…exposed the nostalgia, sorrow, and hope that characterize music from the folkloric tradition of the Sephardic Jews.
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 layered a silky yet haunting string melody over the gritty images created by Method Studios, giving the Netflix drama a flair reminiscent of its premium channel competitors.
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 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.
Come for the top-shelf talent involved, stay for the lead performances, crisp photography, and lovely music (courtesy of T Bone Burnett and Carlos Rafael Rivera).
Yet the most arresting manipulation of voice and sound came in Motet for 12 Singers by Carlos Rafael Rivera. The motet consisted almost exclusively of the five sacred syllables of the Tibetan Buddhists: Bhyo, Hum, Om, Hsi, Kye. Its effects ranged from pitch-bending, drone and glissando to the most percussive elements of speech, in which the singers were in fact not singing at all but were exploding single consonant sounds from those five syllables to create continually diverse sound effects.
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.
The score for the show was composed by Carlos Rafael Rivera and it was pretty f*$#% great.
...composer Carlos Rafael Rivera offers a score that is unexpectedly melodic, yet entirely effective.
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.
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.