Flesh and Bone

Eerie, dissonant, double stops in the strings begin to the closing credits of Flesh and Bone, a score written by Breaking Bad and Blacklist composer Dave Porter. Building upon a motif of scalic patterns, the mystery of STARZ’s new show is echoed throughout the running time of Porter’s unnerving score.

Flesh and Bone details the gritty underworld of professional ballet, following a young dancer, Claire as she joins a prestigious New York City ballet company, and becomes entangled within the allure and darkness of the ballet world. Claire’s self-destructive tendencies amidst her vaulting ambitions drive her in compelling and unforeseeable ways, especially when confronted with the machinations of the company’s mercurial Artistic Director and an unwelcome visitor from her past.

Stretching out the tension through increasing volume and accumulation of instruments, it sees the first track of ‘Meet Claire’ emerge accompanied by a percussive pulse that drives the suspense of this gritty thriller. An orchestra tuning at the end of the track creates an introductory to the performative nature of the TV series. It is very much led by deep cello lyrical melodies, which drones and penetrates with richness, creating a classical orchestral sound alongside Porter’s modern take – reflecting both the dysfunction and glamour of professional ballet.

And whilst Porter’s intentions to retain the basics of orchestral instruments captures the essence of this classic dance, he embraces its atmospheric qualities – allowing sounds to reverberate and take a darker turn. This differing exoticness is heard in ‘Strip Club Sights’, where the electronic resonance creates a spine-chilling emptiness, further exemplified by the sparseness of the piano in ‘Walk of Pain’. A high-pitched dissonance interrupts this seemingly peaceful yet spare chordal progression, fabricating a much more complex and almost perturbed tone – cumulated in one of the most dissonant pieces ‘Glass Slippers’.

Porter’s amalgamation of electronic and classical instruments ensures his score remains distorted and mystifying, encompassing convoluted and tangled layers. For a television score, Porter doesn’t step back and truly impresses – charging this drama with discordant energy and an enigmatic tone. -DZ

Flesh and Bone is out now from Varese Sarabande


The Interview: Tom Holkenborg/Junkie XL (Deadpool)

After last year’s stunning score for Mad Max: Fury Road, Junkie XL should need no introduction. The Dutch-born composer and musician, born Tom Holkenborg, went from a figure best known outside the dance music world for a remix of Elvis Presley’s “A Little Less Conversation” into a genuine force with which to be reckoned. Holkenborg’s work in film music has always been impressive, but his first full score absolutely left jaws dropped across the world. Now, there are two Junkie XL scores on the way, both for superhero films. First up is Milan’s release of Deadpool on March 4, followed by the Junkie XL / Hans Zimmer collaborative score to Batman v Superman: Dawn of Justice from WaterTower Music on March 25. Nick Spacek was lucky enough to speak with Holkenborg by phone about Deadpool and its fantastically genre-hopping score.

Nick Spacek: It seems that you have two very big movies coming up in the next few months.

Tom Holkenborg: In the next few weeks!

NS: I haven’t gotten a chance to hear the Batman v Superman score yet, but I’m rather impressed with the breadth and width of what you did for Deadpool. What was the baseline from which you were operating for that score?

TH: When I saw the film for the first time, not only did I have pain in my stomach of laughing all the way through – when you see for the first time, it’s hilarious – it was clear to me that you needed so many different types of music. There’s Wade, who’s a funny character throughout the movie, then transforms into Deadpool. He falls in love with this woman, then finds out he has cancer. He’s uncurable. Then, he becomes Deadpool – completely different character, somewhat based on the characteristics Wade already had, but then times a hundred. Then, we have Ajax, who went through the same process, but he’s a serious villain: very military, precise, goes straight to his goal. Then, we have these X-Men characters and we have all these crazy fights in the movie, so the music needed to go from almost a dark version of comedy / satire to extreme action music to emotional music to very dark sound design. So, I needed to go through all these different emotions and pallets to glue it all together. I have to say: it was pretty hard to do, because I’ve never worked on a movie where I had switch within five seconds between all these different emotions.

NS: I was noticing the stylistic switches, especially on something like ‘Liam Neeson Nightmares,’ where it goes – like you said – within five seconds from warbly synths to these very emotional strings. I was wondering, were you trying to complement the mentality and switch between Wade and Deadpool?

TH: Yeah, it was important, and in that particular scene, Wade isn’t Deadpool yet. He comes out of this very troublesome conversation with a doctor that tells him he has this uncurable cancer. We see him sitting in a chair, just collecting his thoughts, and at some point, he starts crying a little bit. In the beginning of that scene, he feels shocked. He’s not sad, but he feels shocked. He’s just thinking in his head, ‘How am I going to deal with this?’ So, that turns into an emotional piece, where his girlfriend starts talking to him, saying, ‘Hey, we can figure this out,’ then it goes into a section where he makes the decision to basically walk away from her, because he doesn’t want her to be there when he dies. It then goes into the next section where he decides to do this military program that can take care of the cancer, not knowing what to expect after that, and then he actually goes to that facility. It’s like five different things within one minute.

NS: Given the prevalence and emphasis on Salt-n-Pepa’s ‘Shoop’ and DMX’s ‘X Gon Give It To Ya’ in the marketing and promotion of Deadpool, I was wondering on how well you were aware of the various songs on the soundtrack, and whether you were trying to work that music into the score you made?

TH: You’re hitting the nail on the head. All the licensed music in the film was pretty much sorted when I started writing for the film, and so it meant that the score very much needed to have a tone, at least with Deadpool, that was connected to all these songs. Deadpool is a guy who basically stopped growing up after 1990. In the movie, he carries around a Walkman – he’s very much from the ’80s. That led me to the period that Deadpool’s music is very much rooted in, which is the ’80s. I dug up all my old synths and computers to recreate that sound, because I knew what these licensed tracks were, and it blended in really really nicely.

NS: It definitely shows through on that first cut, ‘Maximum Effort,’ especially with that – is that a Synclavier you’ve got going on there?

TH: To get a little technical on the instrument side, the synthesizer used is an Oberheim OB-Xa, which was made in the ’70s and made famous by Van Halen in the ’80s with ‘Jump.’ Another one I used is the Roland Jupiter 8 – also, famous early ’80s synthesizer. The other synthesizer I used is a DX5, which was an experimental FM synthesis model that came out in the early ’80s and was later followed by the very popular DX7. The DX5 was used a lot by Jan Hammer in Miami Vice, so it has that really typical metallic, clunky sound. The Synclavier I don’t own, myself, because there are only a few working units, worldwide. It’s very expensive to maintain and the same goes for the Fairlight sample systems. Now, I did approach a guy working in London who had a perfect working synclavier with all the original preset sounds, and he went to the trouble to sample them for me. And, you know, preset number four or five, when it originally came out is that typical ‘Beat It’ sound from Michael Jackson, and I always wanted to use that sound for something. Thank god for Deadpool: I was able to use it and now I can throw that sound away. I can never use it again for the rest of my laugh. [laughs] But, it’s the perfect sound for that, and the reference with ‘Beat It’ is just too funny.

NS: I also enjoy the fact that it pops up here and there throughout the score, rather than just being used that one time.

TH: Yeah, you know, if we talk from a thematic point of view – and you will see, when you see the film – the cutting is so fast, the switching between characters is so fast, I barely had time just to play the first four notes of that riff, and that would be it.

NS: You alluded earlier to the fact that you were trying to include elements of comedy in the Deadpool score. Is that where that elastic, rubberband bass sound in “12 Bullets” or “Watership Down” comes from?

TH: You know what’s really funny about the musical quotes from the ’80s? Whether it’s Miami Vice, Frankie Goes to Hollywood, Art of Noise, obviously Giorgio Moroder – even earlier music like ELO – at the time, when that music came out, it was so serious. They took themselves so serious, which is one of the most beautiful things about the ’80s. I grew up and matured in the ’80s, as a musician. I’m 47, so I started playing in bands from 1979, 1980. I was 13 when it was 1980, and was 23 when the ’80s were over. When Miami Vice got aired, it was so exciting: it was dark, it was serious, it was cool music, and it was the coolest thing on the planet. Now, if we watch that same episode, break out the Coke and the popcorn and we’re going to laugh for an hour straight! It’s so funny when you see it back. So, the intention that I wanted to achieve with the music for Deadpool is not to create funny music, but to create music that in its origin, was very serious, but if you play it against Deadpool, it becomes so incredibly funny and it works so well with his character. It’s a very fine line to walk with a movie like this, and the picture editor on this movie, Julian Clark, he used those words: ‘The trick is going to be that we make music that makes Deadpool fun, but not funny.’

NS: I think that’s a very important distinction to make, especially for that character.

TH: Yeah, because then otherwise, it turns into a comedy score like you would make for a Ben Stiller movie, and that’s not what we wanted to do. We wanted to honor the character.

NS: How is it switching gears between something so serious as a Black Mass or Batman v Superman, and then going to something like Deadpool?

TH: It’s quite a transition, I can tell you that. [laughs] You need time to roll into these movies. When I came off Mad Max and started working on Black Mass, it’s the same thing: okay, no drums this movie. No hardcore electronic bass lines. This is all about the subtlety of film scoring. You just need to grow into it, slowly, just by spending days and days in the studio playing your piano and doing something. With Deadpool, it was exactly the other thing: now, I”m done with Black Mass and it’s all very serious, and now we’re going to go into a movie that is all about action, bits of drama, and we need to find music for Deadpool. So, I hooked up all my synthesizers in the studio and played for weeks on end.

NS: After weeks of doing that, you’re completely in the groove for what it needs to be, and it starts rolling.

TH: You always need a transition time to move into something new.

Deadpool is in theaters now, with the soundtrack available now digitally through most major retailers. It comes out on compact disc through Milan Records on March 4.

Thanks to Tom Holkenborg and Costa Communications


Sodium Party

I’ll be honest, I didn’t know what to think of Steve Nolan’s score to Sodium Party. Sent to me on tape (yes!), my previous experience tells me that there are a lot of people who want to be John Carpenter. This isn’t necessarily a bad thing, but variety is a necessity, and it’s more and more difficult to stand out when everyone is doing the same thing (see also Hollywood action scoring).

This is why I was overjoyed when I hit play on Sodium Party. What hit me wasn’t a driving synth but sparse piano notes, emotionally strained. When the synth tones came in, they were in the background, foreboding, textural. The album continues with the delicate piano, giving it a fragile and haunting vibe from which to spin off into some wonderful melodies, such as the warm ‘Wondermental’ and the propulsive ‘The Walking Day’.

But it also spins off into darker areas, and there are elements that are dissonant and disquieting, such as the static-esque ‘The Cold Trap’. And while that is instantly followed by the ethereal beauty of ‘Party Bench’, even more threatening and uncomfortable. These shifts help underline the journey of the score, and it stands out as a musical narrative away from the original context of the film.

I’d be lying if I said Sodium Party was an easy listen – it’s not, but that’s just what makes it great. It’s uncomfortable at times and emotionally wrought, but it’s also beautiful and affecting, and that itself makes it an exceptionally rewarding listen. -CB

Sodium Party is available now from Spun Out Of Control


Gods of Egypt

Gods of Egypt is the latest film from Australian director Alex Proyas (of Dark City fame). It is a classic fantasy epic based around Egyptian mythology, very much in the Clash of the Titans tradition, in which a mortal hero Bek (Brenton Thwaites) squares off against god of darkness Set (Gerard Butler) and tries to save the world… and his love Zaya (Courtney Eaton)… You know, that sort of thing. The film will open in April and seems to attract no interest whatsoever from general public, if we are to believe early box office predictions. It is already famous, however, for its racial casting controversies. Why would anyone even bother to bring this up in this particular case is beyond me, seems like the film is hardly worth it. In any case, we shall find out how it does soon enough.

Marco Beltrami continues his collaboration with Proyas and Gods of Egypt is their third project together (after 2004’s I, Robot and 2009’s Knowing). The composer, once famous for his numerous horror scores, decided to branch out considerably in recent years, creating an eclectic body of work for both big blockbusters (World War Z, The Wolverine) as well as small personal dramas (The Homesman, The Drop). His latest work harkens back to the more traditional orchestral sound he’s been developing years ago for films like Knowing or Hellboy, and recently revisited in Seventh Son. And it is indeed a welcome return to form.

Gods of Egypt is probably a more traditional score than Seventh Son. Beltrami stated how he would watch films like Raiders of the Lost Ark, Lawrence of Arabia while prepping. Indeed, several elements and colours seem to recall those classics. Another obvious influence seems to be composer’s old mentor Jerry Goldsmith and his The Mummy from 1999. The main theme appearing in ‘Gods of Egypt Prologue’ brings back the romantic idea of Ancient Egypt as conveyed in Stephen Sommer’s two films. While it doesn’t appear that often throughout the album, its appearances are always welcome and enjoyable. Of particular note is the spectacular final statement in ‘God of the Impossible’.

