Cellist Joshua Roman began to experience something beyond a case of Covid, early in the pandemic. It soon became apparent that the virus had advanced to become long Covid, which consists of symptoms that vary widely from one person to the next. While coming to terms with this life-changing condition, Joshua had to learn a new way of approaching the playing of the cello, performing publicly, and collaborating with musicians.
Immunity, Joshua’s first solo album, is a form of document of those experiences, but also functions as a line of communication to his audience, especially as a connector to others with long Covid.
In this interview with All Classical Program Director John Pitman, Roman shares his encounters with this serious, long-term illness, how it changed his approach to music and performing, and how it strengthened his connections with friends and fellow musicians, and the people who come to hear him play.
Hear their conversation below:
Joshua Roman’s Immunity is available now on Bright Shiny Things on the artist’s website, joshuaroman.com.
The votes have all been counted, and the winning selections of All Classical Radio’s Classical Countdown to 2025 have aired on New Year’s Eve! Read on to see the results of this year’s listener-voted 100 favorite musical pieces.
Thank you for participating in our annual Classical Countdown tradition, and thank you for listening to All Classical Radio. Everything we do is made possible by listener support, and we are grateful for YOU.
Happy New Year, and cheers to another year of beautiful music!
2024 Classical Countdown Results
Hisaishi: Ponyo On The Cliff By The Sea
Dvorák: Symphony No. 9 in E minor, “From the New World”
Beethoven: Symphony No. 9 in D minor, “Choral”
Gershwin: Rhapsody in Blue
Ravel: Bolero
Rimsky-Korsakov: Scheherazade
Saint-Saëns: Symphony No. 3 in C minor, “Organ”
Bach: Brandenburg Concertos
Vaughan Williams: Fantasia on a Theme by Thomas Tallis
Holst: The Planets
Rachmaninoff: Piano Concerto No. 2 in C minor
Vaughan Williams: The Lark Ascending
Barber: Adagio for Strings
Orff: Carmina Burana
Copland: Appalachian Spring
Grieg: Peer Gynt
Rachmaninoff: Rhapsody on a Theme of Paganini
Copland: Fanfare for the Common Man
Tchaikovsky: Swan Lake
Mahler: Symphony No. 1 in D Major
Debussy: Clair de Lune
Tchaikovsky: Violin Concerto in D Major
Smetana: The Moldau
Mussorgsky: Pictures at an Exhibition
Bach: Jesu, Joy of Man’s Desiring
Vivaldi: The Four Seasons: Winter
Wagner: Ride of the Valkyries
Sibelius: Finlandia
Wagner: Tannhäuser Overture
Berlioz: Symphonie Fantastique
Satie: Gymnopedies for piano
Dvorák: Cello Concerto in B minor, Op. 104
Elgar: “Enigma” Variations
Beethoven: Symphony No. 7 in A Major
Beethoven: Piano Concerto No. 5 in E-flat Major, “Emperor”
Rodrigo: Concierto de Aranjuez
Beethoven: Piano Sonata No. 14 in C-sharp minor, “Moonlight”
As we begin a new year together, we’d like to take a moment to reflect, with gratitude, on 2024. Together, we have achieved so much!
Thanks to your generous support, All Classical has had an exciting year full of high notes and crescendos—from a new state-of-the-art home in downtown Portland to innovative community collaborations and artist residencies, and a project profiling trailblazing artists of the Pacific Northwest.
All Classical Radio is community-focused and community-supported. Your financial support will help to keep the music playing in the year ahead, and ensure that All Classical can continue sharing comfort, inspiration, and healing music with our community every day. Thank you.
Buildout and relocation to state-of-the-art Media Arts Center in downtown Portland, maintaining uninterrupted service on two 24-hour networks.
Over 40 creative visionaries and leaders profiled and celebrated in the Artist Anthology, funded by the NEA.
