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Bruno Coulais
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Browse piano sheets by Bruno Coulais on Zen Virtual Piano. According to the biography at brunocoulais.com, Bruno Coulaisâs musical style varies significantly between projects, but some constants appear: a taste for opera and for the human voice, in particular that of children, a search for original sonority, a love of world music and of mixing cultures, and a tendency to favour the ambience created by lighting over the filmâs narration. He works frequently with choirs and regularly calls on the ensemble A Filetta. A taste for the voices of children beside a love of mixing cultures can be read as a composer drawn to sounds with more than one origin. Radio France recalls that Coulais grew up with a pianist mother who admired the concerts of Arturo Benedetti Michelangeli, as the second of five children, with a Pleyel grand piano in the house. He followed a classical training in violin and piano while regularly visiting the cinemas of the Latin Quarter. In 1977 the director François Reichenbach asked him to write the soundtrack for the documentary Mexico Magico, and the first full-length production he scored was the 1986 film La femme secrĂšte by SĂ©bastien Grall. A piano at home and seats in Latin Quarter cinemas suggest a composer shaped by both the concert hall and the film screen. The largest turning point of his career, the biography at brunocoulais.com says, came in 1996 with the documentary Microcosmos by Claude Nuridsany and Marie PĂ©rennou, a great success that made Coulais one of the most wanted composers of French film music. After the soundtrack for Winged Migration in 2001 he announced that he wanted to reduce his film work and concentrate on other projects, such as an opera for children and collaborations with Akhenaton, the group IAM and the Corsican group A Filetta. In 2012 he composed the violin concerto Les Villes Invisibles for Laurent Korcia and the Philharmonic of Radio France. A turning point in 1996 and a wish in 2001 to reduce film work for an opera for children and collaborations can be read as one stretch of a career in which film was joined by other kinds of work. In 2009 he won an Annie award for Coraline by Henry Selick, the director of The Nightmare Before Christmas. He told Focus Features that, when scoring a film, the story is not very important to him, since it is not so interesting to say the same thing with the music, and that in Coraline the music is sometimes âbehind the wall,â like ghosts that haunt the movie. In an interview at The Joy of Movies he said that when working on a sequence he watches it for a long time, then tries to forget it and composes from memory, since the memory is sometimes stronger than the image. Music placed behind the wall and written from memory suggests a composer who aims for what lingers after a scene, more than for what it shows, and who trusts the ear to carry what the eye has seen.
Browse piano sheets by Bruno Coulais on Zen Virtual Piano.
According to the biography at brunocoulais.com, Bruno Coulaisâs musical style varies significantly between projects, but some constants appear: a taste for opera and for the human voice, in particular that of children, a search for original sonority, a love of world music and of mixing cultures, and a tendency to favour the ambience created by lighting over the filmâs narration. He works frequently with choirs and regularly calls on the ensemble A Filetta. A taste for the voices of children beside a love of mixing cultures can be read as a composer drawn to sounds with more than one origin.
Radio France recalls that Coulais grew up with a pianist mother who admired the concerts of Arturo Benedetti Michelangeli, as the second of five children, with a Pleyel grand piano in the house. He followed a classical training in violin and piano while regularly visiting the cinemas of the Latin Quarter. In 1977 the director François Reichenbach asked him to write the soundtrack for the documentary Mexico Magico, and the first full-length production he scored was the 1986 film La femme secrÚte by Sébastien Grall. A piano at home and seats in Latin Quarter cinemas suggest a composer shaped by both the concert hall and the film screen.
The largest turning point of his career, the biography at brunocoulais.com says, came in 1996 with the documentary Microcosmos by Claude Nuridsany and Marie PĂ©rennou, a great success that made Coulais one of the most wanted composers of French film music. After the soundtrack for Winged Migration in 2001 he announced that he wanted to reduce his film work and concentrate on other projects, such as an opera for children and collaborations with Akhenaton, the group IAM and the Corsican group A Filetta. In 2012 he composed the violin concerto Les Villes Invisibles for Laurent Korcia and the Philharmonic of Radio France. A turning point in 1996 and a wish in 2001 to reduce film work for an opera for children and collaborations can be read as one stretch of a career in which film was joined by other kinds of work.
In 2009 he won an Annie award for Coraline by Henry Selick, the director of The Nightmare Before Christmas. He told Focus Features that, when scoring a film, the story is not very important to him, since it is not so interesting to say the same thing with the music, and that in Coraline the music is sometimes âbehind the wall,â like ghosts that haunt the movie. In an interview at The Joy of Movies he said that when working on a sequence he watches it for a long time, then tries to forget it and composes from memory, since the memory is sometimes stronger than the image. Music placed behind the wall and written from memory suggests a composer who aims for what lingers after a scene, more than for what it shows, and who trusts the ear to carry what the eye has seen.
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Common questions
Bruno Coulais is a film composer, the composer of Les Choristes and the scores for Microcosmos, Winged Migration and Coraline.
The biography at brunocoulais.com says the largest turning point came in 1996 with the documentary Microcosmos, a great success that made him one of the most wanted composers of French film music.
Yes, in 2009 he won an Annie award for Coraline by Henry Selick.
He says he watches a sequence for a long time, then tries to forget it and composes from memory, since the memory is sometimes stronger than seeing the image.