And no mis­take

The Jewish Chronicle - - Arts & Entertainment -

was the mu­sic depart­ment at Co­hen’s south Lon­don com­pre­hen­sive. “It was bril­liant,” he says. “That’s how I came to go all the way to grade eight on the recorder. I started at age nine in a group, and the teacher was so great, I never wanted to stop.”

He­tookupthe­bas­soon,an­oth­erof his in­stru­ments — he also plays the pi­ano — b e c a u s e he r eali s ed it would be a strate­gic aid to com­pos­ing. “I learned it so I could play with orches­tras. Bas­soon p l a y e r s s i t where they look over all the other in­stru­ments, ex­cept the per­cus­sion be­hind. That teaches you so much.”

His works to date in­clude a con­cept al­bum in­spired by the mu­sic of Pink Floyd and Led Zep­pelin that his fa­ther in­tro­duced him to, which he hopes will be re­leased be­fore the Hitch­cock film pre­mieres next June.

The in­ten­tion is to record the Hitch­cock mu­sic af­ter a few live per­for­mances — “some­where a lit­tle more in­ter­est­ing than a con­ven­tional cin­ema”. While he can­not set down ac­tual notes un­til the restora­tion of ev­ery frame of The Pleasure Gar­den is com­plete, Co­hen al­ready knows he will hark back to the work of Hun­gar­ian com­poser Mik­los Rozsa for his struc­tural in­spi­ra­tion. “He wrote the score for Dou­ble In­dem­nity, and came up with the idea of di­vid­ing it into themes aroundthe­ac­tion,ratherthanleit­mo­tifs linked to in­di­vid­ual char­ac­ters.

“As for the in­stru­ments, I’m think­ing clar­inets and sax­o­phones.”

He feels The Pleasure Gar­den de­serves a lot more re­spect than it has so far at­tracted. “It was a blue­print for all Hitch­cock’s later work. All the themes are there — the voyeurism, the ex­per­i­men­tal cam­era work, the cool blondes.”

What he hopes such a spec­tac­u­lar show­case so early in his ca­reer will do for him is in­tro­duce him to distin­guished film-mak­er­swhomight­n­everother­wise no­tice him. “Get­ting vis­i­bil­ity is vi­tal for a young com­poser, and I hope show­ing I can tackle a large project like a film score be­fore I’m 25 will mean I shouldn’t have toomanyre­gretsabout­misse­doppor­tu­ni­ties in the fu­ture.”

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