Opening of the International Children’s Arts Network (ICAN) Moonflower Studio, logging 85+ hours of youth in-studio production since August, and ICAN listenership growth to over 30,000 youth, families, and educators.
Release of Seasons 2 and 3 of ICAN Become, including youth interviews with Broadway Star Kelli O’Hara, Portland Timbers player Zac McGraw, Oregon Symphony Associate Conductor Deanna Tham, and more.
Broadcast of new Sound in Print summer series with host Coty Raven Morris, twice named a finalist for the Recording Academy and GRAMMY Museum’s Music Educator Award.
On air and online specials with star guests including Itzhak Perlman, Julie Andrews, John Malkovich, Jimmie Herrod, and more.
Recognition of All Classical Radio staff: Suzanne Nance awarded Portland Metro Chamber’s Sandra K. McDonough Leadership Award; Rebecca Richardson named a Rising Star in Public Media by Current.
$4.4 million raised in 2024 for the relocation capital campaign, including $750,000 from M.J. Murdock Charitable Trust and 90+ additional gifts. The total raised since 2023 is $10.2 million.
Thank you for supporting All Classical Radio.Your tax-deductible contribution will help protect the future of classical music in the Pacific Northwest, and beyond.
Celebrating the magic of the season is one of All Classical Radio’s most beloved traditions. Each December, our Program Director, John Pitman, selects twelve pieces from our extensive Festival of Carols library for a deep dive into their origins.
Since 2019, we’ve explored holiday classics on the Arts Blog, such as “Hark, the Herald Angels Sing,” “O Tannenbaum,” and “Silent Night.” Each year, we’ve expanded our exploration of carols to cover several centuries, origins, languages, and even holidays beyond Christmas. This year, we’re thrilled to continue in this tradition and cover a mix of dear favorites and lesser-known jewels.
The words of the carol Hodie Christus Natus Est (Today Christ is born) originate from a 6th-century Gregorian chant that was traditionally sung at Christmas. One of the text sources comes from the Gospel of Luke: “For unto you is born this day in the City of David a Savior, which is Christ the Lord…” Another comes from Psalm 32, which begins, “Be glad in the Lord, and rejoice…” In the time since its Medieval origins, the chant has emerged as a popular Christmas carol and has been interpreted by many composers throughout the subsequent centuries, including Jan Pieterszoon Sweelinck, William Byrd, and Giovanni Palestrina.
Let’s listen to Dutch composer Jan Pieterszoon Sweelinck’s interpretation of the chant published in 1619. Sweelinck’s music straddles the Renaissance and Baroque eras and is a shining example of the power of polyphony (the combination of several melodies sung together to create a rich vocal tapestry). You can follow along with the English translation of the Latin text here.
What Sweeter Music
Renowned English composer and choral director John Rutter is no stranger to holiday music and has written many beloved Christmas carols. One such work, What Sweeter Music, was composed in 1988 for the choir of King’s College for their Festival of Nine Lessons and Carols. (And in case you didn’t know, All Classical broadcasts this Christmas Eve tradition every year. Be sure to tune in at 7:00 AM PT on Tuesday, December 24, 2024). For What Sweeter Music, Rutter chose to set words by 17th-century English poet Robert Herrick which celebrate the birth of Jesus through joyful song.
Jesu, bleibet meine Freude (Jesu, Joy of Man’s Desiring) from Cantata 147
J. S. Bach originally composed Cantata 147, Herz und Mund und Tat und Leben (Heart and mouth and deed and life) for the Advent season in 1716, rewriting it a few years later while serving in his new position as music director at St. Thomas School in Leipzig. Bach wrote this well-known cantata for the Feast of the Visitation to the Virgin Mary, which is closely associated with the anticipation of the birth of Jesus. For text, Bach looked to the Gospel of Luke for inspiration. The most famous movement from the work, “Jesu, Joy of Man’s Desiring,” appears twice in Cantata 147: once in the middle, and once as a reprise at the end with new text. As you listen to this holiday anthem, read along with an English translation of the German text here.
