I was on fire for it and forced my mom to take me back again.” He began studying piano, with some attention to The Beatles, but more for Bach. With its soundtrack by Beethoven, Stravinsky, Schubert, Tchaikovsky, Richter remembers “being floored by the music. For Mary, we used a melody with a cor anglais, a wonderfully expressive instrument, kind of like a bass oboe.” Conceptually, “it was too good not to use, since cor anglais is French for English horn and Mary is from France, coming to Britain.”īorn in Germany, Richter moved to Britain as a child. In London, around the age of 5, he met his destiny at a movie theater playing Walt Disney’s Fantasia. “I wanted to embody the landscape in a palette of female voices. Having attended the University of Edinburgh, the rugged beauty of the highlands was familiar terrain. Since Richter was composing at his studio in London while the crew was shooting on location in Scotland, he used the landscape as a creative device to connect their work. “Because the film is about Mary and Elizabeth trying to establish themselves as autonomous human beings in this male world, the female voice is perfect for that.” Compared to the boys, I didn’t want it to seem weak.” The score was recorded at London’s AIR Studios with a 110 piece orchestra and the London Voices choir. “It’s massively regal, but with a warmth to it. For the two queens, who share a theme, Richter took a more sophisticated approach.
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