Composer Lennie Moore on Top Score from Classical MPR

There are plenty of games on the market simulating droves of different military wars. Each of those games has a soundtrack, too.

Many of those soundtracks focus on the intensity of war, as well as the idiosyncratic sounds of war-time music. Sounds such as military drums (lots of snare drums), heavy brass and even electric guitar at times.

Composer Lennie Moore eschewed those choices for his new music to Red Orchestra 2: Rising Storm, encouraged by developer Tripwire to explore the styles of American composers Aaron Copland and Charles Ives.

Specifically, Lennie studied Copland’s A Lincoln Portrait (1942) and Ives’s The Unanswered Question (1906, pub. 1940).

The result is unbelievably pleasing to the ear. Just about the only “expected” nuance is a trumpet solo. But rather than hire a trumpet player with a polished orchestral sound, Lennie called up friend Tim Larkin for a little bit grittier of a tone.

The first game Lennie ever scored was Outcast. The Moscow Symphony Orchestra and Chorus recorded that score, one of the first game soundtracks to use a live orchestra.

Hear Lennie talk about Red Orchestra 2: Rising Storm and Outcast on the new episode of Top Score, also available on iTunes.

This is an incredible visual interpretation of Igor Stravinsky’s The Rite of Spring (Part One), courtesy of composer and inventor Stephen Malinowski. Certainly one of the most influential pieces of music from the 20th century, you’ll never hear it the same again after you see this.

Check out Stephen’s YouTube channel for all kinds of other pieces he’s realized.

The new episode of Top Score from Classical Minnesota Public Radio features an interview with BioShock Infinite composer Garry Schyman.

BioShock Infinite takes place in 1912, in an American city in the sky.

Yes, in the sky.

Quite a change from the previous two BioShock games, which were in the underwater city named “Rapture.” The city of Columbia, however, has sunshine. And clearly, the sky.

Composer Garry Schyman and Creative Director of Irrational Games, Ken Levine, knew the score needed to sound different.

Garry accomplished the changes by using a much smaller ensemble — basically, a small string section and some percussion.

The year 1912 was an interesting time in American classical music, most notably because there wasn’t much yet. Many American composers of the time still sounded quite European, although Charles Ives certainly stood out.

Garry considered Ives’s influence, but rather turned to other American icons in Stephen Foster (think “Camptown Races” or “Oh Susanna!” or “Swanee River”), and American folk music in general.

He asked the string players to keep a “fiddle” sound in mind (fiddlers tend to play with less vibrato than traditional classical violinists), and to occasionally play aggressively.

There are so many great tracks on the album, but definitely check out Elizabeth’s Theme, AD (which Garry thinks of as Booker’s theme)…. 

Or just buy the soundtrack. I encourage it!!