Gabriel’s Message
Gabriel’s Message (“The angel Gabriel from heaven came…”) originated as an anonymous Medieval Basque hymn that has since been arranged by several choral composers, including Edgar Pettman, John Rutter, and Stephen Paulus. The text tells the story of the Annunciation as it relates to the celebration of Christmas and relays an intimate interaction between Gabriel and Mary. Not long after it was written, the carol became popular across regional boundaries and even crossed the English Channel.
Fun fact: Chaucer quoted the carol as part of The Miller’s Tale in his Canterbury Tales.
El Noi de la Mare
The gentle Catalan Christmas carol, El Noi de la Mare (The Son of the Virgin), could easily double as a lullaby. Written in three variations, the carol’s three verses ask, “What shall we give the son of the Mary?” The narrative refers to figs in all three verses, and in the final stanza, the figs that are “still green” are a reference to Jesus as an innocent child, and the fig’s “ripening” is his coming work of redemption. Read an English translation of the text here. Given its Spanish origins, this carol is frequently arranged for guitar, as seen below. In fact, guitarist Andrés Segovia is largely responsible for the work’s popularity outside of Spain.
A Cornish Christmas Carol
English composer Peter Warlock (born Philip Arnold Heseltine) contributed several beloved carols and choral works to the seasonal repertory, including his striking Cornish Christmas Carol. If you feel like this carol gives you a bit of aural whiplash, Warlock wrote the following note in his score: “To be sung fairly fast, with sudden alternations of hardness and sweetness, of rude heartiness and tenderness touched with awe.” Be sure to listen for the fleeting musical reference to another carol we’ve discussed already featured on the Arts Blog.
Gesu Bambino
Composed in 1917 by Pietro Yon, this Italian Christmas carol quickly became a seasonal staple across many nations. Born in Italy, Yon emigrated to the US at age 21 and wrote his famous carol while serving as organist of St. Francis Xavier Church in Manhattan. You might notice that the melody and text for the chorus are extracted from Adeste Fideles (Oh Come All Ye Faithful). Since its publication, Gesu Bambino has been performed both in Italian and English and recorded by such notable singers as Luciano Pavarotti and Kathleen Battle. You will find the English translation of the original Italian lyrics here.
A Boy Was Born
Using text of German origin from the 16th century, English composer Benjamin Britten created his Christmas cantata, A Boy Was Born, while still a student at the Royal College of Music. This soaring a cappella piece marked Britten’s first major composition for voice and his first significant religious contribution. It’s important to note that the title, A Boy Was Born, is both the title of the cantata and the name of the work’s first movement. This first movement serves as the main theme upon which the subsequent six variations are built. When performed by itself, the first movement is hymn-like and sincere, evoking musical traditions of both centuries past and present.
Patapan
Originating from the Burgundy region of France, the traditional Christmas carol Patapan was written around 1700 by Bernard de la Monnoye. In addition to his work as a lawyer, La Monnoye wrote a well-known collection of thirteen Burgundian Christmas carols under the pseudonym “Gui Barozai,” with Patapan being the most popular today. Telling a story of two boys and their musical lessons in celebration, the original title of the carol was “Willie, Take Your Little Drum” and can be interpreted as a predecessor to The Little Drummer Boy. The carol’s title is meant to mimic the drummer’s sound while celebrating the baby Jesus’s birth. As you listen, follow along with an English translation of the text here.
A Christmas Carol
American composer Charles Ives’s A Christmas Carol was written with a calm, sweet, and lilting melody that offers a soft air of devotion. Composed in 1894, Ives wrote both the text and music for this carol himself and published it in a collection of 114 Songs in 1922. While the title might call to mind a certain Dickensian novella, Ives titled his carol in literal reference to the holiday celebrating the birth of Jesus.
