The last time composer Daniel Hart was featured on this page, it was at the end of last year’s annual Octoberlong Halloween celebration of dark music here. The dark soundtrack being celebrated that day was Hart’s score to the 2017 film A Ghost Story. Hart’s latest soundtrack is for the new movie The Green Knight, streaming at Spotify.
This music is very colorful, entertaining, ambitious and speaks well for the film. Here Hart engages a choir as well as orchestra, through a much wider sonic palette than his horror cinematics. Most of the twenty-nine segments here are on the short side, three minutes or considerably less: there’s a lot going on this narrative, obviously.
The beginning is percussive and flutey. Harp and cello move to centerstage, then orchestra and choir drift through calm and storm. Most of the orchestration is organic, although there are surreal electronic flourishes and effects.
Portents – acidic woodwinds approximate birdsong, a knock-knock from the drums and a stern mini-fanfare from the choir – appear early on. A bucolic guitar-and-flute tune signals the birth of Christ, quite an outside-the-box depiction.
Two central themes are a striking, somberly circling, Philip Glass-like string interlude followed by an even more striking waltz in the style of a medieval Jewish nigun.
A woman sings in Italian to wind up a twinkling, harp-and-cello-driven all-night vigil. The choral interludes can be demanding, and dramatic, and the singers rise to the technical challenges. Interestingly, Hart doesn’t get Elizabethan til the end: throughout most of the score, his harmonies are on the austere, modernist side. This is a rewarding listen for fans of picturesque contemporary composers like Richard Danielpour and Caroline Shaw.