The score for the show was composed by Carlos Rafael Rivera and it was pretty f*$#% great.
…an explosive percussiveness...
Carlos Rafael Rivera went all Debussy when he sat down to compose the slow movement of The Whirler of the Dance. (Guitarist) Izquierdo placed it in soft moonlight.
…exposed the nostalgia, sorrow, and hope that characterize music from the folkloric tradition of the Sephardic Jews.
This is a charming, relatively lightweight concerto, with plenty of attractive melody and color, and its appeal to the Knight Concert Hall audience, which applauded it enthusiastically, is clear.
Yet, as Frank is a genuinely top screenwriter, the dialogue is choice, and Neeson is compelling as the protagonist, credible and authoritative in a way few Hollywood leading men could ever be. Possibly even better is Carlos Rafael Rivera’s moody score.
...composer Carlos Rafael Rivera offers a score that is unexpectedly melodic, yet entirely effective.
Prominent in the first scene was a buzzing effect in the strings, and in the sober second a clarinet solo. The work ends with motoric and assertive music that recalls Stravinsky’s “Rite of Spring.” The performance was warmly received and Rivera was present to take a bow.
The score for Godless is really excellent. It’s credited to composer Carlos Rafael Rivera, who previously did the score for another Scott Frank project, the Liam Neeson vehicle A Walk Among the Tombstones.
Carlos Rafael Rivera’s score is probably the only TV music of the year that I can remember other than the music of ‘Stranger Things’— it’s that memorable and hooky.
Even after six chapters, it’s testament to how good it all looks – and how evocative Carlos Rafael Rivera’s score is – that you’ll never skip the opening credits.
Pero de los estrenos, el mas aplaudido fue la Pizzi-Cuban Polka, en la que la famosa obra Pizzicato Polka, de Johan Strauss, con su distintivo pizzicato, cobro vuelos de danzón-salsa a golpe de claves, maracas y tumbadoras.