Tandem, New Music for Two Trumpets

Independent, CD Baby, 2016

Barton Woomert & Steven Woomert – Trumpet / Rachel Kerr & Sonya Sim – Piano

For Royer: Barton Woomert-Trumpet, Steven Woomert-Flugelhorn & Rachel Kerr-Piano

“I’d like to express my deep appreciation to Bruce, Jim and Ron for composing such melodic and lyrical music. Their talent, energy, ongoing support and friendship surpassed all my expectations from the outset. “

Barton Woomert

Introduction

While performing for many years in the orchestral world, I always held a vision to be instrumental in bringing new music to the trumpet community, particularly as I began working closely with advanced trumpet students and then to my surprise, with my own trumpet-aspiring son. When I set out to commission the new works for this project, my primary goal was to contribute beautiful music that was challenging but also enjoyable for trumpeters to play. I’d like to express my deep appreciation to Bruce, Jim and Ron for composing such melodic and lyrical music. Their talent, energy, ongoing support and friendship surpassed all my expectations from the outset. – Barton Woomert

Program Notes

I have composed several works that have been inspired by various types of classical music from the past, but this is the first time I was inspired by the music of the Middle Ages. Barton and Steve Woomert approached me to compose a work featuring two trumpets and piano in an expressive and melodic style. I thought of the possibility of composing a set of variations based on a Gregorian chant, and that it could be colourful to use a trumpet and a flugelhorn instead of two trumpets. Then we decided to expand the project by creating two versions, one for piano and one using chamber orchestra to accompany the two brass instruments.

For the theme, I chose the Kyrie Cunctipotens Genitor, a musical setting of the Kyrie that was written in the 10th century and was appropriate to be sung on Christmas Day as part of the Mass. In the early 1360s, Guillaume de Machaut chose this chant for the Kyrie section of his La Messe de Nostre Dame. I start my Fantasy Variations with the piano playing a quote from the beginning of Machaut’s Kyrie. The Kyrie chant main theme enters, played first by the flugelhorn then by the trumpet. The introductory Machaut material returns, in varied form, at the beginning of variations 1, 3, 4, 6 and 7. In variation 1, the trumpet and flugelhorn play the theme transformed by music from classic Hollywood epic biblical films such as Ben Hur and The Ten Commandments. Variation 2 (Echoes), seeks to have the trumpet and flugelhorn create the sound of echoes, as found in nature. Variation 3 (Hocket) is based on a Hocket, a device used in polyphonic music of the 13th and 14th centuries which is characterized by the splitting of a melodic line between two voices. The trumpet and flugelhorn use this devise, where one instrument sounds while the other is silent, to play the main melody of this variation. Variation 4 (Romanza) is influenced by the film music of Film Noir movies, featuring a seductive and slightly disturbed atmosphere in honour of the “femme fatale”. In variation 5 (Turkish), inspiration comes from Turkish classical music, with the trumpet playing a short cadenza followed by a rhythmic section in an unusual 14/8 time. Variation 6 (Danza) is inspired by the rhythmically intense music of the Argentinian composer, Alberto Ginastera. Variation 7 (Epilogue) returns to France, the country of origin for the opening Machaut music. However, inspiration h

Tracks

1-3. Jim McGrath – Three Bagatelles for Two Trumpets and Piano

4-11. Ronald Royer – Fantasy Variations on a Gregorian Chant for Trumpet, Flugelhorn and Piano (16:45)

4. Theme (1:40)

5. Variation 1: Largo (2:14)

6. Variation 2 (Echoes): Andante (1:31)

7. Variation 3 (Hocket): Allegretto (1:15)

8. Variation 4 (Romanza): Moderato (2:59)

9. Variation 5 (Turkish): Allegro (1:32)

10. Variation 6 (Danza): Allegro giusto (2:07)

11. Variation 7 (Epilogue): Meno mosso – Majestic (3:27)

12-14. Bruce Broughton – Three, for Two B-flat Trumpets, Cornets and Piano

15. Jim McGrath – Hollywood Nocturne for Trumpet and Piano

Romancing Chopin

Cambria Master Recordings, 2015

Valerie Tryon-Piano, Nora Shulman-Flute, Kaye Royer-Clarinet, Conraad Bloemendal-Cello

Toronto Sinfonietta, Matthew Jaskiewicz-Conductor

 