Composer created other notable themes for Gods of Egypt. The most prominent one is a love theme first heard in brief track ‘Bek and Zaya’. Its more delicate and romantic woodwind statements (beautifully showcased in the ‘Bek and Zaya’s Theme’ concert suite) this melody seems to suggest Beltrami was inspired by Alex North’s classic theme from Stanley Kubrick’s Spartacus. It evokes the same sort of timeless quality  while feeling appropriate to its ancient setting. The melody tends to be hinted at in the more suspenseful material (‘Chaos’) and receives its redemptive touching final appearance in ‘God of the Impossible’ finale track. Hathor (played by Elodie Yung in the film) gets her own haunting theme which is best represented on the album’s final track.

What’s interesting, the two opposing godly forces of Set and Horus and  are represented by simple but effective thematic ideas. The hero’s theme is developed  and pronounced most fully in the wondrous ‘Wings and a Prayer’, It is a fairly brief ascending motif that is frequently stated on trumpets. The villain is offered a somewhat more generic descending motif (‘Red Army’). Towards the end of the film, they literally clash in a battle. In ‘Obelisk Fight Part 1’, forces of darkness seem to overwhelm heroic theme with massive percussive forces and choral chanting. It does, however, reclaim its power in the following track (‘Obelisk Fight Part 2’) and manages to win the day. Quite a rare clarity in storytelling to be found in a modern blockbuster score.

The score is full of percussive writing, displayed most audibly in tracks like ‘Coronation’ and ‘Red Army’. In the latter piece, Beltrami also uses a strange and eerie amalgam of vocals and electronic effects to sell Set’s villainous nature. The lighthearted uses of rhythmic sections can be found in several enjoyable action pieces (‘Market Chase’, ‘Snakes on a Plain’). Beltrami makes a really cool use of brass all the way throughout Gods of Egypt and it has an unique quality of feeling both old and modern (‘Set vs Horus’). Finally, there’s an obligatory appearance of duduk in ‘Hathor’s Bedroom’, accompanied by lovely string writing. The chorus is ever-present, either chanting forcefully or simply offering a lovely mystical backing for orchestral writing. Apart from the group ensemble, the composer also uses three vocal soloists (Asdru Serra, Angela Little and Sussan Deyhim) and their performances can be heard primarily in ‘Channeling Zaya’ and ‘Hathor’s Theme’.

While not earth-shattering nor terribly original, Gods of Egypt score is probably the most easily enjoyable Marco Beltrami album in many years. Certainly a more well-rounded and memorable than Seventh Son. It has a certain quality of merging modern sensibilities with adorable callbacks to film music’s glorious Golden and Silver Age classics. The strong thematic base helps a great deal when listening to this this generous 74-minute album. It is consistently interesting and offers one of 2016’s first real highlights.

-Karol Krok

Gods of Egypt will be released by Varese Sarabande next month


Six of the Best… Non-Barry Bonds

The post-Connery era of James Bond began with a bang courtesy of a certain Beatle and his uber-producer. Live and Let Die is famous for the title track by Paul McCartney, but the excellent score was composed and arranged by the fab four’s producer, George Martin. Martin took on the assignment with relish, giving a great blaxploitation feel to the score while retaining the classical Barry strings. His interpolation of the McCartney theme is to die for, and his theme for Jane Seymour’s Solitaire is one of the best of the series. It’s a shame Connery’s Bond didn’t like the Beatles – what a square.

The Spy Who Loved Me (1977)
Disco is a dirty word to most film score fans, but it’s hard to deny just how cool ‘Bond 77’ – Marvin Hamlisch’s arrangement of the Bond theme for The Spy Who Loved Me – is. Despite only being used in a couple of sequences, it’s usually the reason for fans’ rejection of the score, but they don’t know what they’re missing – from the dreamy ‘Ride To Atlantis’ to the gorgeous renditions of ‘Nobody Does It Better’ to the jagged action of the Lotus chase, Hamlisch’s score is a joy at times. Sadly, the album is limited to source music and album arrangements and as such is not at all representative of the actual score.

Licence To Kill (1989)
Far from the outlandish volcano lairs and space-based hijinks of previous villains, Licence To Kill was a hard-edged revenge thriller that took its story from the tales of the Latin American drug cartels. Now occupying the same space as movies like Lethal Weapon and Die Hard, it’s not surprising that Michael Kamen was brought on board to bring 007 down to earth. While an attempt to create a new riff on the Bond theme with Eric Clapton was aborted, Kamen still brought his trademark mix of orchestra and guitars, allowing the film a serious edge but with all of the swagger that JB demands.

Tomorrow Never Dies (1997)
David Arnold came on the scene for Pierce Brosnan’s second Bond adventure, 1997’s Tomorrow Never Dies, and immediately showed everyone why he was seen as the heir apparent to John Barry. Arnold’s talent was instantly displayed with the gunbarrel cue, presenting all the classic elements with extreme precision and confidence, and followed with the astounding action cue ‘White Knight’. Arnold brought a mix of orchestral and electronic elements in for the film, although never allowing the latter to overwhelm the former as can happen with some composers. While the film isn’t brilliant, Arnold’s score was reason alone why he was kept on for the next four films.

Casino Royale (2006)
Probably Arnold’s greatest score came as a new Bond arrived on the scene. With Daniel Craig and pseudo-reboot Casino Royale, Bond was blunt, brutal, and uncompromising. Gone were the multiple Bond theme quotes, replaced by hints of the melody along with the title track ‘You Know My Name’, which built up while Bond was still becoming Bond. The action cues are incredible, with ‘African Rundown’ a fantastic piece tracking Bond chasing a building-hopping terrorist, but the centrepiece is the stunning ‘Miami International’. Arnold composed a classic theme for Bond and doomed lover Vesper (‘City of Lovers’), but the entire score builds up to the finale, where 007 finally steps into his shoes, accompanied by a classically huge rendition of
the James Bond theme. Cue cheering.…


2015 IFMCA Awards Winners Announced!


The International Film Music Critics Association (IFMCA) announces its list of winners for excellence in musical scoring in 2015, in the 2015 IFMCA Awards.

The award for Score of the Year goes to composer John Williams for his work on the massively popular and successful epic science fiction fantasy “Star Wars: The Force Awakens,” from director J. J. Abrams. IFMCA member James Southall said that “the Force remains strong in John Williams and long may it continue” and called the score “glorious,” while IFMCA member Christian Clemmensen called the score “a powerfully melodic and excitingly complex piece of grand artistry from an era of greatness that only John Williams in top form could deliver.” “Star Wars: The Force Awakens” is also named Best Score for a Fantasy/Science Fiction/Horror Film, and wins the Film Music Composition of the Year award for the film’s conclusive end credits suite, “The Jedi Steps and Finale”. These are the thirteenth, fourteenth, and fifteenth IFMCA Awards of Williams’s career, and it marks the third time he has been awarded Score of the Year, after “Memoirs of a Geisha” in 2005, and “War Horse” in 2011.

Composer Michael Giacchino is named Composer of the Year, having written four outstanding works spanning multiple genres in the past year. His work in 2015 includes scoring the emotional Disney/Pixar film “Inside Out,” which is also named Best Score for an Animated Film; the ambitious science fiction adventure “Jupiter Ascending,” which was nominated in multiple genres including Score of the Year; the fantastical adventure “Tomorrowland,” which was nominated for Film Music Composition of the Year; and the massively successful action-adventure “Jurassic World,” which built on John Williams’s score for the first film featuring genetically modified dinosaurs running amok in a lavish theme park. IFMCA member Karol Krok called “Inside Out” “enjoyable and endearing,” while IFMCA member Charlie Brigden said that “Jurassic World” “displays just how much of a command [Giacchino] has over a modern symphony”. These are the thirteenth and fourteenth IFMCA Awards of Giacchino’s career, and it marks the third time he has been named Composer of the Year, following his previous wins in 2004 and 2009.

The IFMCA’s ongoing recognition of emerging talent in the film music world this year spotlights Italian composer Maurizio Malagnini, who is named Breakthrough Composer of the Year. Malagnini has been working primarily in world of British television since he first emerged onto the scene in 2010, writing scores for popular shows such as “Muddle Earth,” “The Body Farm,” “The Paradise,” and “Call the Midwife,” but really impressed IFMCA members this year with his first major film score for a new version of the classic Peter Pan story, “Peter & Wendy”. IFMCA member Jon Broxton called “Peter & Wendy” “undoubtedly one of the best scores of 2015”, while IFMCA member Peter Simons described the score as being “so infectious, so colourful, playful and utterly charming”.

