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The LSO, Desplat and Harry Potter!

By LSO

In 1935 the London Symphony Orchestra recorded one of the first full symphonic soundtracks with the soundtrack to the prophetically titled, “Things to Come.” That soundtrack written by Arthur Bliss heralded the sound which has largely dominated the cinema ever since, and a quick glance at the back catalogue of the LSO shows that we haven’t looked back since. My first memories of hearing the orchestra, of which I am now principal flute, was those blistering opening bars of Star Wars as a child, I was hooked and was thrilled to be involved when John Williams made a welcome return for the final three films a few years ago. I guess it was my destiny…

Whenever I go into schools as part of our pioneering Discovery education programme, these days the film they all want to know about is Harry Potter. A few weeks ago we finished the final take in the last of the series of films in a fantastic score by composer Alexandre Desplat. The LSO has a very successful relationship with him working on many films including The Kings Speech, The Queen and Tamara Drew to name a few.

Alexandre has deep understanding of the orchestra and how he wants it to sound often building up huge textures of sound, he is also a flute player which is a good sign! He also has the advantage of conducting the sessions, unlike many film composers, and so often makes subtle changes to the way a phrase is played during the recording, the first and last takes are often very different. And the first take? That is when the LSO first sees the music, we don’t get the parts in advance, we turn up to start at 10am, open the folder and play. Sight reading skills in the orchestra are second to none. The skills needed are quite different to playing in a concert in the Barbican. Time, in Abbey Road, is money and so speed is crucial, making a mistake on the first take (often the first play through) brings a smile, but not on the second pass.

In the final Potter film, there were some ferociously fast and difficult passages during the chase scenes all played at breakneck speed, always a challenge, but often a soloist in the orchestra is required to sit for long periods counting bars rest and finally enter incredibly quietly on a tricky high entry. This happens repeatedly until the composer and producer are happy. Nerves of steel are required, in a concert we all make mistakes in the heat of the moment, but that is simply not acceptable on a soundtrack, perfection is what they want at all times. The days are long, often from 10am until 9pm every day of the week, and the levels of concentration required are huge, but when I sit down in the cinema with my kids and hear the sound of the LSO flying out of the speakers, the experience is nothing short of magic.

To hear more from Gareth and the LSO, check out their blog.

You can also see (and hear) Gareth tackle Nielsen’s Flute Concerto with the LSO at London’s Barbican Hall on November 9.

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LSO

LSO

The London Symphony Orchestra is widely regarded as one of the world’s leading orchestras. Classic FM has worked with the LSO, its orchestra in the city of London, since 2003. Together, Classic FM and the LSO have worked on a number of projects that have brought new audiences to classical music.…

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6 replies to 'The LSO, Desplat and Harry Potter!'

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  • Jordan Fredrick
    Sunday, 17th July, 2011 at 3.43 am

    What were the dates of the recording sessions? I ask because I know Maurice Murphy passed away recently, and I was wondering if this was right after his death or if this was his last recording session. I am a trumpet player, and I will miss hearing him on future soundtracks with the LSO.

  • Stephen
    Thursday, 7th July, 2011 at 10.43 pm

    I’m a freelance composer (and flute player too!) and I’ve been commissioned to write music for a couple of films in recent times. Very true that soundtracks are put together in a short time, but I’ve always remained true to myself as a composer and refused to write music simply to please the producers, who were not musicians. But I must say I’m a Harry Potter fan and have long admired the scores for these films – composition students can learn so much from studying film scores and working in the industry!

  • Rob
    Thursday, 7th July, 2011 at 6.59 pm

    Hi Gareth,
    As a college student (and flute player!) – I’d be interested to know how you’ve gone about developing such proficiency in sight-reading? Is it something you’ve gradually picked up whilst learning repertoire in the orchestra or is it something you’ve consciously developed with studies and exercises?
    Very much enjoy reading your posts! Also – very much enjoyed the playing in the last film.. really lovely flute solos.
    Thanks,
    Rob

    • Gareth Davies
      Thursday, 7th July, 2011 at 9.12 pm

      Hi Rob
      Glad you enjoyed the last film soundtrack-there’s a lot more in the next one! Sight reading is just a matter of doing it over and over again. It’s always good to practice, but most people don’t use any particular exercises-if you’ve never played it before, it’s sight reading!! Once that red light goes on, it does focus your mind rather.
      All the best
      Gareth