Incidental music to Euripides' Hippolytus

This track accompanies the play's opening, with goddess Aphrodite, the real villain of the story, explaining the reasons for her hatred towards Hippolytus and her plan for revenge.

The piece, after a thunderous introduction (mostly meant to make the audience shut up, but don't tell anyone!) starts passing the goddess's motif through each section of the orchestra, establishing the musical palette: brass, woodwinds, percussion and choir, strings.

Video https://www.youtube.com/watch?v=Hw7C_BdFz7c

Composed between February and May 2014

Hippolytus Incidental Music

Aphrodite

I composed this track during summer 2014. I had enough of the thunderous and angry music I had been writing for a Greek tragedy the previous months, so I tried to write a humbler and happier orchestral theme. I replaced horns and trombones with an accordion to give the piece a more intimate feel. Score available upon request.

In memory of my grandfather

Questo brano mi ha accompagnato per tutta l'estate 2014. Volevo cambiare genere rispetto alle musiche della tragedia greca a cui avevo lavorato nei mesi precedenti, quindi ho scritto un tema un po' più felice e umile per orchestra, piano e fisarmonica.

A mio nonno

Wings of a Dream

Composed in August 2014 as a re-score of a "Murder, She Wrote" TV episode.

Short version with score: http://scary2015.vgames.club/matteo-zambon/file/18/the-witchs-curse-60

Full score available upon request.

The Witch's Curse

A happy, energetic orchestral piece titled in honour of Elmer "West" Bernstein and his inspiring western film scores.

Composed between August 2014 and January 2015

Going West

My entry for the Composers Challenge IX. We were asked to score a clip from the video game Dear Esther. Hear how it works in context: http://youtu.be/aMlVhlRX4T0

Dear Esther is an award-winning, experimental video game where the player explores an uninhabited Hebridean island, listening to letters written by the narrator to his wife. The narrator has lost his wife (Esther) in a car crash and is trying to figure out how it happened. Esther's death has left a huge void in his life and he is mentally broken by it.

At the end of the game, he climbs up a tower atop the island peak. As he jumps off, he is turned into a bird and soars through the island bay, where we can see an array of paper boats – his letters to Esther.

The Composers Challenge was conceived in 2010 by Kalaisan Kalaichelvan with the aim of giving aspiring film music composers an opportunity to practice their passion. Participants score selected clips on a deadline and receive constructive criticism from reviewers and fellow composers. The ninth edition was set by Kevin Smith and ran from February to April 2016.

Composed in March and August 2016

Dear Esther

My entry for the Composers Challenge XI. We had to score a clip from The Artist. Hear it in context: http://youtu.be/XkjjItptE4w

The Artist is a 2011 Oscar-winning film. George Valentin is a silent movie star whose career is threatened by the rise of talkies. Towards the end of the film, Peppy, an actress he discovered, is desperately trying to find him as she is afraid he might take his life.

The Composers Challenge was conceived in 2010 by Kalaisan Kalaichelvan with the aim of giving aspiring film music composers an opportunity to practice their passion. Participants score selected clips on a deadline and receive constructive criticism from fellow composers. The 11th edition was set by Kevin Smith and ran from September to November 2016.

Composed in October and November 2016

Composers Challenge XI: The Artist

George's Breakdown

George's Breakdown (The Artist)

quick cover/reinterpretation of a snippet from one of my favourite film scores, just to prove I'm still alive and making music

originally by @johnpowellmusic https://youtu.be/pO8xOjHDHJA?t=326

As Long As He's Safe (John Powell)

Composed for the final scene of 'Before Sunrise': youtu.be/DZWUHpc4uJY

Saying bye is the hardest part of travelling, and having to do it a few times over the last two years inspired this little piece. Writing started in November 2018 and ended on a public piano in Canary Wharf station on a late night in July 2019 – almost missed the last tube home for that.

Matteo Zambon

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