Music for a Small Orchestra
Milo
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| # | Pista | Duración | |
|---|---|---|---|
| 1. | Milo’s Theme | 3:11 | |
| 2. | Darkscape | 2:33 | |
| 3. | Target Practice | 3:32 | |
| 4. | Thirty Silver Coins | 2:11 | |
| 5. | Cream Routine | 2:52 | |
| 6. | Nadja | 2:46 | |
| 7. | The Revel | 2:22 | |
| 8. | We’re Seeing Him Home | 1:35 | |
| 9. | Michey’s Ruins | 2:18 | |
| 10. | Talking To The Police | 2:04 | |
| 11. | Nightfall | 2:58 | |
| 12. | Inevitable Conclusion | 1:00 | |
| 13. | Dysfunctional Family Theme | 1:47 | |
| 14. | Mixed Celtic Emotions | 2:02 | |
| 15. | Caitlin’s Trampoline | 1:45 | |
| 16. | Dysfunctional Family Climax | 2:16 | |
| 17. | Reprimand | 3:14 | |
| 18. | Milo Exit Music | 2:28 | |
| 42:54 |
About the composer...
Guy Van Nueten began playing piano at the age of 5, when he was sent to the local music school by his mother. As a result of this, he found he was able to read music before the written word. Around the age of 15 he started to show an interest in pop/rock music and, following his studies in mathematical economics, he threw himself fully into a musical career. During his time with The Sands their nameless debut album was produced by Bill Janovitz of American group Buffalo Tom and issued worldwide by Universal. The group went on to tour throughout Europe with the likes of John Cale. Among the numbers written by Guy Van Nueten for The Sands was the ‘Belpop’ classic ‘April and June’, a track that can still be heard on the radio more than 20 years on and crops up regularly in the ‘Top 100 Belgian songs of all time’.
Around 1998 a musical change became a necessity for him and he enrolled in the conservatory for composition and harmony and studied piano under the internationally renowned teacher Jacques De Tiège. Van Nueten now refers to this episode by saying: ‘Before, the piano played along with me; now it’s me who plays the piano.’
He has also composed for film-makers, theatre directors and choreographers, as well as for famous theatre companies from the Benelux countries such as Toneelhuis, Toneelgroep Amsterdam, Les Ballets C de la B, deFilharmonie and HETPALEIS. For the last of these he penned the musical ‘Soepkinders’ in 2005, winner of a Flemish Musical Award. In the film world he has written soundtracks for directors Koen Mortier (‘Ex Drummer’) and Alex Stockman (‘Eva’ in 2006, an award-winner at the Venice Film Festival, and ‘Pulsar’, featuring Matthias Schoenaerts, in 2012). His music for the Ballets C de la B dance production ‘Bâche’ (2005) was hailed a masterpiece by the music magazine OOR for its “unique combination of a modern electronic sonic feast coupled with sensitive Elizabethan music.”
As performer and/or arranger he can be heard on gold records by dEUS, Admiral Freebee, Zita Swoon, Magnus, Tim Vanhamel and DAAN. Two of his songs figure on the ‘Top 100 Belgian Songs of All Time’ list in “Knack” magazine and the double CD ‘Tom Barman en Guy Van Nueten – Live’ (recorded with dEUS singer Tom Barman), for which he wrote and performed the piano parts, was issued throughout Europe and appeared in many Top 10 lists for best CDs of 2003.
In the autumn of 2009 he brought out the superb ‘Merg’, a contemporary classical solo album with nods to baroque music and his hero Johann Sebastian Bach, and with song titles such as ‘Adagio not in B’, ‘Aggression Var. 1’ or ‘Impro The Fruit’. The follow-up ‘Pacman’ appeared in 2013 and was described by cobra.be as being ‘timeless and free from all trends’, while Dimitri Verhulst, writing in “Humo”, named it ‘the best CD of 2013’.
Guy Van Nueten began playing piano at the age of 5, when he was sent to the local music school by his mother. As a result of this, he found he was able to read music before the written word. Around the age of 15 he started to show an interest in pop/rock music and, following his studies in mathematical economics, he threw himself fully into a musical career. During his time with The Sands their nameless debut album was produced by Bill Janovitz of American group Buffalo Tom and issued worldwide by Universal. The group went on to tour throughout Europe with the likes of John Cale. Among the numbers written by Guy Van Nueten for The Sands was the ‘Belpop’ classic ‘April and June’, a track that can still be heard on the radio more than 20 years on and crops up regularly in the ‘Top 100 Belgian songs of all time’.
Around 1998 a musical change became a necessity for him and he enrolled in the conservatory for composition and harmony and studied piano under the internationally renowned teacher Jacques De Tiège. Van Nueten now refers to this episode by saying: ‘Before, the piano played along with me; now it’s me who plays the piano.’
He has also composed for film-makers, theatre directors and choreographers, as well as for famous theatre companies from the Benelux countries such as Toneelhuis, Toneelgroep Amsterdam, Les Ballets C de la B, deFilharmonie and HETPALEIS. For the last of these he penned the musical ‘Soepkinders’ in 2005, winner of a Flemish Musical Award. In the film world he has written soundtracks for directors Koen Mortier (‘Ex Drummer’) and Alex Stockman (‘Eva’ in 2006, an award-winner at the Venice Film Festival, and ‘Pulsar’, featuring Matthias Schoenaerts, in 2012). His music for the Ballets C de la B dance production ‘Bâche’ (2005) was hailed a masterpiece by the music magazine OOR for its “unique combination of a modern electronic sonic feast coupled with sensitive Elizabethan music.”
As performer and/or arranger he can be heard on gold records by dEUS, Admiral Freebee, Zita Swoon, Magnus, Tim Vanhamel and DAAN. Two of his songs figure on the ‘Top 100 Belgian Songs of All Time’ list in “Knack” magazine and the double CD ‘Tom Barman en Guy Van Nueten – Live’ (recorded with dEUS singer Tom Barman), for which he wrote and performed the piano parts, was issued throughout Europe and appeared in many Top 10 lists for best CDs of 2003.
In the autumn of 2009 he brought out the superb ‘Merg’, a contemporary classical solo album with nods to baroque music and his hero Johann Sebastian Bach, and with song titles such as ‘Adagio not in B’, ‘Aggression Var. 1’ or ‘Impro The Fruit’. The follow-up ‘Pacman’ appeared in 2013 and was described by cobra.be as being ‘timeless and free from all trends’, while Dimitri Verhulst, writing in “Humo”, named it ‘the best CD of 2013’.
Trailer: