OUTREACH AND EVENTS
MUSIC
ABOUT
„Über Musik zu sprechen ist wie ein erzähltes Mittagessen.“
“Talking about music is like talking about lunch.”
—Franz Grillparzer
Good film music does not simply accompany the movie, it adds a semantic quality to it. It represents a kind of imagined collective emotional response to what is happening on screen. As such, it must be deeply aware of listening habits. A single musical turn can capture what minutes of exposition cannot: the anticipatory tension of a first encounter, the characteristic mood of a city, the sad beauty of transience.
This extraordinary power of film music has captivated me for decades, both as an enthusiastic listener and as an amateur composer.
My musical inspiration draws from the masters who understood this alchemy: Miklós Rózsa's epic grandeur in “El Cid”, Bernard Herrmann's psychological intensity in “Taxi Driver” and his eerie elegance in “The Twilight Zone,” John Barry's sophisticated tension in “The Ipcress File,” Lalo Schifrin's innovative rhythmic landscapes in “Bullitt,” and Jerry Goldsmith's masterful restraint in “Chinatown,” to name only a few. These compositions continue to resonate far beyond the cinema.
Three generations of an aristocratic family vie for status and dominance in a grand European city.
The magic of the forest above and below ground.
A spy must go underground in 1960s West Berlin to prevent a political scandal.
A detective encounters the alluring aspects of city life and its vices. What begins as a routine patrol escalates into a thrilling chase.
This study of James Horner's musical language is a homage to “Stealing the Enterprise” from Star Trek III.
The search for a lost book in an ancient library unveils a mystical secret.
Romance, longing and weltschmerz in a wood-panelled cocktail bar.
The sound of heavy machinery and low-flying fighter aircraft, of distant command posts, rivers and hills, and the despair of war.
IMPRESSUM · DATENSCHUTZERKLÄRUNG · © BY DAVID JÖRG · 2025