Sherlock composer clues Reigate pupils in on a life writing music for film and TV (From This Is Local London)
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Sherlock composer clues Reigate pupils in on a life writing music for film and TV
11:49am Monday 10th February 2014 in News
Music pupils at Reigate Grammar School were given an elementary insight into life writing scores for films and TV when they were paid a visit by the composer of hit TV series, Sherlock.
TV and film music composer Michael Price visited the school to share the secrets behind his recent work on the BBC Sherlock Holmes series, and life working on films such as The Inbetweeners, Wild Child, Wild Target and Hot Fuzz.
The composer also spent the afternoon giving a masterclass to the school's string players.
They are working on his String Quartets for the national Pro Corda Chamber Music Festival.
Mr Price unravelled the complex journey behind composing a score by unveiling the sounds he uses, from full orchestra to synthesisers and ‘new’ sounds created using household objects, as well as the inspiration he draws from the characters on-screen.
He spoke about his career and answered a range of searching questions from the students.
Simon Rushby, the school's director of music, said: “All of us in the audience, pupils, teachers and parents, were captivated by Michael’s talk, and I don’t think any of us will watch Sherlock, or indeed any film again, without paying closer attention to the score and its effect on us as viewers.”
He said: “There were many budding young composers in the audience who gained so much from sharing Michael’s experience and learning about the career path that led him to his success on big name films and television series.”
The Senior String Quartet - Karolina Csathy, Catherine Huntley, Miranda Harding and Rachel Dungate – enjoyed the unique experience of being coached by Mr Price in performing some of his music.
He said: “I was amazed by the students’ musicianship and how quickly they picked up my ideas. “It is such an honour for me to have young people working on my music, and to be able to interact with them, spending as I do so much of my time in studios with computers.”
He added: “I got as much out of this session with the students as I did with the professional quartet who recorded my pieces when they were first written.”