Ave Maria
German composer and arranger Franz Biebl’s interpretation of the Marian antiphon is a sublime choral masterpiece. Written for double-male chorus (and later arranged for mixed voices), Biebl wove elements of Medieval chant into a resolutely 20th-century piece. Originally composed in the 1950s, Biebl’s Ave Maria became widely popular in the U.S. after being recorded by the famed vocal ensemble Chanticleer. Interestingly, Biebl actually wrote the piece for a firemen’s choir in Bavaria. As for the text, while not directly connected to Christmas, the ancient prayer to Mary has become a consistent literary counterpart to other nativity texts.
Gloucestershire Wassail
Gloucestershire Wassail (“Wassail, Wassail, All Over the Town”) is a joyful traditional English carol dating from the 18th century and commemorates the Christmastime wassailing tradition known throughout parts of England. Wassailing involves going from house to house and singing of good health while carrying a large, decorated bowl filled with mulled wine to offer townsfolk. The verses of text refer to many food items the carolers wish for in the new year, such as a good crop of corn and a good Christmas pie, as well as acknowledge many of the local livestock.
Keep the Celebration Going
Read about more favorites from the Festival of Carols in previous years’ editions of “The Stories of Twelve Carols”:
All Classical Radio is thrilled to announce that Elaina Stuppler’s position as the station’s Young Artist in Residence has been extended through Summer 2025!
Elaina has already appeared at several high-profile station events, including the unveiling of All Classical’s 40th Anniversary display at the Oregon Historical Society in January 2024, where she performed with Pink Martini band leader Thomas Lauderdale, pianist Hunter Noack, vocalist Sofia von Trapp, and others. Elaina has also played an active programming role for the International Children’s Arts Network (ICAN). In April 2024, she interviewed Dame Julie Andrews and her daughter, Emma Walton Hamilton, for a special episode of ICAN’s Audio Book Tour. In 2025, Elaina will continue to create content for both All Classical and ICAN’s digital channels and will perform on an upcoming episode of Thursdays @ Three in 2025.
Elaina was recently named a YoungArts Award Winner with Distinction in the Voice/Singer-Songwriter category. Winners of this national competition are chosen for their caliber of artistic achievement by esteemed discipline-specific panels of artists through an adjudication process that includes multiple rounds of review. All YoungArts award winners receive a cash prize, in addition to creative and professional support in their emerging careers. Out of 11,000 applicants, only 169 won with distinction. Learn more at youngarts.org.
Congratulations, Elaina, on this tremendous achievement!
ABOUT
16-year-old Elaina Stuppler is an award-winning composer, trombonist, and vocalist, who has performed at Carnegie Hall, Lincoln Center, the Sydney Opera House, the Grammy Museum, and the Hollywood Bowl with the Los Angeles Philharmonic. Elaina is Co-Principal Trombonist of the Portland Youth Philharmonic (PYP) and was selected for All-State and All-Northwest Honor Bands for Jazz and Wind Ensemble. Her original compositions have been performed by PYP, Third Angle, Metropolitan Youth Orchestra of New York, Chamber Music Northwest, and Metropolitan Youth Symphony.
All Classical Radio’s Director of Music and Programming John Pitman recently spoke with John-Henry Crawford. Since the Louisiana-based cellist’s 2021 debut, Dialogo, Crawford has always had “dialogues” with the composers whose music he performs, and his album featuring Dvořák’s Cello Concerto and Tchaikovsky’s Variations on a Rococo Theme, is no exception.
John-Henry has known these two works since he was a budding cello student, listening over and over again to the Rostropovich recording. Collaborating with the San Francisco Ballet Orchestra on the new album seems a natural partnership as they are familiar with Tchaikovsky through his ballets, John-Henry’s interpretation gives the music a dance-like quality, and continues his “dialogues” with the composers, as well as his fellow musicians, in this new release.
We are thrilled to name violinist Emily Cole and clarinetist James Shields as All Classical Radio’s 2024/2025 Artists in Residence. Both James and Emily are esteemed musicians, known in the Pacific Northwest and across the country, and we are excited to showcase their artistry on the air and beyond. As part of their residency, they will participate in exclusive performances, interviews, and special events with the station, offering listeners a deeper look into their creative process and musical journey.
