Waltz Triste
  The Sun from the Surface
An interview with Composer Christos Andreou...an emerging talent in film music!

ScoreNotes: Let’s begin with a bit of an introduction!  Please tell us about your background and where it is you’re based out of

Christos: I grew up in Larnaca, Cyprus. I started playing music from a very young age, as my dad is a musician himself. Throughout my school years, I began to become more involved with Music Technology (then using an ATARI ST and NOTATOR SL) and started to experiment with various equipment such as sound modules and synthesizers available at the time. Film music always fascinated me and so, as I grew more accustomed to my equipment, and as technology progressed through the 90’s, I got more and more involved in composing instrumental music and music for films. I had my first chance to compose for films during my university years, where I formed a close relationship with some media students and from then on I have developed into a passionate film composer! I am now based in Kent in the United Kingdom, although I travel a lot due to my profession.

ScoreNotes: How old were you when you first realized that music was going to be an integral part of your life? 

Christos: I was probably only a few years old when I first realized that I was born to become a musician. I often tried out various instruments that my dad had lying around the house and I soon discovered that I was quite talented. Growing up, I was surrounded by music in my everyday life, and found it to be something which played a significant role in the formation of my character. As I am a firm believer that music is ‘addictive’, it snowballed and I am now proud to call myself a professional musician, whether that is a film composer and/or instrumentalist.

ScoreNotes: Please tell us about some of the composing activities you have been involved with recently.

Christos: I have composed music for an array of film projects over the past few years, the most notable ones being Drengen der ville i krig (The boy that wanted to go to war) and Julefrokosten (The Christmas Party) in which I composed some additional music in my first official collaboration with George Kallis, the main composer of the aforementioned projects.

ScoreNotes: What has your experiences been like working with George Kallis?  Is it safe to say he has become a bit of a mentor for you?

Christos: George is a brilliant musician, a very inspiring composer but above all a great friend. There was excellent communication between us during this first collaboration and it is an honor to work with him. Therefore, yes, I believe it is safe to say that he is indeed a mentor to me, giving me advice, guidance and support on these first steps of mine into the film music industry.

ScoreNotes: On a slightly different topic, it’s not often one gets to meet an individual who has a Master’s Degree in Clarinet Performance!  Please fill us in on some of the countries you have performed at and which stops stand out as highlights to you.

Christos: Certainly holding a Masters Degree in Music (specialized in Clarinet Performance) is an advantage especially when one is involved in film music, because it gives the opportunity to engage in more possibilities on becoming a regular studio session musician.  However, being a classically trained clarinetist I have had the opportunity to perform in various countries among others: Greece, Russia, Germany, Czech Republic, France and Cyprus. The country that stands out as a highlight to me is the United Kingdom. Having had the opportunity to study under David Campbell and perform with him on a regular basis was something that matured my perception of music performance, as he is a true educator and an excellent musician – he is also a mentor to me when it comes to performance.

ScoreNotes: How does performing vs. composing compare for you? Equal enjoyment and satisfaction from both?

Christos: It is safe to say that I gain enjoyment and satisfaction from both equally as I feel they are completely different – yet similar in some respect – to each other.

ScoreNotes: Getting back to film music – who are some of the composers working today that you look up to most? 

Christos: Hans Zimmer, Harry-Gregson Williams, James Newton Howard, Steve Jablonksy, John Williams, Brian Tyler, Alan Silverstri, Danny Elfman, Thomas Newman … the list is endless!

ScoreNotes: As we wrap up here, is there any message you would like to pass on to the soundtrack fans who are reading this interview?

Christos: I believe that soundtrack fans are the most important people who ‘decide’ – in a way – the future of an emerging and upcoming composer. With their musical taste and support, they enable a composer to establish oneself in this great industry. Therefore, my advice to all the soundtrack fans out there, is to ‘keep an open mind’ as far as emerging composers are concerned, and to think that even Hans Zimmer, Jerry Goldsmith and John Williams were emerging composers once!

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