Patrick Doyle’s five best film scores – including his pick of an undiscovered gem

Scottish musician Patrick Doyle is an acclaimed composer of over 60 feature film scores with many attendant accolades, honours and awards. I first met him in 2001 while making a now long-vanished series on movie music called Silverscreen Beats for BBC Radio.

I visited him at his office on the Shepperton lot in Surrey. There, I watched, enchanted, as he flitted between desk and piano bringing his creativity to life with his incredible musicality and riotous humour illustrating scores like Carlito’s Way (1993), Sense and Sensibility (1995) and Gosford Park (2001).

So years later, when the University of the West of Scotland (UWS) presented Doyle with an honorary doctorate, I wasted no time in asking him to visit and talk to our students. The film of that event is finally available online and is a treat for all fans of film music.

I could pick 20 favourite Patrick Doyle soundtracks for this “best of” list. In the end, I selected these four and asked him to pick a fifth.

1. Henry V (1989)

Back in 2001, Doyle told me he loves to get the opportunity to compose a song for a movie soundtrack. Henry V, his first full-length feature score, includes one of the greatest examples, Non-Nobis Domine, sung after the key battle scene of Kenneth Branagh’s 1989 film.

It builds from a plain opening verse, sung in the film by young Doyle himself who remembers, with a humorous twinkle, trying to sing it slightly “off key” to enhance its authenticity.

From that simple introduction, the composer gradually adds choral, orchestral and complex harmonic elements, skilfully balancing the elation and darkness of triumph. And for all its harmonic counterpoint and rich orchestration, he never lets you forget that lonely central melody, doubling it down the octave on bowed double basses as it reaches the climax.

The soundtrack recording, conducted by Simon Rattle with the Birmingham Symphony Orchestra, is a thing of wonder. But to truly understand the perfect marriage of story and music – even if orchestras and choirs did not typically boom across 15th-century battlefields – experience Non-Nobis Domine in the original movie.

2. Brave (2012)

The Scottish tradition is never far from Patrick’s music. Indeed, O! For a Muse of Fire, the opening theme from Henry V, uses a recognisably Scottish sound, two notes played quickly across a five note interval, as a key motif, expanding this in a melodic phrase that recalls the cries of seagulls.

In Disney Pixar’s Brave (2012), Doyle brings an authentic voice to the imaginary Scotland of its central character, the indefatigable Merida. Her defiant exuberance is mirrored in the rhythm of pieces like The Games and Remember to Smile where the composer uses a traditional hand-held drum (the bodhran), bagpipes and fiddles, with the harmony instruments often playing in tight unison to rousing effect.

If a key role of the movie soundtrack is to extend narrative or visual language, the effect wrought here is almost physical – to the extent that my own embarrassed grandchildren have had to restrain me from dancing on the couch during screenings of Brave.

Elsewhere though, the slow mystery of a beautifully animated landscape is matched by atmospheric, languid passages that call on deep reserves of the tradition and its melancholy.

3. Sense and Sensibility (1995)

Patrick’s Catholic upbringing is another constant presence in his music. He was greatly influenced by the beautiful Irish melodic hymns which were imported to the west of Scotland. His soundtrack for Ang Lee’s Sense and Sensibility was nominated for a raft of music awards including the Baftas, the Oscars and Golden Globes.

It has marvellous passages of yearning and almost devotional melody and harmony, but I include it selfishly for the hymnal Weep No More You Sad Fountains alone. It’s one of my very favourite melodies, and one I was privileged to hear him play at close quarters at UWS.

This majestic piece can be heard on the original soundtrack, sung by English soprano Jane Eaglen, on Patrick’s 2015 album of solo piano pieces and, of course, during my interview with him. Perhaps less well known from the same film is The Dreame, another devotional piece, again sung by Eaglen and set to a Ben Johnson poem. Complex in conception and virtuosic in execution, the piece is nevertheless understated, underplayed, and more devastating for it.

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4. Carlito’s Way (1993)

Doyle’s hilarious and hugely affectionate account of working with one of cinema’s greats, the director Brian DePalma, is a highlight of the conversation I had with him at UWS. His insights range from the creation of the music, the larger-than-life DePalma himself and descriptions of giant cranes chucking down fake rain onto a Biblical-scale location shoot in New York.

The music created for Carlito’s Way, DePalma’s crime classic starring Al Pacino, is dramatic and rangy, with passages of glacial orchestrated strings – the title theme is a highlight – sitting alongside solo piano, small jazz ensemble and interesting sonic juxtapositions.

One piece, The Elevator, combines marimba, piano and plucked strings in unison against guiro and woodblocks. It establishes a theme that builds intensely, adding different instrumental colour towards the famous climax in Grand Central Station in New York. It is recognisably “movie music”, but tells its own melodic story.

5. Doyle’s choice – Indochine (1993)

When I asked Patrick to choose an “undiscovered gem for a new generation”, he quickly picked Indochine, the 1993 drama starring Catherine Deneuve. The movie won the Oscar for best foreign film in that year and the music is classic Doyle, melodic, rich in harmony and grand enough in orchestral scale to match the sumptuous visual language of the film.

That devotional, romantic sound is in full flow too. Pieces like Premier Rendez-Vous and Journey’s End are almost heady in conception and execution. Among the most distinctive themes in this hugely expansive work are also among the most distinctive pieces in Doyle’s own canon: two sure-footed tango and rumba pieces and the title theme itself with its unusual and atmospheric combination of ethereal wordless vocal, eastern bass drum, gong and finger bells. Essential.