Snowden (Orchestral Score) Craig Armstrong

Cover Snowden (Orchestral Score)

Album info

Album-Release:
2016

HRA-Release:
15.09.2016

Album including Album cover Booklet (PDF)

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  • 1Snowden Symphonic03:29
  • 2Burden Of Truth02:04
  • 3Opening - Secret Downloading01:39
  • 4Troops March01:57
  • 5Static05:48
  • 6American Hymn02:32
  • 7Snowden Escapes Hotel01:31
  • 8Kiss00:45
  • 9The Hill00:57
  • 10First Copy00:50
  • 11Ticket To The Top01:02
  • 12Hawaii Guitar Theme01:04
  • 13Messed Up01:32
  • 14HK Hotel01:27
  • 15Happiness Montage01:37
  • 16Burden Of Truth02:01
  • 17Travel Montage02:06
  • 18Data Card01:43
  • 19Ed Reassigned02:26
  • 20Realisation01:30
  • 21Hunting Speech02:49
  • 22Running Out Of Time - Variation02:56
  • 23Marwan Intel03:04
  • 24Ed Copies Data06:21
  • 25Snowden Moscow Variation03:39
  • Total Runtime56:49

Info for Snowden (Orchestral Score)

Multi-award-winning composer Craig Armstrong (who is known for his soundtracks for The Great Gatsby, The incredible Hulk, Moulin Rouge, Love Actually, Ray etc), as well as the acclaimed Adam Peters (whose works have appeared in Rango, Crazy, Stupid Love, Ruby Sparks, I Love You, Phillip Morris etc) have composed a haunting electronic and orchestral score to accompany the film.

Snowden is a 2016 American biographical political thriller film directed by Oliver Stone, based on the books The Snowden Files by Luke Harding andTime of the Octopus by Anatoly Kucherena. The film stars Joseph Gordon-Levitt, Shailene Woodley, Melissa Leo, Zachary Quinto, Tom Wilkinson, Scott Eastwood, Logan Marshall-Green, Timothy Olyphant, Ben Schnetzer, LaKeith Lee Stanfield, Rhys Ifans, and Nicolas Cage.

Snowden Orchestral Score by Craig Armstrong which extends the film’s music to include 25 orchestral tracks, all composed for the project by Craig Armstrong and recorded by the redoubtable London Sinfonietta and featuring remixes by long time collaborator Antye Greie (AGF).


Craig Armstrong
A Royal Academy of Music graduate, Craig Armstrong passed through the ranks of his native city's band culture (a band member of Hipsway, Texas and The Big Dish) to become one of the world's most sought-after and respected composers and arrangers. In the contemporary field, Madonna, U2, Björk and Massive Attack are among the acts to have benefited from his talents, but he is also a skilled and experienced writer for theatre and film. Amongst his many credits are the scores for the Baz Luhrmann hits, William Shakespeare's 'Romeo + Juliet' (for which he received the Anthony Asquith BAFTA Award and an Ivor Novello for Best Original Score) and 'Moulin Rouge' (for which he received a Golden Globe Award and the American Film Institute Award).

Despite these achievements, Craig is a modest and pragmatic man. "I don't subscribe to the 'Artist as God' school of thought," he says, "I see musicians just as part of the workforce, no more or less valid than the practitioners of any other trade. Obviously, there's a spiritual element to music, but then there's a spiritual element to many things. If you can do it - whatever 'it' is - then do it, and try to do it well." Which, clearly, he does. Perhaps director Baz Luhrmann puts it as concisely as is possible: "What I love about your work is the way in which it's like a movie in itself, but without any pictures," he told Craig. Listening, you will know just what he meant.

Following his early, post-Royal Academy dalliances with melodic Scottish pop, the man himself made a leap of both faith and imagination. "When The Big Dish disintegrated, I took time to reassess," he says. "I was by then a husband and the father of a two-year-old child and had become aware that my time was not infinite. Life isn't such a long thing, and I realised that it was madness to spend it doing things that I didn't really want to do." Happily, two avenues of opportunity then opened up to him that provided the launching pads for the parallel careers he now follows with such success.

On the one hand he began to work extensively as an in-house composer with Glasgow's highly-respected Tron Theatre Company. "That proved to be fantastic experience for my subsequent film work," he says. It also helped develop the skills that have led to a variety of classical commissions; Craig has written for the Northern Sinfonietta, the Scottish Chamber Orchestra, the BT Ensemble and the Royal Scottish National Orchestra, who premiered his concert work 'When Morning Turns To Light' in December 2002.

On the other hand, his involvement with the short-lived band, The Kindness of Strangers, facilitated a working triumvirate that, for some five years, became one of the most influential and definitive in contemporary music. "They'd all but run out of money and hadn't enough left to hire a string arranger," Craig recalls. "Nellee Hooper was producing, and I said to him, 'Don't worry. I can do that for you'. He just laughed, 'Yeah. Sure you can.'" But, of course, Craig could, and did, and Nellee loved the results. With Marius De Vries as the other element to their trinity, this combination of talents ruled the pop airwaves in the late '90s. "For a time, it seemed like we were responsible for some of the most major tracks by some of the most major artistes in the world. We had a pretty amazing run of it, looking back." Subsequently, Craig's work with the Bristol collective Massive Attack (he scored the tracks 'Weatherstorm' and 'Heat Miser' for the 'Protection' album) led to him being signed to their record label, Melankolic. In 1998 they released his first solo album, 'The Space Between Us', which for the first time united the two separate strands of his work. "Now I'd say that it functions as a series of snapshots of who I was and what I'd been doing up until then. There was some original material there, and some examples of the film music I'd done ... I'm still proud and very fond of it.”

Whereas he describes his classical and film work as being 'pretty much the result of me having sat alone in a room', his second album, 'As If To Nothing', is very much a collaborative project. "I've had a lot of help from a lot of people and, I hope, have given them a lot of freedom. When you don't control every last detail, when you give someone the space in which to be themselves, then I think that you can get some really amazing results." His own vision, meanwhile, was for an album which, though not conceptual, had certain key musical and harmonic threads running through it, so providing cohesion.

In 2004 Craig Armstrong won his second Ivor Novello award for his score to Phillip Noyce's remake of 'The Quiet American', produced by Anthony Minghella and Sidney Pollack and starring Michael Caine. This award joins a long list of accolades and nominations which include 'The Bone Collector' (for which he received the 1999 ASCAP Award), 'Plunkett and Macleane', 'Best Laid Plans' and the Oscar-winning 'One Day In September'. Craig has also enjoyed a long relationship with the director Peter Mullan and has scored a number of his works; the 'Close' trilogy, 'Fridge', 'A Good Day For The Bad Guys' and 'Orphans' (which was voted Best Film at 1999's Venice Film Festival). 2004 also saw the release of Piano Works and the film scores to The Clearing and the Ray Charles' biopic 'Ray'.

2005 saw the release of Film Works, a new collection of Craig's past film scores and the release of The Dolls a collaborative effort featuring AGF and Delay.

Booklet for Snowden (Orchestral Score)

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