The Goddess Returns
Scored for voice, string quartet and percussion (ghattam)
The Goddess Returns was the centerpiece of a large multi-media work I composed, of the same name, for an Elektra String Quartet performance project in 1999
Performed by: Antigone Foster, vocals
Elektra String Quartet - Mirka Rozmus and Romano Crivici, violins; Rudi Crivici, viola; Markus Hartstein, cello
Interview with Andrew Ford
-ABC Radio national
composer & performer
Hotep -Know Thyself
Directed: Petri Salo
Written: Petri Salo & Axel Sutinen
Filmed in Portugal & Finland
-Best Experimental Film -Chicago Indie Film Festival, 2022
-The Best Experimental Film -International Manhattan Film Awards, 2022
-Best Experimental Film -Toronto Film Magazine Fest, 2022
-Selected for Cannes (TBA)
Running With the Boys
Directed by Tony Chu
Script and screenplay - Annie Cossins
Produced by Annie Cossins
Teotiuhacan Productions, 2007.
Distributed internationally by Quat Media, and in the UK by Shorts Space
I received an email, from across the abyss of years from my old friend and fellow musician Axel......"could you compose some music for a section in a stream-of-consciousness film we are working on, the concept is very Gothic Horror, melodramatic.....ideally it should be an orchestral score...ideally with a budget, but in truth there is none!?"
Needless to say, the project was fun, particularly including the grand organ, which took me back to the days I was passionate about the organ, and worked as organist and choir-master in a number of churches in Sydney during the 1970's
A symphonic synthetic score, my music was the orchestral component of the sound track, played 'straight', as well as being cut up and played backwards, etc!
Composed: April, 2019
Screened at seven overseas festivals, Running with the Boys is a harrowing film, I am told, on first viewing - even more so, emotionally and psychically after the 10th, 30th ... 50th time, as I went through the various scenes, over and over again; composing, testing ideas, adjusting the timings and refining the music/emotional subtext/context in which the dialogue and storyline unfolds.
But it was only after the film was completed, when I found the voices as well as the music still continuing, that I realised some things from the darker side of the human psyche cannot ever be quite resolved.
Recorded on a shoe-string budget, I am indebted and grateful to the musicians who, ever patient, gave their time, expertise and creativity to help me realise the score.
Anthony Heinrichs -trumpets
Romano Crivici -violin and piano
Rudolf Crivici - viola
Alex Henery -acoustic and electric bass;
Jess Ciampa -percussion.
Written, produced and directed by Nick Tantaro
It’s amazing what one can do with no music budget, a keyboard/synthesiser, a violin and only one evening in a recording studio.
Composing (and performing) the score for this delightfully quirky and funny short film was great fun. The pseudo-baroque ‘finale’ section that can be heard in this excerpt was a satisfying way to help bring some of the profound issues being ‘explored’ to an appropriate psycho-dramatic resolution.
for piano, percussion and pre-recorded wind instruments.
Commissioned: Sydney Film Festival
Performed by Elektra Collektiv Unconscious at the Sydney Film Festival (1994) and 10 Days on an Island Festival (Tasmania) 2003 to original footage by Frank Hurley of the Mawson expedition to the Antarctic
Review: “…a taut score took a cool modern look at dated images of boyish adventurers braving the pole.” (Hobart Herald)
This score was an ‘experimental’ performance approach to a strange film, which consisted of a series of different, although not particularly related scenes shot by Frank Hurley on the now famous Mawson expedition to the Antarctic in the early 20 century.
Commissioned as a performance project by the Sydney Film Festival, it was screened with a score/soundtrack I created for live musicians, (improvising on piano and percussion) as well as pre-recorded material for wind instruments (clarinet, oboe/cor Anglais and French horn) in certain sections of the film, giving it an almost symphonic feel.
Home of the Blizzard was a remarkable film, an almost dream-like collection of different scenes: human, animal, and awesome and desolate nature which, even without sound speak for themselves.
Linda Walsh -oboe and cor anglais
Peter Jenkins -clarinet
Toby ? -French horn