“Conductor Matthew Jaskiewicz conducts the Toronto Sinfonietta in Romancing Chopin, an ambitious album that brings together several exceptional soloists and a pair of Canadian composers in a tribute to Chopin’s continuing legacy. Ronald Royer, composer in residence with the ensemble, contributes three substantial works of his own as well as several arrangements of Chopin’s chamber works…quite a fascinating release.” –

WholeNote Magazine, Daniel Foley 

 

Ronald Royer – In Memoriam Fryderyk Chopin, for Clarinet, Cello and String Orchestra (7:41)

Kaye Royer-Clarinet, Conraad Bloemendal-Cello, Matthew Jaskiewicz-Conductor

In Memoriam Fryderyk Chopin is based upon and inspired by the Nocturne in E Minor, Op. 72, No. 1 for piano.  In Memoriam serves as a reflection on the life, work and death of Chopin at the age of thirty-nine.  After a short introduction, a meditative section features violin trills and a cadenza for clarinet followed by one for cello.  A more rhythmic and energetic section follows, which is meant to suggest his struggles in life and creativity.  After a climactic section for the string orchestra, a more peaceful section shines through representing the beauty, joy and genius of Chopin’s legacy.

Ronald Royer – Fantaisie-Impromptu, for Flute and String Orchestra (5:53)

Nora Shulman-Flute, Matthew Jaskiewicz-Conductor

The Fantaisie-Impromptu is a fantasy based upon the Impromptu No.3 in G flat Major, Op. 51 by Fryderyk Chopin, and strives to maintain the light-hearted spontaneity of the original.  Fantaisie Impromptu is in a Rondo form (ABACA), with an introduction and coda section.  The main melody (A section) makes use of the notes of Chopin’s main melody (with minor alterations), but changes Chopin’s rhythm and harmony to give the music a more 20th century feel.  The contrasting B Section is based upon a motive from the original Chopin melody while the C section is based on still another part of Chopin’s composition.  In the C section, the composer inserts one melody of his own, a Bartok-like folk melody.  The composition ends with an energetic coda, complete with a slight variation of Chopin’s own ending to his Impromptu.

Ronald Royer – Nocturne, for Clarinet and String Orchestra (7:54)

Kaye Royer-Clarinet, Matthew Jaskiewicz-Conductor

The Nocturne for clarinet and string orchestra is not based on an original Chopin composition, but is instead inspired by Chopin’s music aesthetic and works as a whole.  The introduction of the Nocturne, beginning on the note “E”, gradually thickens harmonically, using suspensions, while the clarinet introduces a motive that evolves into the first theme.  The second theme is started in the lower register of the clarinet and then developed.  At the end, a short clarinet cadenza brings back material from the first theme.

Tracks

1-5. Fryderyk Chopin: Five Mazurkas, 7, arr. for Chamber Orchestra by Alexander Rapaport (2:29, 4:39, 2:42, 1:33, 1:22)

6. Fryderyk Chopin: Largo from Sonata for Cello and Piano in G minor, Op. 65, arr. for Cello and String Orchestra by Ronald Royer (4:13)

7. Fryderyk Chopin: Nocturne in Eb major, Op. 9, No. 2, arr. for Cello and String Orchestra by Ronald Royer (5:07)

8. Fryderyk Chopin: Variations on a Theme by Rossini, arr. for Flute and String Orchestra by Ronald Royer and Alex Eddington (6:04)

9. Ronald Royer – In Memoriam Fryderyk Chopin (based on Nocturne in E minor, Op. 72, No. 1) for Clarinet, Cello and String Orchestra (7:41)

10. Ronald Royer – Fantaisie Impromptu (based on Impromptu in Gb major, Op. 51, No. 3) for Flute and String Orchestra (5:53)

11. Ronald Royer – Nocturne for Clarinet and String Orchestra (7:54)

12. Alexander Rapaport – Variations on a Theme of Chopin (based on Prelude in C minor, Op. 28, No. 20) for Piano and Chamber Orchestra (12:41)

13. Fryderyk Chopin – Grande Polonaise Brilliante in Eb major, Op. 22 for Piano and Orchestra (9:54)

The Time of My Life

Independent, CD Baby, 2013

Brunette Dillon-Piccolo Trumpet, Flugelhorn & Bb Trumpet

Los Angeles Studio Orchestra, Jorge Mester & Bill Reichenbach-Conductors

Notes:

More than once I have heard colleagues comment “…they are actually paying me to do this”. The musicians and friends who participated in this project fit into that category. I am both pleased and honored that they chose to perform on my CD. -Burnette Dillon

When Burnette Dillon asked me to write a concerto using a variety of different trumpets, I was intrigued. We began by making a plan to use three instruments: a piccolo trumpet in A, a flugelhorn and a trumpet in Bb. Both the piccolo trumpet and the flugelhorn were new territory for me as a composer. Luckily, Burnette was a commissioner who wanted to have an active part in the creation of a new work. His help in creating solo parts that were idiomatic was invaluable. Burnette has worked as both a symphonic and studio musician in Los Angeles, so I decided to make musical references to both worlds.

