This week Star Trek – Live in Concert celebrates the extraordinary collaboration between film and music as Michael Giacchino‘s score is brought to life on stage by the 21st Century Symphony Orchestra and Chorus, while J. J. Abrams’ films are shown simultaneously in high definition on the big screen.

This will be the first opportunity in the UK for Star Trek fans to experience their heroes in this way and will be the next instalment in the Royal Albert Hall’s series of celebrating classic films with a live orchestra.

Here is a interview from Star with Michael Giacchino talking about the upcoming events.


jj_abrams_michael_giacchinoHow excited are you about your Star Trek (2009) and Star Trek Into Darkness scores being performed live to complement screenings of the films?

GIACCHINO: I am very excited for the people who have the opportunity to attend these concerts. As a composer, I am fortunate to have the opportunity to regularly hear incredibly talented musicians playing soundtracks live on a scoring stage. These screenings, however, will give the audience an opportunity to experience both the musicians and the music and the movie in a way that they can’t at home in their living rooms.

What do you think hearing the scores live adds to the experience for a moviegoer — or is it the other way around: What does hearing the score live and seeing the movie add to the experience for a concertgoer?

GIACCHINO: I think it is a dual experience. I imagine that there are people that will find themselves enthralled with the film, and then realize that there are 90 musicians out there on stage, or there are those whose focus will be on the music. Either way, we are hoping that watching the film with a live orchestra will only enhance the emotionality and excitement of both film and music.

royal-albert-hallWill you be on hand for any of the international movie/performance events?

GIACCHINO: Yes, I will be in Lucerne and London.

And what does it mean to you to hear your score performed live at a venue as hallowed and revered as the Royal Albert Hall?

GIACCHINO: To have the honor of experiencing my own music in the legendary Royal Albert Hall in London is truly humbling.

What was the first instrument you played?

GIACCHINO: Harmonica and piano.

As a kid growing up and, later, as a composer in your own right, what did you enjoy most about the scores created for the Star Trek shows and movies by Alexander Courage, Jerry Goldsmith, Cliff Eidelman, Dennis McCarthy, Ron Jones, etc.?

GIACCHINO: I was a fan of The Original Series and then the first few Star Trek films. Those were the scores that resonated most with me. By the time the newer series came out I was in college with very little time to watch TV. So my Star Trek lies in the hands of people like Alexander Courage, Gerald Fried, Jerry Goldsmith and James Horner.

People inevitably compare your work to that of the composers who preceded you. How aware are you of people making such comparisons and how comfortable are you with that happening

GIACCHINO: I believe they are all very different. People are free, however, to do and say as they wish. My only concern is with the Star Trek universe that I was lucky enough to be a part of.

Spock_(alternate_reality)Obviously, it is a challenge to follow such great composers of Trek in the past. When you chose to take on Trek, did you give the old tracks a listen first or just go with your own ideas out of the gate? I am just curious to hear your “process.” If you did listen to any of the older works, are there any particular tracks which really stood out to you, and if so, which ones?

GIACCHINO: I didn’t go back to listen to anything from the previous incarnations, really, as my job is to serve the narrative of the film at hand, making sure all of its emotional needs are met. There are a few small references to themes that I loved from The Original Series, however. You’ll have to seek those out yourself.

What inspired you to use an Erhu in the piece where Spock shows his emotions during the first Star Trek film?

GIACCHINO: I wanted to show that Spock was caught between two worlds. To do this, I needed something that would represent his Vulcan heritage amidst a traditional western orchestral sound, which represented his place within Starfleet. I felt that the Erhu was the perfect instrument to demonstrate that — a  sound that is less familiar to western orchestras, with a beautiful voice that felt far away and nostalgic.

Source Interview Star