Back when, my friend, who is an enormous and very devoted Hans Zimmer fan showed me this piece of music and told me, “this is Ramin Djawardi, he’s working under Hans”.
Slowly but surely, this beautiful name was becoming more and more known and more and more independent from Hans Zimmer. Although while distinctive, you can hear the experiments, the devotion to the craft and the love for organ in his music, just as you can hear it in Hans Zimmers work. But make no mistake, Ramin Djawardi is very, very original.
On the other hand, in the late 90’s a librarian told me, I was obsessed with the Tolkien at the time, that there is a new exciting thing which has reached the outskirts of my homeplace, which is a miracle so to say. Now that was called “Hra o Trůny” or as you figured Game of Thrones. Sadly, I did not find the books back then, they were constantly borrowed (I say they, it was one copy on pretty much the whole region) and I couldn’t afford them.
But eventually the word of a new TV show with Sean Bean (yup…) has reached my spectrum, and I recalled the books which for some reason I never crossed path with again since the 2000s when the first book was translated into the Czech language.
A few years later it all comes together and I find myself sitting on one of the chairs in the front rows in Prague’s O2 Arena, looking at the Iron Throne, and the beautiful big structure of what is to be the Live Experience with Mr. Djawardi himself.
I could not believe I was there because yet again, I could not afford it. Thoughtfully I got it as a gift and its now one of those, I will cherish this bloody thing forever.
Moving on … Classical music has always been very important to me and so naturally over the years I’ve become obsessed with film music. The scores that we are getting today, the modern classical music of our century, accompanied by so many emotions we not necessarily need to take from the motion pictures, tv series, documentaries or films it was made for, is perhaps more structural and beloved than classical music could ever hope to be, after its centuries of existence. This is such an interesting development as well. So many people detest classical music, I blame schools to be honest, but films music finds a way toward them, which is brilliant.
Anyway, I am being very poetic about this review am I? But it’s not, not really. I guess its an ad, on Djawardi, on Thrones, on classical music, on scores, perhaps even on Prague. Because all of these things just came into a perfect combination in a show that clearly took so much time, effort, money, love, sweat and all of the other things you can find in a project this well made.
Game of Thrones live experience offers you the best of not only the TV show, but also the best of the score going from season one when we lose the beloved and crucially important (even now his theme is so strong, I love it) Ned Stark and the tough survival of his (the best) House, to the evolution of house Lannister, the decimation of House Tyrell and the exciting rebirth of house Targaryen, not to mention all the excitement surrounding The Wall.
Accompanied by the famous scenes and the most important moments edited together in a beautiful way, with a live orchestra a choir (European) and without a single hesitation, the live experience is something spectacular to witness.
Did I mention flying violist, the most amazing percussionists, cellist and oh my god that solo singer? And you would not believe who was there, I mean you score geeks,
Pedro Eustache himself, performing on so many instruments I’ve never heard of, some of them surely adapted to this music needs.
But what I loved the most was how clearly the soloists enjoyed playing the show, from the silent banter between violist and cellist to the fun Mr. Djawardi had himself or the excitement of Mr. Eustache, it was just beautiful and perhaps one could even be jealous of that idea, but at that moment I swear, it was perfect.
Some of the pieces you may know from the soundtracks took a different turn as well. Some longer, some more open to the emotions pouring out of the performance and rebounding from the audience in a different, transformed, way.
The biggest moment for me was the “Light of the Seven”, clearly, the piece is filled with so many different emotions, given also the importance of the scene and changes within Cersei who by now has lost everything, even herself.
The piece is written with such beauty. You can hear the physical and emotional pain right in the song, changing into fearsome determination and emptiness and dangerous fierceness. The piece has become extremely important to me, speaking to me in the most intimate terms in regards to my own life. And hearing it live was something extraordinary.
I wish I could mention all the names of the musicians from last night. Sadly I don’t remember the names and I cannot for the life of me find them online, if anyone knows, please let me know. They were an absolute pleasure.
If you are still ahead of this show. I know it is a lot of money, or at least here it was, but It is worth every dime and its a must for fans. But don’t let the theme entice you away, the scenes are put together in a way where you needn’t see a single episode or read a single page. It’s a visual music show giving the cinematic universe a run for its money.
Mr. Djawardi, thank you.
Oh, so I guess it was sort of an open letter then 🙂
RAMIN DJAWARDI is a brilliant musical composer whose origins lie in both Germany and Iran, giving his music such an interesting and diverse style. This man has studied on the Berklee and then he worked with the mentioned and equally brilliant, Hans Zimmer.
From the collaboration, we could slowly see more of this composer, mainly on the Game of Thrones. But I absolutely love his score for Warcraft, African Safari 3D, or The Strain.
As for the awards, Djawardi was nominated for the Grammy Awards (Iron Man and Thrones) but sadly didn’t win. He did win couple ASCAP Film and Television Music Awards, but also IFMCA for Game of Thrones.