“For the first time since the program’s launch in 2019, All Classical Radio is thrilled to invite two Artists in Residence,” says Kristina Becker, the station’s Communications & Operations Manager, who oversees the program. “We are honored to celebrate and support Emily and James – a dynamic husband-and-wife duo whose artistic achievements and commitment to music and education are beautifully aligned with All Classical’s vision and values.”
Emily and James kicked off their residency with Christa Wessel on October 10, 2024, on Thursdays @ Three. This special program included performances of music composed by James himself, and conversation more about what it means to be a performing artist in Portland today, and a resident artist at All Classical Radio.
Q&A With Emily & James
Photo by Frankie Tresser
We caught up with our new Artists in Residence to get to know them a little better. Read on for their responses to some of our questions.
Can you please tell us how you felt when you first heard the news that you were chosen as All Classical Radio’s 2024/2025 Artists in Residence and what this residency means to you?
James: I was very excited! All Classical is such a fantastic station, and many folks who work here were already familiar members of my community. It seemed like an exciting opportunity and I had specific projects that I thought might tie into All Classical’s mission in interesting ways.
Emily: I felt (and continue to feel!) deeply honored that All Classical would want me involved with the station community in this capacity. Being given the opportunity to collaborate with James on shared projects on behalf of the station is a dream!
What does All Classical Radio mean to you? How would you describe the station to someone who is not familiar with it?
Emily:I’ve been listening to All Classical since the moment I first moved to Portland in 2011. I scanned the radio waves, found the classical music station, and that was that. Since then, I’ve volunteered during fundraisers, gotten to know the on-air hosts, performed on Thursdays at Three, and been involved in the Recording Inclusivity Initiative, not to mention logging hundreds of listening hours in the car and at home! I truly can’t imagine my musical life in Portland without All Classical Radio.
James:All Classical is the station that we listen to most often in the car and around the house. It’s a place where we expect to hear a wide variety of classical music, ranging from internationally renowned recordings to live local performances featuring our friends and colleagues. The station and the hosts are very accessible to the public and to performing musicians in Oregon, which sets All Classical apart from other stations.
What do you hope to accomplish with this residency?
James:I’d like to focus in part on activities that involve both Emily and me together, for instance, an on-going composition project that I’ve been working on which focuses on expanding the repertoire for Violin and Clarinet. I’m a composer myself, and I’ve completed around 15 new duos, many of which we have recorded this summer. I hope to approach some other composers about adding works to this project.
I’d also love to try and share my own personal experiences as a musician, including the good, bad, and ugly. Of course, musicians face pressures to present a “curated” version of ourselves to the public. However, as artists I think we have a duty to show all sides of our humanity, because art deals with the full range of human emotions. I’d like to discuss and write about the up and down relationship I’ve had with my instrument and music over the years, and what it takes to keep the passion alive through the various successes and failures one encounters on the journey of crafting a life in the performing arts.
Emily: I’m so looking forward to collaborative opportunities within the All Classical community, including with the Young Artist in Residence and ICAN. James and I plan to be present both in person and over the airwaves, and we are especially excited about helping to celebrate the opening of the James DePreist Recording Studio!
You are involved with a few organizations who champion works by women and musicians of color in your performances. How important is supporting works by underrepresented musicians for you?
Emily:With my string quartet, mousai REMIX (with violinist Shin-Young Kwon, violist Jennifer Arnold, and cellist Marilyn deOliveira), I’ve been fortunate to study and perform works by underrepresented composers from the past as well as a diverse array of composers working today. It’s been a rich experience for us over the years, and it’s rewarding to know that each and every performance expands the music’s reach.
