Titus Score: Elliot Goldenthal's Experimental Musical Vision
The musical landscape of the film Titus is as bold and unconventional as the visual adaptation itself. Composed by Elliot Goldenthal, the score serves as a sonic mirror to Julie Taymor's off-beat interpretation of the Shakespearean tragedy, blending disparate genres to create a soundscape that is both jarring and evocative.
Goldenthal describes this work as a culmination of his artistic style, representing a decade of his evolution in film scoring. By fusing orchestral arrangements with jazz, rock, and electronica, he creates an experimental atmosphere that complements the film's unique aesthetic.
Key Facts
- Composer: Elliot Goldenthal.
- Orchestra: The British London Metropolitan Orchestra.
- Musical Styles: A blend of orchestral, jazz, rock, and electronica.
- Key Influence: The "combustion of opposites," such as vengeance and forgiveness.
- Notable Sample: A reworked version of "Wreckage and Rape" from Alien 3 is used during the dinner table fight scene.
The Philosophy of Opposites
At the heart of the score is a concept Goldenthal calls the "combustion of opposites." Drawing inspiration from the oxymorons found in Shakespeare's text—such as the plea of "Cruel Irreligious piety!"—the music seeks to balance purity with defilement and the grotesque with the sublime.
This duality extends to the emotional response of the audience. Goldenthal notes that Shakespeare often traps the viewer into laughing at horror, such as the scene where Titus reacts to the severed remains of his children with inexplicable laughter. These unexpected juxtapositions in the narrative forced the composer to develop equally unexpected musical solutions.
Inspiration from the Streets of Rome
The sonic diversity of the score was heavily influenced by a location scouting trip to Rome with director Julie Taymor and scenic designer Dante Ferretti. While viewing the Palatine Hills and the Circus Maximus, Goldenthal experienced a sensory collision that mirrored the film's themes.
He recalls hearing an archetypal ancient percussion ensemble in his mind, which was suddenly interrupted by the bass of hip-hop from a passing car. This was further layered with the sounds of Andean pan flute players and an Elvis impersonator singing "Jailhouse Rock" in a Neapolitan dialect. This experience convinced Goldenthal that, much like the city of Rome, the film could embrace multiple eras and styles simultaneously.
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Score Composition Summary
| Element | Details |
|---|---|
| Primary Ensemble | London Metropolitan Orchestra |
| Genre Fusion | Orchestral, Jazz, Rock, Electronica |
| Thematic Driver | Juxtaposition of opposites (Grotesque vs. Sublime) |
| External References | Samples from Alien 3 |
Frequently Asked Questions
Which orchestra performed the score for Titus?
The score was performed by the British London Metropolitan Orchestra, an ensemble Goldenthal has used for several of his projects.
How does the music reflect the themes of the play?
The music is driven by the "combustion of opposites," mirroring the play's contrast between vengeance and forgiveness, and the intersection of horror and irony.
Are there any references to Goldenthal's previous work in the score?
Yes, the score includes samples from his earlier work, most notably a reworked version of "Wreckage and Rape" from the Alien 3 soundtrack, which appears during the dinner table fight scene.
What real-world experience inspired the score's eclectic style?
A scouting trip to Rome inspired the composer, where he witnessed a clash of ancient ruins, hip-hop, Andean flutes, and Neapolitan karaoke, leading him to embrace a multi-era musical approach.