The various other genre awards are won by James Horner for the epic Chinese-language drama “Wolf Totem”; Douglas Pipes for the mischievous and malevolent Christmas comedy “Krampus”; Joe Kraemer for the exciting retro action score for “Mission: Impossible – Rogue Nation”; and Steven Price for his music for the BBC nature documentary “The Hunt”.

In the non-film categories, Argentine composer Federico Jusid wins the award for Best Original Score for a Television Series for the third year in a row, this time for his astonishing score for the Spanish historical TV drama “Carlos, Rey Emperador,” the sequel to the multi-award winning “Isabel,” while composer Austin Wintory wins the award for Best Original Score for a Video Game or Interactive Media for his groundbreaking work on “Assassin’s Creed” Syndicate”, a score which not only includes classical dances used as action cues, but also a number of original ‘murder ballads’ penned in collaboration with Australian musical comedy group Tripod.

Oakland, California-based Intrada Records is named Film Music Record Label of the Year in recognition of their ongoing excellence in restoring and releasing the most beloved film scores of the past, while film music historian and writer Jon Burlingame wins the Archival Compilation award for the wonderful box set of music from the original 1960s “Mission: Impossible” he produced for La-La Land Records. Interestingly, both the Archival Re-Release and Re-Recording categories are won by different versions of Bernard Herrmann’s 1976 score for the psychological thriller “Obsession” – firstly, the outstanding release of the original score tracks by French label Music Box Records and producers George Litto, Laurent Lafarge, and Cyril Durand-Roger; and secondly, the magnificent re-recording of the entire score by the City of Prague Philharmonic Orchestra conducted by Nic Raine, and produced by James Fitzpatrick for Tadlow Music.

Finally, the IFMCA has decided to bestow a rare Special Award on the late James Horner, for his classical work “Pas de Deux”. The piece is a double concerto for violin, cello, and orchestra, and was commissioned by the Norwegian brother/sister musical duo Mari Samuelsen and Hakon Samuelsen. The work was released through Mercury Classics and Universal Music in May 2015, and represented the first of several anticipated major excursions into pure classical music – what would have been a new and exciting phase in the composer’s musical career, especially since his first, abortive attempts in the late 1970s and early 1980s failed to ignite the public’s imagination. Sadly, with the composer’s tragic death in a plane crash in June, it also represents ‘what might have been,’ and this award is intended to be a tribute in recognition the composer’s life and work, and all the great unheard music that died with him.



  • Star Wars: The Force Awakens, music by John Williams


  • Michael Giacchino


  • Maurizio Malagnini


  • “The Jedi Steps and Finale” from Star Wars: The Force Awakens, music by John Williams


  • Wolf Totem, music by James Horner


  • Krampus, music by Douglas Pipes


  • Mission: Impossible – Rogue Nation, music by Joe Kraemer


  • Star Wars: The Force Awakens, music by John Williams


  • Inside Out, music by Michael Giacchino


  • The Hunt, music by Steven Price


  • Carlos, Rey Emperador, music by Federico Jusid


  • Assassin’s Creed: Syndicate, music by Austin Wintory


  • Obsession; music by Bernard Herrmann, album produced by George Litto, Laurent Lafarge, and Cyril Durand-Roger, liner notes by Daniel Schweiger, album art direction by David Marques (Music Box)


  • Obsession; music by Bernard Herrmann, performed by the City of Prague Philharmonic Orchestra cond. Nic Raine, album produced by James Fitzpatrick, liner notes by Christopher Husted, album art direction by Matthew Wright and Damien Doherty (Tadlow)


  • Mission: Impossible – The Television Scores; music by Various Artists, album produced by Jon Burlingame, liner notes by Jon Burlingame, album art direction by Joe Sikoryak (La-La Land)


  • Intrada Records, Douglass Fake, Roger Feigelson


  • Pas de Deux, classical work by James Horner, commissioned by violinist Mari Samuelsen and cellist Hakon Samuelsen


-Charlie Brigden & Karol Krok