MUSIC NOTES
NOUVELLE FRANCE

Despite the weeks, and often months, spent in post-production, there's always a sense of tension and relief when everyone gathers for the music recording sessions. Relief because it means completion is near, with the final mix hurtling into view. Tension since, especially with a large-scale orchestra, this is the first time the music will be heard in it's truest form. In more recent times, the sophistication of mocks-up using library samples makes the process less of a revelation, or risk, depending on your view – which in itself has some drawbacks since the immediate interaction can be creatively exciting.

In any case, one of the most exciting parts of these sessions is being with the actual musicians as they perform. The recording of the score for Nouvelle France provided a thrilling and emotional example. Patrick Doyle composed a quite beautiful score, thematically based, bursting with the feeling and scope that the historical love story required.

He chose Prague in the Czech Republic to make use of the exquisite string players. (This is a country where they celebrate the birth of a child as the birth of a new musician.)

The combination of gorgeous music with the ability to sit in the middle of the orchestra as the players actually perform is a pleasure which remains a privilege. As the only member of the production team present when the full 100 piece ensemble first gathered, I was part of the introductions made by Patrick and then placed right in the centre. It only took a rehearsal of the first cue for me to immediately be on the phone to the producers to quit breakfast and get to the studio as fast as possible.

The resultant emotion was undeniable. As the notes soared, even the most hardened couldn't help the tears, especially when you feel the feeling that emanates from every instrument. As Patrick stated: “They have such soul in their playing.”

We were in Prague for a week and the result was a musical soundtrack that was all we could have hoped for. The film may have suffered from distribution issues, including the release of the wrong edit outside Canada, and certainly deserves more recognition, but the album was a real success. The mix, as well as sequencing and mastering, were completed at Air-Edel Studios in London. And I was pleased that I was able to get in a short, delicate harp intro over a bed of strings inserted into one of my favourite tracks.

The film and soundtrack also features an evocative song performed by Celine Dion that was recorded in Las Vegas. Stripping down the production and highlighting the vocals make it a minor gem.

A couple of album reviews:

https://moviemusicuk.us/2004/11/19/nouvelle-france-patrick-doyle/

http://www.maintitles.net/reviews/nouvelle-france/

The production was a Canada / UK / France, filmed in both French and English. Part of the deal necessitated a British composer. I remember arriving in Montreal during the studio shoot and our director, Jean, telling us that he wanted Peter Gabriel - that he would provide something 'different'. Not doubting Peter's skill, but we never spoke about it again. Patrick was always our first choice.

One missing aspect from the recording sessions. For the devastating conclusion, a soprano, a wordless solo voice, sang to the loss of our heroine and a nation. It was removed from the album mix, though it remains in the film. Perhaps a future release can restore it as an alternative.

PATRICK DOYLE
ORIGINAL ALBUM LINER NOTES

My entire experience on Nouvelle France was one of great joy. The enthusiasm of Jean Boudin was quite infectious. I was very honoured to be asked to score such an important historical subject, which I very quickly discovered is a great part of Quebec’s history. The film and its stunning performances were a great inspiration, in particular the scene which shows Marie-Loup running to the edge of the cliff after find that Francois has left. This particular moment was one of the first scenes sent to me, to give me an idea of the scale of the picture. I immediately recognised that the movie required a very large score -- and then had to convince Jean and the producers Robert & Ashley Sidaway and Richard Goudreau, to come on board with this thought.

Jean emphasised that this epic film was first and foremost a love story. During our second meeting, I was inspired by his direction and collaborative spirit and wrote in his presence the entire “Fall of Quebec” theme. This can happen, but usually only when one is with very open and inspirational collaborators. All of the filmmakers on this project could not have been more cooperative and the artistic conditions at all times were perfect.

I had always wanted to record in Prague, having heard a few of my pieces which had been re-recorded there. I was far from disappointed. Indeed the orchestral playing was stunning. At one point during the sessions, I’m not embarrassed to say that the Czech players made my cry. They have such soul in their playing. I was extremely privileged to have had them play my music. I felt less embarrassed when I turned around during the cue which accompanies Marie-Loup to the gallows to see Jean burst into tears. I was very touched that, after all his hard work, I had captured the spirit of his piece and made his dearest hopes a realisation. I didn’t think that this experience in Prague could have been topped and I returned to London very content, only to discover shortly afterwards that the main theme was to be recorded by none other than the great Celine Dion. I’m sure you’ll agree, her performance is breath-taking and to have her sing this song is a huge honour.

I would like to thank the following people:

Lesley, Abigail, Nuala, Patrick and Elliot Doyle. All at Air-Edel. Jean Beaudin, Robert and Ashley Sidaway, Richard Goudreau, Celine Dion, Rene Angelil, Vito Luprano, Chris Neil, Luc Plamondon, Vlado Meller and all the musicians of the Orchestra.