May 22, 2017

  • Music for 1986's Zastrozzi Adaptation

    British period dramas have always been a source of interest for American TV viewers.  In 1986, Channel 4 in the UK produced this unusual four-part series and feature film based on Percy Bysshe Shelley’s first novel, Zastrozzi, a Romance.  The series premiered in the Spring of 1986 and at the time was one of the largest budgets for a C4 drama.  The rather unwieldy story became an unusual commentary on the decay of contemporary England wrapped around the theme of desire.  It was adapted by David G. Hopkins who also directed and is known for some as some of the first work for the likes of Tilda Swinton, Geoff Francis, Mark McGann, Hillary Trott, and Chris Barrie (Red Dwarf).  Music for the series was commissioned prior to the beginning of principal photography—a rather unusual approach.  Composer Martin Kiszko used the novel, Hopkins’ screenplay, and other of the director’s ideas to craft his score.  It was his first television scoring job.  Since he has provided music for a number of documentaries and series and film scores, most recently for the BAFTA-nominated The Killing of John Lennon (2006).

     

    The opening titles have a slightly smaller string ensemble with flute and harpsichord that set the stage.  The harpsichord does add a slightly odd quality to the score as it appears against often beautiful lyric writing that does a nice job of implying early 19th-Century parlor music with an often quite intimate quality.  There are fun little waltzes strewn across the album, the first “Petrol Pump Attendant’s Waltz” being one of many.  “I Will Love Who I Love” combines a string quartet with saxophone and piano for a rather unique, and troubled romantic moment.  Some tracks provide very brief brushstrokes with the longer segments creating a rather engaging variety of melodies and delightful writing for solo flute, clarinet, or saxophone.  The light touches add an often gentle underscoring option that is reminiscent of Richard Rodney Bennet. Beautiful poignant melodies for flute and other solo instruments are quite engaging.  Some of the harpsichord moments (“Priest’s Rant”) are like mad Handelian interludes.  Kiszko’s melodies move between these period styles, and those which move just slightly off what one might expect making for some rather unique harmonic shifts that feel like part of a Gothic horror score at times, but always return to more familiar harmonic realms.

     

    The score moves through these seeming almost Gothic romance/mystery style.  The intimate quartet quality allows for a chamber music approach that is heightened by the piano lines which lend the music a more contemporary feel.  The presentation is a snapshot of the some 140+ cues Kiszko wrote for the series.  The music is sequences well allowing for an almost suite-like feel to this rather unique score for a forgotten 1980s British program.  There is much here that one can hear in more familiar recent BBC dramas putting Zastrozzi showing how this style has descended and adapted some over the years.  This will be a delightful find.