The selection and placement of all the music of Woodwind (2017) is done.
The music editing proved a mammoth task when you consider that Woodwind is a film essentially about sound and music. Then consider the soundtrack extends nearly all the way across about 160 minutes of running time.
There’s a wide selection of musical approaches spanning the ages. South America was also influenced by the very same technical approach, while we include an Argentinian touch. Bonifaz is a composer initially working in the traditions of European Classical Music, with him and his partner in music, Alina, we experience Pergolesi, Schubert and Schumann. While Beethoven was very much central to the development of the early scripts, there wasn’t any space fitting for him in the first cut of Woodwind.
The Indian Classical Music tradition enriches our authentic locations in Varanasi and Himachal Pradesh. Together we also hear the music of the people from temples to ceremonies on the streets and Ganges. Above all, there’s the music of nature itself, playing a crucial role in the story.
For our composition of the soundtrack, the meeting of these philosophies is represented by Austrian musician Stefan Fraunberger. On Woodwind we wanted the sound and music artist to live and breathe with the story of Bonifaz. It wasn’t about cutting and pasting the music, but to immerse a real composer within the environment of the film, and to shape the soundscape of Bonifaz from here. This underlines the key role of Fraunberger in the sound and music of Woodwind.
Even though the selection is complete, there’s no stopping changes on later cuts when the sound is mastered.
At this early point we are not giving away the names and details of the tracks. In time we will reveal more about the music of Woodwind.