The opening Ouverture, for piccolo trumpet, is in a neo-baroque style, in homage to an instrument commonly associated with this era. The movement is basically in a French Ouverture form, with a slow majestic start followed by a fast, energetic, and virtuosic middle section, and ends with a return to the slow majestic music.  The musical material from the very opening is continually developed throughout the movement, using a variety of baroque (and more contemporary) techniques, including a fugato in the fast section.

The slow movement features the flugelhorn, an instrument rarely used in classical compositions, but commonly found in jazz ensembles. Being a Nocturne, the movement aims to suggest a night atmosphere with a quiet and meditative character. Starting with a slow plaintive melody, the movement switches to a more upbeat section with a slight jazz influence, suggesting a little night time frivolity.

The finale is for the Bb trumpet and is named Divertissement, a piece designed for the entertainment of the audience and the players. The movement is in a straight forward sonata allegro form, but sounds more like a musical potpourri, going through a variety of virtuosic episodes for the trumpet, the horn section and the rest of the ensemble. Film music is an influence, here paying tribute to Hollywood action/adventure films.

Recording Notes:

The Time of My life was recorded at the historic Ocean Way Recording. Hannes Bieger, in Sound On Sound.com, writes: “It is hard to avoid superlatives when writing about this landmark studio located on Sunset Boulevard, in the heart of Hollywood. Ocean Way has been dubbed ‘the Abbey Road of the West Coast’, and more than a billion copies of records produced there have been sold worldwide.”

Originally named The United Western studios, it was constructed in 1952, and was the home of many major recording sessions in the 1960s and 1970s. The owner, Bill Putnam, was a pioneer in recording studio acoustics. He was involved in the early development of stereophonic recording and is acknowledged to be the first person to use artificial reverberation for commercial recordings. Allen Sides purchased the United property in 1988 and renamed it Ocean Way Recording. Some of the famous musicians who recorded in these studios include Frank Sinatra, Nat King Cole, Ray Charles, Neil Diamond, Chick Corea, Bette Midler, and Frank Zappa.

It was a treat to record in this wonderful studio with a group of exceptional musicians, including our trumpet soloist, Burnette Dillon and the preeminent conductor, Jorge Mester. The recording was engineered and edited by the masterful John Richards. To add to the pleasure of this experience, I had the opportunity to meet and talk with the famous Canadian American singer, songwriter and actor, Paul Anka, who was recording in another room at the studio.

When it came to mixing the recording, Burnette booked Capitol Studios, another famous Hollywood landmark studio. Capitol knew how to make the experience feel special, starting with a personalized parking space!

http://www.oceanwayrecording.com/about-history.php

https://www.soundonsound.com/music-business/ocean-way-los-angeles

https://www.capitolstudios.com/about-the-studio/

Tracks

1-3. Kim Scharnberg – Travelogue for Trumpet

4. Jim Self – Whimsies for Trumpet, Horn and Trombone

5. Georg Philipp Telemann – Fantasies for Flute No. 4

6-8. Carlo Tessarini – Sonata in D for Trumpet and Orchestra

9. Georg Philipp Telemann – Fantasies for Flute No. 2

10-12. Ronald Royer – Concerto for Trumpets and Orchestra

13. George Philipp Telemann – Fantasies for Flute No. 6

Premieres: Conrad Chow, Violin

Cambria Master Recordings, 2012

Conrad Chow-Violin, Sinfonia Toronto, Ronald Royer-Conductor & Bruce Broughton-Piano

“Royer gives us a great vehicle and Chow plays his music with great finesse. I definitely want to hear more from this composer.” 

