— OST by Dominik Scherrer
Welcome to Kisima
2. The Ring
3. Sankuru Airways Flight 19 is Missing
4. Ministre des Transports
5. Journey to the Slums
6. Back to the Crash Site
7. Boarding the Flight - Champagne Overdose
8. Mr Tequila
9. Adidja - Mbuso Khoza
10. The General’s Men
12. In a Mad World only the Mad are Sane
14. How I became Ariel
15. This is What We do to Survive
16. Darkness beneath the Beauty
17. Nobody is Safe - Khanyo Maphumulo
19. Lord Forgive Me - Hlengiwe Mabaso
20. The Spider and the Web
21. The Survivors
22. Green Lion - Champagne Overdose
23. Exposing the Truth
24. A New Home
ABOUT dominik scherrer
Dominik is a British-Swiss Ivor Novello award winning and Emmy nominated composer, mostly known for his award-winning music for Ripper Street, Marple & BBC's Emmy, Golden Globe & BAFTA nominated The Missing, who works from his studio in Spitalfields, London. An extremely fresh, innovative and resourceful composer, he has emerged as one of the most talented score composers of his generation.
Dominik’s credits further include Alina Marazzi’s Tutto Parla Di Te (All About You), Scenes of a Sexual Nature starring Ewan McGregor and Hugh Bonneville, Alice Through The Looking Glass starring Kate Beckinsale, and Appetite starring Ute Lemper, for whom he also wrote the title song, which reached No. 2 on the UK classical charts.
Last year, Dominik scored the four part sci-fi adaption The City and the City and the music for the BBC One & Netflix series Requiem (co-written with Natasha Khan, aka Bat for Lashes), which earned him an Ivor Novello Award nomination. Dominik has recently scored The Widow, starring Kate Beckinsale and BBC One's thriller series Baptiste starring Tcheky Karyo.
ABOUT the widow
The Widow is an Amazon’s eight part thriller created by Jack & Harry Williams (The Missing, Baptiste). It follows Georgia Wells (Hollywood A-list actress Kate Beckinsale), the eponymous widow whose husband Will died in a plane crash on a trip to Africa. Three years after Will's death, she saw a man resembling her husband on a news story reporting civil unrest in the Democratic Republic of the Congo. Suspecting that everything is not what it seems, Wells travels to Kinshasa to uncover the truth. Georgia starts looking for answers particularly concerned with the reason why her husband – she believes – faked his own death.
ABOUT THE SOUNDTRACK
Composer Dominik Scherrer about the sound of the series:
"The series needed a musical score that would start from the sorrow and melancholy of the title character and develop it into a tense and epic thriller score. I have previously worked with the creators of the show, brothers Jackand Harry Williams, on the Emmy, Golden Globe an BAFTA nominated 'The Missing'. Jack and Harry are keen on ballsy, streetwise, modern sounding scores, and that’s what I set out to do. At the same time, I felt the series was going to be a big international thriller, with amazing cast, locations and cinematography, and the score needed to reflect its scale. That's why an orchestra component was built into it right from the start."
The show is set in Wales, in Holland, and for the majority, in the Democratic Republic of the Congo (DRC). Whilst fulfilling its duty as a tense and emotional thriller score, Dominik was keen for the music to reflect the series’ Central African setting and draw from the continent’s amazing musical heritage: "I had long been a fan of different African musical styles. But rather than adding African instruments as a mere embellishment, I wanted to build the score from African structures, and have it played also by orchestra. If you look at Congolese music, the general line-up is simply guitar, bass, drums, vocals. Those brilliant Congo guitar riffs became an inspiration, they incorporate the essential polyrhythm all in one element. I translated some of this into our larger thriller-orchestration."
If time allows, Dominik starts working on these kind of projects in an early stage, writing and developing themes during the shoot and interacting with the cutting room to feed them the kind of rough themes they need to make the cut work: "I started composing the music right from the start of cinematography, so the cutting room would already have some of my themes to lay down a temporary score. We can then really see the show coming together as a whole, rather than the score being an addition in postproduction."