Ben Marino On the Making Of “Oceanwalker for Seven Cellos”
What was the creative process like for this particular piece?
One word, ostinato. This technique has been commonly used in compositional practice since the Middle Ages and in modern Minimalist compositions by the likes of Hans Zimmer, Philip Glass and Ennio Morricone. In Morricone’s “Ecstasy of Gold” he uses a repeating ostinato pattern that acts as a motor and structural harmonic guide for the rest of the piece to unfold from. Using this technique, I wanted to create something cinematic and thought provoking in that style. The previous two compositions I had written and recorded were both for large philharmonic ensembles, so trying to extract something profound out of just one instrument featured in a smaller ensemble was not only unique but an extremely satisfying experience.
Is there a particular message or theme you hope listeners take away from "Oceanwalker for Seven Cellos?"
This composition is inspired by, dedicated to and named after my daughter Ocean Blue Walker. When I listen to this composition objectively, I get a sense of longing. Though not in a painful way. This work is hauntingly beautiful and sometimes art has a way of pulling out a range of emotions that you can’t simply put in one box and compartmentalize.
What did you enjoy most about making this masterpiece?
I enjoyed experimenting with the intimate nature of the cello the most while writing this piece. The cello can have almost a human voice as far as its range and watching seven of them intertwining, pairing different rhythmic ostinato patterns together was like watching a complex system at work. During the piece’s live recording with the Northern Film Orchestra in England, I saw the rhythmic components come to life in their mechanical element while working with and against the more emotional, lyrical motivic phrasing.
How has studying at Berklee College of Music in Boston made an impact on your music career?
Studying at Berklee was an eye-opening opportunity. Met some amazing people, musicians and teachers. My scope of Music Theory prior to Berklee was focused on Classical & Romantic Era piano repertoire. At Berklee, the ensemble classes revolve heavily around reading charts for Jazz Standards. Learning how to improvise on your instrument with scales, modes, chord voicings and voice leading was paramount to being successful in that environment. In addition to learning those skills as a piano principal student, I also became more adept at orchestrating and arranging for different types of ensembles. I would say the diverse curriculum Berklee provides helped broaden my acumen as a musician which naturally led to me finding my career as a composer.
Every composer has a unique style. How would you describe your musical "voice" or signature style? What sets your compositions apart?
I would like to think of my compositional “voice” or signature style in terms of a bridge that connects the past to the present. I have studied the orchestration techniques from some of my heroes, giants of Orchestral Music like John Williams, Maurice Ravel, Gustav Holst and Richard Wagner. With their influences merged with 21st century contemporary ideas related to compositional form; I feel I have carved out my own methods. This approach is also best represented in my new works for orchestra “Yrast 2.0” by the Brno Philharmonic (Czech Republic) and “Tenebron” by the Janacek Philharmonic Ostrava (Czech Republic) now available on Navona Records.