FANFARE, Maria Nockin

Introduction by Conrad Chow

The focus of this CD centers on the concept of the Premiere: the first showing of, or introduction to, something new. To that effect, I’m honoured to present each of the works on this CD for the first time on a recording. While new, each piece is inspired by earlier musical styles: Bruce Broughton’s Triptych evokes elements of the Baroque, 20th-century Prokofiev, and Celtic fiddle music of Scotland; his Gold Rush Songs are based on traditional American folksongs. Ronald Royers’s Rhapsody was inspired by rhapsodies of the mid-19th to early 20th centuries; the inspiration of his In Memoriam J.S. Bach needs no explanations. Kevin Lau’s Joy is inspired by turn-of-the-century Romanticism, as well as film music. Finally, I chose to include a favourite of mine, Chopin’s Nocturne in C# Minor, as an encore.

Ronald Royer – Rhapsody for Violin and Chamber Orchestra (12:43)

The Rhapsody draws inspiration from a variety of European sources, including French Impressionism, German Expressionism, Hungarian folk music, and virtuosic Spanish violin music. Combining all these disparate styles of music, ranging from Ravel and Bartok to Sarasate, allowed me to create a new work based on a traditional and popular form. Composing took place in three comfortable locations, my home in Toronto, my in-laws’ home in the rural Ontario town of Cayuga and my parents’ home in Los Angeles. This also helped in giving me the right ambience and variety of influences for this enjoyable endeavor. The Rhapsody was commissioned by the Orchestras Mississauga (John Barnum, music director) with the assistance of the Canada Council for the Arts.

Ronald Royer – In Memoriam J.S. Bach (Sarabande and Capriccio) for Violin Solo, Flute, Clarinet, Bassoon, String Quartet and Harpsichord (5:58 & 5:51)

In Memoriam J.S. Bach (2011) is a new arrangement of two movements from the Partita for Violin and Chamber Orchestra, composed in 2000 to honor the 250th anniversary of the death of J.S. Bach in 1750. In Memoriam takes its inspiration from Bach’s compositional mastery, as well as his ability to compose expressive and virtuosic music.

My Sarabande is based on the first two bars of the Sarabande from Bach’s Cello Suite No. 2 in D minor. The second part of this movement is more emotional in character and is based on the Allemande from Bach’s keyboard Partita No. 4 in D major.  I had to do some juggling with the rhythm, since Bach’s Allemande contained four beats per bar. One beat from each bar had to be removed to fit the three-beat form of the Sarabande.  The original melody is heard again at the end of the movement, overlaid by a florid counter-melody by the solo violin.

Capriccio, an Italian word-meaning whim or fancy, was used by Bach as a title of two of his compositions for keyboard. I chose this title to describe a work which combines a more contemporary style with Bach’s compositional techniques, as well as highlighting the humour of these works.

The Capriccio is a playful variation of a Bach Gigue, transformed into a classical era Rondo (ABACABA) form. The original A theme in G minor is written to imitate a Bach Gigue, although the rhythm is irregular, switching between five, six, or seven beats per bar. The B section begins with a darker and smoother version of the A theme, before leading into a series of Bach-like sequences. The C section enters in the new key of E minor and is derived from the first four bars of the A melody, but appears in retrograde (i.e. played backwards). This incarnation of the A theme assumes a Latin American character, as found in the music of Alberto Ginastera. When the A section returns, it is in the form of a Bach Fugato, although the rhythm is still irregular. The returning B and A sections are in an ornamented form, another Bach technique. There follows a short cadenza for the solo violinist, which leads into the final coda section with its homage to Bach’s cadential endings.

iPalpiti Orchestra

BCM+D Records
2012

iPalpiti Orchestral Ensemble of International Laureates, Eduard Schmieder-Conductor

Tibi Cziger-Clarinet, Yves Dharamraj-Cello, Julius Berger-Cello, Luiza Borac-Piano

CD 1

1-2. W.A. Mozart – Adagio and Fugue in C Minor, KV546

3-5. Frédéric Chopin – Piano Concerto No. 1 in E Minor, Op. 11, Luiza Borac, Piano

CD 2

  1. Ronald Royer – In Memoriam Fryderyk Chopin for Clarinet, Cello and String Orchestra, Tibi Cziger, Clarinet and Yves Dharamraj, Cello
  2. Robert Schumann – Cello Concerto in A Minor, Op. 129, Julius Berger, Cello

3-6. Benjamin Britten – Simple Symphony

  1. Leroy Anderson – Plink, Plank, Plunk!

In Memoriam Fryderyk Chopin is based upon and inspired by the Nocturne in E Minor, Op. 72, No. 1 for piano.  In Memoriam serves as a reflection on the life, work and death of Chopin at the age of thirty-nine.  After a short introduction, a meditative section features violin trills and a cadenza for clarinet followed by one for cello.  A more rhythmic and energetic section follows, which is meant to suggest his struggles in life and creativity.  After a climactic section for the string orchestra, a more peaceful section shines through representing the beauty, joy and genius of Chopin’s legacy.