James:I think classical music is still very much in a time where we need to focus consciously on diversifying our repertoire. It would be great if this could be a more subconscious process, but I think we’ll need to put active attention towards performing more works by underrepresented composers for at least a few more generations. Things are changing in a more positive direction though. Little by little the conversations musicians tend to have about “oh, have you heard so and so’s music?” or “you gotta check out this piece” are shifting to include more and more works by folks who aren’t dead, white, European males. This is a welcome change, and we need to make sure this trend continues.
Our Artists in Residence often mentors our Young Artist in Residence and youth ambassadors. Do you have any advice for young musicians just getting started in their musical career?
James:Focus on what you love most of all, and listen to lots of music. Be openminded about where your career might lead you. There are many ways to be a professional musician, and some activities will be a better fit for you and what you are most interested in will shift over time. I have been fortunate to have a diverse range of interests, ranging from composing, teaching, orchestral performing, chamber music performing, and arts management and advocacy. Having many interests will both make you more employable and will give you the opportunity to fine-tune how you are spending your time if things get stale. And I’d say cherish your friends in the arts – they may become lifelong collaborators.
Emily: My best advice for young musicians: learn to take precious care of your body and mind! A performing career can be physically and emotionally taxing, and you must be your own advocate every step of the way. Being a respectful colleague and retaining a curious spirit are also crucial!
Violinist Augustin Hadelich was born in Italy to German parents, and then moved to the U.S. two decades ago to study at Juilliard, where he has lived ever since. Hadelich and his music embody the idea of the “American melting pot,” as does his new album, American Road Trip.
On the album, he reflects as much on his own travels and experiences with American culture as he does on the composers whose music he features. There are composers expressing the Black American experience, including Coleridge-Taylor Perkinson and Daniel Bernard Roumain; musings on the east coast by Aaron Copland, the Jewish-American composer who evokes the Wild West better than anyone; and of course, women adding their voices to the rich American tapestry, such as Amy Beach. The recording feels very comprehensive, and yet Hadelich and his piano partner, Orion Weiss, know they are just scratching the surface here.
All Classical Radio’s Director of Music and Programming John Pitman recently spoke with Hadelich about American Road Trip, and more.
For this edition of John Pitman’s Reviews, John has invited All Classical host and producer Lisa Lipton to sit down with Larry Schoenberg, son of composer Arnold Schoenberg.
Lisa, along with microtonal composer Richie Greene, and 45th Parallel Universe musicians Ron Blessinger and James Shields, asked Larry what it was like having one of the 20th century’s greatest, and most controversial composers as a dad. The conversation runs the gamut from the inner workings of the 12-tone method that Schoenberg created, the many celebrities who were friends of the family, to the toys and games the composer created to entertain and teach his children, including Larry.
This interview was conducted in anticipation of 45th Parallel’s October 22, 2024 concert featuring chamber arrangements by Arnold Schoenberg of music by Gustav Mahler. Learn more at 45thparallelpdx.org.
Arnold Schoenberg, with his three children: Larry, Ron and Nuria.
As we approach Halloween, now is the perfect time to get into the fall spirit by celebrating National Horror Movie Day on October 23. The best horror movies create an eerie atmosphere, are full of tension and suspense, and most importantly, have a hauntingly good soundtrack.
To celebrate, we’re sharing 10 of our favorite horror film scores to iconic, spine-tingling movies that are perfect for the spooky season. And if you’re craving more spooky sounds this month, tune in to The Score with host Edmund Stone on Saturdays and Sundays at 2PM PT for deep dives into horror-themed film music throughout October.
Hereditary (Colin Stetson, 2018)
Released in 2018, Ari Aster’s first feature film Hereditary is recognized as one of the most haunting films in recent memory. Avant-garde composer and multi-instrumentalist Colin Stetson aimed to make the film sound “evil.” From the use of clarinet choirs to the human-sized bass saxophone, Stetson’s score takes on a disturbing and sinister character of its own in the film.
