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Classical Music Room

"C'e Sempre Una Persona"

This stunning performance by soprano Erica Eloff, shows my classically driven film music, where an Italian aria best suited the film in hand. The entire piece was written, orchestrated, recorded and produced in 5 days! This included discovering Erica on day 2, sending her the score on day 3, recording and producing everything on day 5. It was a baptism of fire of the kind of time pressure film composers often find themselves under.

Librettro (In English)

There is always one person waiting for another, who are lost in the streets of their hearts.

When they meet, their souls find each other. Past and future lose themselves. Certainly, it is the moment and the reason for living.

Guided by the hands of angels, hands that give wings to love, like water to our souls, peace to our dreams,

light to the darkness. Without these hands, our dreams disappear.

There is always one person waiting for another,

Guided by the hands of angels.

(Words by Saul James)

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As a classically trained composer, writing classical music is my creative passion. As young as six years old, I would regularly lie on the sitting room floor listening to the violin concertos of Bruch, Brahms and Sibelius and the orchestral works of composers like Dvorak and Tchaikovsky - a very romantic diet! Somehow I understood them and they touched me and left their mark. 

When I started writing music for orchestras as a teenager, I was often told it sounded akin to the German and Russian composers, like Mahler and Shostakovich. I agreed and promptly went away to find out what their music actually sounded like, not having the faintest idea.

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Live Classical Sample Compilation
00:00 / 10:20

My classical writing is dark, intense, emotional, beautiful and oddly both demanding and easy on the ear, according to the feedback I've had over the years. At the very least, I can say it differs a lot from the music I write for films.

This crossover of scoring for the stage and the screen is an interesting one and I find both influence each other. When commissioned to write music for film and TV, I am often required to score music that is mostly or purely classical in style. This is where my classical composition skills get challenged. You see, when you write for the concert hall, you have a freedom limited only by your chosen muse. When scoring to screen, you are, in essence, a slave to the symphonic ballet of movement, emotions, words and colours. 

Below, is a small window into some of my classical music, some for screen and some for the concert hall. 

Thank you for taking the time to read and listen. It is always much appreciated.

Saul

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Classical Music for Concert  Hall
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Conductor's baton on sheet music
The Listener's Mood P.1 (Chamber) Live
00:00 / 03:18
4 Trumpet Fanfare Live
00:00 / 02:05
The Listener's Mood P.2 (Chamber) Live
00:00 / 03:08
The Listener's Mood P.3 (Chamber) Live
00:00 / 05:48
Poltergeist (Orchestra/Soprano) Live
00:00 / 13:58
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Classical Music for Screen
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A Better Place (Wounded Film)Sam Jaegar/Saul James
00:00 / 03:48
Soundtrack Preview (Hudozhnic Documentary)
00:00 / 05:17
Final Words (Tiny Town Film)
00:00 / 02:28
Dance without music (WAKA Film)Liliana Aslanidou
00:00 / 02:13
C'e Sempre Una Persona (Soukhina Film)Erica Eloff
00:00 / 04:31
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Classical Music Meets Electronic
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Dark Night (Orchestra & Electronic)
00:00 / 02:31
The King's Banquet (Orchestra Mock Up)
00:00 / 03:28
Episode Adventure (Strings & Electronic)
00:00 / 01:02
The Battle (Orchestra & Electronic)
00:00 / 03:57
Mission X (Orchestra & Electronic)
00:00 / 02:06
Storm (Orchestra & Electronic)
00:00 / 02:01