A Selection of iPalpiti Orchestra Quotes

“(iPALPITI) performance can be called righteously overwhelming…–Noord Holland Dagblad

“…an astounding demonstration of seamless and beauteous string playing…memorable, luminous, deeply moving performance…”—Daniel Cariaga, Los Angeles Times (2002)

“…a fitting name for the vibrant string orchestra…lustrous, polished tone and graceful phrasing.”—New York Times (2007)

“…rich sonorities (of iPalpiti) audibly took the audience’s breath away…”—STRINGS Magazine (2005)

“…(under Mr. Schmieder’s direction) iPalpiti sprang to life as a single, singing voice. It was the natural, “vocal” quality that stayed with me long after the final notes of the concert were sounded…”—John Ardoin, Music Critic, Dallas Morning News (1992)

“…Lead by conductor Eduard Schmieder with passion, intelligence, refinement and imagination, iPalpiti demonstrated an almost uncanny unanimity of sound and vibrato…It was especially remarkable to hear such a wide variety of individual tones emerge and then slip back into those fabulous unisons…”—The Strad (June 2009), review of the Carnegie Zankel Hall concert, New York.

Hark: A Christmas Celebration for Trumpet and Organ

Independent
2010

HornPipes! Duo, Pamela Smitter-Baker-Trumpet & Michael Bloss-Organ

Tracks:

  1. Of the Father’s Love Begotten, Plainchant: Divinium Mysterium, .46
  2. Washet auf! Ruft uns die Stimme (verse 1), Johann Ludwig Krebs (1713-1780), 2:26
  3. Chorale: “Nun seid ihr wohl gerochen” (Christmas Oratorio BWV 248), Johann Sebastian Bach (1685-1750), 2:29
  4. Rejoice greatly, O daughter of Zion (Messiah HWV 50), George Frederic Handel (1685-1759), 4:52
  5. Wachet auf! Ruft uns die Stimme (verse 2) Johann Ludwig Krebs (1713-1780), 4:04
  6. If With all your Hearts (Elijah) Felix Mendelssohn (1809-1847), 2:48
  7. Organ Toccata on “God Rest Ye Merry, Gentlemen” (An Advent Christmas Suite), Alfred V. Fedak (b. 1953), 2:06
  8. Gloria in Excelsis Deo (Angels We Have Heard on High) arr. Jean Thilde, 1:45
  9. Ave Maria Op. 52 No. 6 Franz Schubert (1797-1828), 2:13
  10. Wachet auf! Ruft uns die Stimme (verse 3), Johann Ludwig Krebs, (1713-1780), 3:47
  11. The Adoration of the Shepherds – A Meditation for Trumpet and Organ, Ronald Royer (b.1959) World Premiere Recording, 8:16
  12. Ave Maria, Guilio Caccini (1551-1618) arr. Nicholas Palmer, ASCAP, 4:33
  13. A Rondo for Christmas, Naji Hakim (b.1955), 4:53
  14. Dieu Parmi Nous (La Nativite), Olivier Messiaen, (1908-1992), 7:36

Ronald Royer – The Adoration of the Shepherds, A Meditation for Trumpet and Organ (8:16)

The Adoration is based on two verses (Luke 2:9-10) from the King James version of the Bible. The composition is divided into three continuous parts, based upon three selections of text.

  1. And lo, the angel of the Lord came upon them,
  2. And they were sore afraid.
  3. And the Angel said unto them, Fear not: for behold, I bring you good tiding of great joy, which shall be to all people.

In Part One of the composition, the music is slow and unmetered, creating an atmosphere of mystery and suspense as the Shepherds realize something unusual is about to happen.

In Part Two, the tempo of the music accelerates and builds in intensity, all the while creating a mood of increasing apprehension. This second section features a dramatic trumpet melody and a fugato section for both the trumpet and organ.

Part Three begins with a chorale-like idea introduced by the organ. The feat and suspense pass, resolving into joy.

The Adoration of the Shelpherds was written in the fall of 1998 and is dedicated to Erik Schultz and Jan Overduin. The premiere performances took place in Germany in December 1998.

