Joe Dever's Lone Wolf Special Combat Theme

"Original Soundtrack by Francesco Libralon"

LONE WOLF TM&© Joe Dever 1984-2013
JOE DEVER'S LONE WOLF © 2013 Official Licensee Atlantyca S.p.A.
JOE DEVER'S LONE WOLF video game© 2013 realized by Forge Reply with the contribution of Joe Dever & Atlantyca
All rights reserved

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Le serment d’Henri et Marcel
Bande Originale du Documentaire
Realisateur Florent Muller
Musique de Erwann Kermorvant
Label Plaza Mayor Company Ltd

Documentaire France 2 – France Tv
Diffusion 13 Avril a 13:15

"Le serment d”henri et Marcel" is my third collaboration with director Florent MULLER. 
Although we've known each other for a long time, we only started working together recently. 
An alignment of the planets that takes me out of my comfort zone every time.
My briefs are populated with obscure references ranging from jazz to contemporary music, with a detour into Japanese pop and film scores unknown to ordinary mortals. 
My adventure in 'Les Antipodes' began with the following sentence: 
"Do you think it's possible to mix Beethoven's Pastoral Symphony with 'L'Internationale' while paying homage to John Adams and 60s jazz?
And so we took the train to Budapest to record music that Florent (deliberately) hadn't heard before going there with the orchestra. As he loves surprises, I even had to write an extra piece during the trip for a scene he had just imagined.
Something completely unthinkable today with our calibrated productions. 
It's frightening. But at the end of the day, what a joy it is to be carried along by confidence.
I can't wait for the next film.
Erwann Kermorvant – Composer


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🎼 Therym, Op.10 No.38 – Orchestral Suite by C.R. Srikanth
Therym is an original orchestral suite composed for full symphonic forces, exploring a wide palette of textures, colors, and rhythmic energy. Scored for winds, brass, percussion, harp, and full strings, the work showcases a deliberate engagement with orchestral tradition while carving out its own voice through tightly woven motifs and layered instrumentation.

The suite is marked by a consistent forward momentum, largely driven by rhythmic figures — particularly triplets and syncopations — that recur in various instrumental combinations. The orchestration reflects a clear understanding of instrumental capabilities, with thoughtful deployment of coloristic elements such as glockenspiel, vibraphone, and muted brass, adding a bright, modern sheen to the otherwise traditionally structured writing.

Rather than adhering to rigid classical forms, Therym opts for a more episodic, cinematic structure. The music progresses organically, relying on shifts in timbre and texture to guide the listener. While not experimental in its harmonic language, the suite maintains interest through dynamic contrasts and sectional interplay.

That said, the piece does play it somewhat safe in certain respects. It favors density and volume over moments of restraint or silence, and while technically sound, the emotional contour could be deepened. Some sections risk feeling overwrought or overly saturated, where a sparser or more lyrical touch could have provided contrast and nuance.

Nevertheless, Therym stands as a confident and competently orchestrated work. It’s well-suited for performance, and reflects a composer in command of large ensemble writing, with room to continue developing a more distinct and emotionally resonant voice.



Therym Op10 No 38 Orchestral Suite Composed by CR Srikanth

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