A Conversation with Composer Sharon Farber
Written by Christy Carew
March 5, 2008
I'm going to tell you about a composer that you probably have heard of, but I can tell you that many people in Hollywood are saying her name right now. She’s Sharon Farber, the critically acclaimed and award-winning Israeli composer who has steadily been building her dual career in film and concert music here in Los Angeles, and gaining a reputation for work of the highest quality.
Her recent score for When Nietzsche Wept starring Armand Assante is a truly beautiful, haunting score that uses lush, evocative orchestration and references 19th-century Romantic and Classical styles. I recently had the chance to sit down with Sharon at her professional studio, and ask some questions about her career and the film music industry.
Tell us about the beginning of your career, when you first got to LA from Israel. How did you get your start?
Well, I actually didn’t get to LA from Israel. I got to LA from Boston, after I finished my Dual Major Studies at Berklee College of Music as a film and concert composer, with honors. I came to LA as the recipient of the internship of the Academy of TV Arts and Sciences in music, where I spent two months with Jonathan Wolff (“Seinfeld”) and Alf Clausen (“The Simpsons.”) At the end of my internship, Jonathan asked me who I would like to meet in the industry. I was a big fan of Shirley Walker's work, so I asked to meet her, which I did shortly after. Shirley liked my work, and took me under her wing. I started orchestrating on “Superman and Batman” (WB animated TV series) and then writing for the show. At the same time I scored a documentary series and I did the SCL (The Society of Composers and Lyricists) Mentorship program, which I now serve on as a board member, and the ASCAP Workshop. It was a pretty crazy time, actually!
What was it like working for Shirley Walker?
It was remarkable! She was one of the most talented composers/orchestrators in the industry, and an extremely kind person (She passed away December, 2006). I learned so much from her - I remember only being in LA for a very short time and being on the scoring stage at Paramount, and being in awe of the orchestra playing my orchestration. She taught me how to take a small group and orchestrate it in a way that would make it sound big. She also encouraged me to "pay it forward", and to share your knowledge with others.
You were recently a judge at the TCM Young Film Composer's Competition. Were you impressed by the skill and quality of the entries?
Yes, I was definitely impressed. Some of them were extremely good; however, I only got to listen to the five finalists! The pieces were very well orchestrated and most of them were pretty well executed, which is important with today's technology. The piece that won had not only beautiful writing, but also sensitivity. A lot of people went overboard and accented every visual cue, and with time, you learn that the flow of the music is not less important than catching visual cues on the screen. Sometimes when you focus too much on the technical element of enhancing visual cues, you lose the flow of music, and when you lose the flow of music you lose the flow of the story!
Who are some other composers you admire?
That's a tough question! There's so many we're influenced by. In the concert world, I love from Bach to Faure; Liszt to Chopin. And in the film world, I like James Newton Howard's work, John Williams, Howard Shore, Thomas Newman, Elliot Goldenthal. Laura Karpman is great! People with unique voices. I love listening to concert music written by film composers, because this is what I do as well, and it's always interesting to listen to someone who works in both realms.
What are your musical plans for this upcoming year?
My next feature is a feature film shot in the UK, with a British director, Sean Martin. I’m up for consideration on several films and TV pilots right now. As for my concert music, I'm negotiating for an opera for women's choir, and a double piano concerto.
What about the setting of When Nietzsche Wept informed your choices as far as instrumentation and musical language go? Where was the score recorded, and what orchestra played the music?
When Nietzsche Wept is a period piece, set in late 19th century Vienna. Because the director had a strong vision, which included classical music, my initial thought was to use that style of music. My main melody came from thinking of Nietzsche's character, (played by Armand Assante) which was very lonely, depressed and suicidal. I conveyed his loneliness through a melody in E flat minor with harmonic changes that are unexpected, like his nature. I was fortunate enough to have an orchestra where I utilized the classical sound of 19th century Europe - it's an emotional and dramatic score at times. However, there are some lighter scenes, almost comedic, where I could use the string section with a lot of pizzicato and faster tempos. It was recorded in Bulgaria with the SIF –Bulgarian Symphony Orchestra Orchestra, who did a fantastic job.
Can you give us one piece of advice to young film composers?
First thing, believe in yourself, and don't try to imitate others.
You'll naturally be influenced by others, but try to create your own voice, because that is who you are, this is your uniqueness. There are always going to be challenges –stay strong, and be fearless!
...with time, you learn that the flow of the music is not less important than catching visual cues on the screen...