kiss
Written for one of the few scenes that I clearly remember from the film, “The Kiss” featured concert master Otto Derolez on violin for this hypnotic set piece. After some initial timing issues between the percussion and violin, the piece set its spell and powered forward, culminating in the appearance of the film’s epic main theme. The piece then ended with the violin and percussion playing beautifully into silence.
THE LAST OF THE MOHICANS
– Fort Battle
We were next treated to a “Trevor Jones Action ExtravaganzaTM.” This was action music of the very highest order, vividly capturing the excitement, danger and heroism of battle. The thrilling climax, which was expertly executed by the orchestra, hit like a bomb going off – it was so good!
THE LAST OF THE MOHICANS
– Top of the World
The concert came to an end with a conclusive statement of the main theme in “Top of the World.” Starting off slow, as soon as the main theme kicked in, all I could feel was a deep sense of elation… as if I really was “on top of the world.” The piece then ended with one last noble statement of that magnificent main theme.
I just realized that practically every piece in the MOHICANS suite featured the main theme in one guise or another, but you know what? I never got tired of it. In fact, by the end of the concert, it was the only theme playing in my head as I walked back to the hotel that night!
In any case, that ended another successful edition of the WORLD SOUNDTRACK AWARDS.
See you next year!
PART 6: MEET AND GREET
One of the wonderful things about the WSA is its annual meet-and-greet event. At this casual and free event, you’re able to meet and chat with many of the nominated composers, take a picture with them, and even get a few albums signed by them.
This year’s edition seemed particularly crowded – no doubt because of the attendance of Trevor Jones and Hildur Guðnadóttir – so a cap was placed on how many albums you could get signed by them (note for next year: line up early!)
Prolific Academy Award-winning composer Alexandre Desplat was also scheduled to be there, but alas, he cancelled last minute. If he had actually turned up, I’m pretty sure the whole town would have come to see him 😊
Anyway, in addition to Jones and Guðnadóttir, I was able to meet and chat with the following composers: Simon Franglen, Hannah Peel, Jeff Russo, Hwiman Ryu, and Inro Joo.
All cool people who spared a moment to chat and sign for this soundtrack nerd!
PART 7: TALKS & ROUNDTABLES
On the days leading up to the ceremony and concert were various composer masterclasses, talks, and roundtable discussions. I managed to attend the Volker Bertelmann/Edward Berger talk and the Nominees Roundtable after the meet-and-greet event on the day of the concert.
At both events I was able to meet the composers and get a few albums signed.
For some bizarre reason, every selfie I’ve ever taken with Daniel Pemberton ends up out of focus… PLEASE EXPLAIN!
And believe it or not, Stephen Schwartz was there… in the flesh! I really didn’t expect someone of his stature to show up and sign for a mere mortal like me 😊
He was pleasantly surprised when I pulled out my copy of PIPPIN, which is something I think he is not often asked to sign.
PART 8: WSA ALBUMS
Every year, the WSA releases a newly recorded CD that highlights some of the best themes from the previous year’s Guest of Honour or Lifetime Achievement Award winner.
This year, we got a fantastic double CD album devoted to the music of Philip Glass, who was honoured with a Lifetime Achievement Award at last year’s concert.
What makes this album particularly special is that it contains previously unreleased music from the films SECRET WINDOW, HAMBURGER HILL, TAKING LIVES and REBIRTH.
As a huge fan of Philip Glass, I can’t recommend this latest album enough! Get it here (as well as many other gems from the WSA’s “Music for Film” series)
PART 9: WSA MERCH
The WSA also sells new merch each year:
This time I found a particularly cool piece of merch on offer: a reusable notebook with memo pages AND pages with blank music staves.
Now, if only I could actually write music… haha
PART 10: OVER TO YOU
Did you go to this concert too? 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.