Candyman (Philip Glass, 1992)
Minimalist composer Philip Glass is regarded as one of the most influential composers of the late 20th century. His film scores can be heard in movies such as Kundun (1997),The Truman Show (1998), and The Hours (2002). Known for his repetitive structures and shifting layers, Glass’ score for Candyman delivers a hypnotic and intense atmosphere.
The Thing (Ennio Morricone, 1982)
The 1982 version of The Thing, directed by John Carpenter, is the quintessential sci-fi horror film for those looking for an extraterrestrial thrill. Italian composer Ennio Morricone is one of the most prolific film composers of all time with hundreds of compositions in a wide variety of genres. Morricone creates a cold and unsettling sound that fits perfectly in this science fiction classic.
Suspiria (Thom Yorke, 2018)
Luca Guadagnino’s Suspiria (2018) is a remake of the original 1977 horror classic by Dario Argento. The film follows a young American dancer who travels to Berlin to study at a world-renowned dance school and soon uncovers the academy’s dark secrets of witchcraft and murders. Radiohead’s Thom Yorke provides melancholic and solemn, yet beautiful songwriting to the film with tracks like “Suspirium” and “Unmade.”
Vertigo (Bernard Herrmann, 1958)
Widely regarded as one of the most impactful film composers, Bernard Herrmann’s compositions have been featured in classics such as Psycho (1960) and Taxi Driver (1976). In the track “Prelude and Rooftop” from Alfred Hitchcock’s Vertigo, the use of repetitive dissonant motifs in the strings mixed with the heavy low brass underscores the intensity and suspense of the film. The story follows an ex-detective who is hired to guard a possessed woman obsessed with death.
The Shining (Wendy Carlos, Rachel Elkind, Krzysztof Penderecki, et al., 1980)
The Shining is one of the most recognizable horror films of all time. Many people can identify the use of the traditional liturgical chant “Dies Irae,” which is a key sound element to the film’s identity. Based on Stephen King’s 1977 novel, The Shining is a psychological thriller that heavily utilizes pre-existing music from classical composers such as Bartók, Ligeti, and Berlioz.
The Nightmare Before Christmas (Danny Elfman, 1993)
Tim Burton’s The Nightmare Before Christmas is the perfect family-friendly spooky movie to watch as the seasons change. Whether you watch it on Halloween or Christmas is completely up to you. Danny Elfman’s soundtrack for this iconic stop-motion film has given The Nightmare Before Christmas its place in pop culture along with a massive cult following.
It Follows (Disasterpeace, 2014)
In the film It Follows directed by David Robert Mitchell, a teenage girl’s new boyfriend passes a curse onto her of a shape-shifting entity that is out to get her. Richard Vreeland, also known as Disasterpeace, is a masterful electronic composer of video game, chiptune, and film music. He uses sinister-sounding synths and distortions to give It Follows a throwback horror film score sound.
Psycho (Bernard Herrmann, 1960)
Released in 1960, Alfred Hitchcock once again collaborated with Bernard Herrmann in the cult classic movie, Psycho. The intense string ostinati in the “Prelude” track are still widely recognized today. In music, an ostinato describes a repeating musical phrase derived from the Italian word for “stubborn” or “obstinate.” In this track, the ostinati elevate the panic in Marion’s drive to the Bates Motel, letting the audience know that something terrible is to come. Not to mention, the iconic shower scene with the track “The Murder,” where the piercing violins elevate both the musical and cultural identity of this influential slasher film.
Halloween (John Carpenter, 1978)
Horror genre legend John Carpenter wrote, directed, and composed the score for the timeless classic, Halloween. The main theme of the soundtrack is an essential leitmotif linked with one of the most famous horror film villains, Michael Myers. A leitmotif is a recurring musical theme that often represents a character or person (think Darth Vader and the Imperial March, or the famous Jaws theme). Inspired by learning about 5/4 time signatures on the bongos as a child, John Carpenter’s use of minimalist, repetitive, and rhythmic patterns helped produce one of the greatest horror film franchises of all time.
