We are thrilled to announce that the composer and conductor Carl Davis has written the music for Ethel and Ernest.
As you will see from his biographical notes Carl’s range of work is immense. His film compositions include The French Lieutenant’s Woman for which he won a BAFTA and Ivor Novello awards. But perhaps more significantly for our film, which starts in the silent cinema era of the 1920s, are the compositions he has done to accompany silent films.
Earlier this year producer Camilla Deakin, editor Richard Overall, and myself made several trips to Carl’s house in Windsor to hear the progression of the compositions. We were bowled over by the beautifully haunting music that we heard on our very first trip, and that piece became the main theme that you will hear at various key moments throughout the film.
Director Roger Mainwood and producer Camilla Deakin listen to the first play through of what would become the main Ethel and Ernest theme. January 2016.
Producer Camilla Deakin with Carl Davis – Windsor – January 2016
The finished score waiting to be played by soloist Huw Watkins – Angel Studios, Islington, 16th May 2016
The Ethel and Ernest original score being recorded at Angel Studios, Studio 1, Islington, north London, 16th May 2016. Carl Davis is conducting the Chamber Orchestra of London.
The recording took place in May at Angel studios in north London under the musical direction of Chris Egan. It was conducted by Carl Davis and performed by the Chamber Orchestra of London. As well as a classical ensemble Carl also employed jazz musicians who were versed in recreating the authentic sound of bands from the 1920s and 1930s. A piano solo of the main Ethel and Ernest theme was performed by Huw Watkins.
Music by Carl Davis is published by Faber Music Ltd., and a soundtrack album of music from the film will become available on Decca Records.
Ethel and Ernest also uses original recorded music from the periods depicted in the film. A vast range of popular tunes from four decades are woven into the soundtrack, from Al Bowlly’s 1934 recording of ‘What a Little Moonlight Can Do’ through to The Shadows 1963 hit ‘Foot Tapper’ The guiding light on getting clearance on all these tracks was the indomitable Gary Welch and his team at Eyehear music.
Listen out also for a wonderful end credit song written and performed by someone you will all have heard of ! But more on that in a later post….