Gooby

“5 DOVES. Highest Rating. This is truly a movie for the entire family.” – The Dove Foundation

Genre: Action and Adventure, Family

 Cast: Matthew Knight, Robbie Coltrane, Eugene Levy, David James Elliott, Ingrid – Kavelaars

Writer, Director, Producer: Wilson Coneybeare

Composers: Ronald Royer and Kevin Lau (Orchestrated by Chris Meyer)

 

Imagine if you had a six-foot tall “monster” to help you through the rough times when you were a kid! Willy (Matthew Knight) is terrified about moving into the family’s new house. He’s convinced it’s filled with evil space aliens out to get him. In response to his longing for someone to save him, Gooby (voiced by Robbie Coltrane, Harry Potter’s Hagrid) comes to life as a big, lovable, scruffy creature who quite possibly may be more frightened of the world than Willy. The two new pals embark on hair-raising adventures and learn about courage and the power of friendship all the while with Eugene Levy (Night at the Museum) on their trail. In the end, Gooby fulfills Willy’s wish by bringing Willy and his dad (David James Elliott, “JAG”) together in a heart-warming and exciting climax.

Gooby premiered at the Cannes International Film Festival, was a finalist at the International Family Film Festival, Los Angeles, showed at the Platinum Remi Worldfest, Houston, International Film Festival, and was an Official Selection, Sprockets Toronto International Film Festival for Children.

http://www.montereymedia.com/theatrical/films/gooby.html

triofus/morofus

Independent
2008

Mark Payne-Piano; Robert Riseling-Clarinet; David Hayward-Bassoon; Anne Thompson-Flute

Ronald Royer – In Memoriam Fryderyk Chopin for Clarinet, Bassoon and Piano (7:08)

Mark Payne-Piano, Robert Riseling-Clarinet, David Hayward-Bassoon

Iin Memoriam Fryderyk Chopin is based upon and inspired by the Nocturne in E Minor, Op. 72, No. 1 for piano. In Memoriam serves as a reflection on the life, work and death of Chopin at the age of thirty-nine. After a short piano introduction, a meditative section features a cadenza for clarinet followed by one for bassoon. A more rhythmic and energetic section follows, which is meant to suggest his struggles in life and creativity. After a climactic section ending with a piano solo, a more peaceful section shines through representing the beauty, joy and genius of Chopin’s legacy. Originally written for clarinet, cello and string orchestra in 1999, In Memoriam was rewritten in 2007 for TriofuS. Ronald Royer’s’ friend and colleague, Chris Meyer, created the piano part from the string orchestra parts.

1-3. Divertimento – Paul Carr

4-6. Trio – Madeleine Dring

7-10. Four Panels from My Past – Allen Torok

11. In Memoriam Fryderyk Chopin, for Clarinet, Bassoon and Piano – Ronald Royer

12. Trio Breve No. 1 – John Burge

The Storyteller’s Bag

“Thoroughly original…thoroughly engaging…wonderful mix of new music and stories for young audiences…my screen-addicted five-year-olds listened with rapture the first time I put on The Storyteller’s Bag and begged for it again the next day.”

– City Parent magazine, 2006

Overture to an Unscripted Movie

INDEPENDENT
2002

“A real winner for concert audiences, an “Overture to an Unscripted Movie” is a blend of a big Hollywood film score and a symphonic tone poem. A keen dramatic flair, expert craftsmanship and a sensitivity for the tradition of the “Hollywood Sound” combine to create a highly enjoyable listening experience.”

–Jeannie Pool, former Executive Director for the Film Music Society, Los Angeles Music Producer and Musicologist

Bohuslav Martinu Philharmonic Orchestra, Tomas Koutnik-Conductor

1. The Hero (2:59)

2. The Villain (2:38)

3. The Love Theme (2:12)

4. The Fight (3:48)

Total Time = 11:38

 

 

An Overture to an Unscripted Movie was composed to pay homage to the orchestral scores written for Hollywood action/adventure films.  The Overture is in four sections:  The Hero, The Villain, The Love Theme, and The Fight.  Since the Overture was written for an unscripted movie, the composer encourages both performers and audience members to create their own movie plots.

To write this composition, Mr. Royer drew on his work as a freelance cellist in the Motion Picture and Television Industry in Los Angeles during the 1980’s.  Some of the films he worked on are:  Star Trek 3 and 4, Lethal Weapon, Footloose, Gremlins, Children of a Lesser God, and television shows such as Little House on the Prairie, Dallas, and Fantasy Island.  He had the opportunity to play under many of the top film composers including Jerry Goldsmith, James Horner, Maurice Jarre, Henry Mancini, Lalo Shifrin and John Williams.