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Price-giving Ceremony of SoundTrack_Cologne 10
A highlight of SoundTrack_Cologne 10, the Cologne Congress for Music and Sound in Film, Games and the Media, was the prize-giving ceremony on Saturday, 23th of November 2013. Manfred Eicher was awarded the SoundTrack_Cologne Lifetime Achievement Award. The WDR FILMSCORE AWARD went to Filip Šijanec, Slovenia, and the EUROPEAN TALENT AWARD SOUNDDESIGN to Artur Khayrullin, Russia. The Peer Raben Music Award went to Rosanna Zünd, Switzerland. The Früh Kölsch Audience Award went to Laurence Owen, United Kingdom. For the first time a prize for the Best Music Documentary was awarded in the context of SEE THE SOUND. Out of eight extraordinary music documentaries that had taken part in the race for the award that comes with 2.500 Euro prize money, the jury chose the Danish film
KIDD LIFE. The prize goes to producers and director in equal parts.
THE WDR FILMSCORE AWARD goes to Filip Šijanec from Slovenia and THE EUROPEAN TALENT AWARD SOUNDDESIGN Artur Khayrullin from Russia.
In the context of the competition of SoundTrack_Cologne, the EUROPEAN TALENT AWARD was awarded for the tenth time.
The WDR FILMSCORE AWARD and the EUROPEAN TALENT AWARD SOUNDDESIGN went to Filip Šijanec und Artur Khayrullin. The special mention went to Martin Stys, Poland/Germany.
Quote from the jury's statement:
WDR FILMSCORE AWARD: Filip Šijanec, Slowenien “Composer Filip Šijanec made really wonderful childlike choices that were exactly right for THAT film. He understood and captured the heart of the film. And this is the job of a film composer.”
EUROPEAN TALENT AWARD SOUNDDESIGN: Artur Khayrullin, Russland
“Sound designer Artur Khayrullin from Russia created an atmosphere with an eye for details that brought this post-apocalyptic world to live. His sound design kept the tone of the film consistent and makes the film work.”
Special Mention: Martin Stys, Poland/Germany “Composer and Sound artist Martin Stys showed an incredibly unique sense of vision and took chances that only brave hearts can take.”
Members of the jury were Irmin Schmidt (composer), Tilo Busch (Sound Vision Film- and TV Sound Studio), Greg Edmonson (composer), Vincent Favrat (COO & Director, Just Temptation) und Ingo Luis (musician, WDR Radio Orchestra).
The WDR FILMSCORE AWARD is made possible by WDR and WDR Radio Orchestra Cologne.
The EUROPEAN TALENT AWARD SOUNDDESIGN is awarded in cooperation with SoundVision Tonstudio GmbH and Dolby.
Peer Raben Music Award goes to Rosanna Zünd, Switzerland, and the Früh Kölsch Audience Award to Laurence Owen, United Kingdom
In the context of the competition of SoundTrack_Cologne, the Peer Raben Music Award for the best music in a short film was awarded for the fifth time. The winner of the Peer Raben Music Award wins 1.500 euros.
Awarded was a film score where the relationship between the narration and the music and sound is innovative and dramaturgically clear. Out of more than 300 entries twelve were nominated for the award. Awarded was a film score where the relationship between the narration and the music and sound is innovative and dramaturgically clear. The criteria was met in the score of Rosanna Zünd for the film „Letzte Spuren“.
Quote from the jury's statement:
„The Peer Raben Music Award 2013 goes to Rosanna Zünd for the score of LETZTE SPUREN. The composition is a clear musical statement that manages to be sensitive to the subject of solitary death without dominating emotionally. By using a traditional instrumentation in a subtle way the score achieves to build a perfect balance between sincerity and the space for individual perception.“
Jury members were: Corinna Belz (director), Hansjörg Kohli (ZDF) und Hans Hafner (composer).
The Früh Kölsch Audience Award that awarded the best music in a short film went to the score of Laurence Owen, Great Britain, for the film „White Morning“.
SEE THE SOUND MUSIC DOCUMENTARY AWARD: “Kidd Life“ (Director: Andreas Johnsen, Producer: Kirstine Barfod, Andreas Johnsen, DEN 2012)
Quote from the jury's statement:
"The outstanding quality of all the films made it difficult for us to reach a decision. Each one was full of surprises, inspiring, had its own style and fascinating main characters. All the same, we had to select just one film, and we decided on KIDD LIFE. In KIDD LIFE, both in content and style, and with impressive consistency, Andreas Johnsen relates the success story of Danish rapper Nicholas Westwood aka (also known as) Kidd. Just for fun, the young nobody and his friends put their video of the provocative song “Kysset med Jamal” online and, more or less overnight, register a million hits. As a close companion, and sometimes the only one, the documentary maker follows the young star with his camera and records the most intimate situations. Whether it’s an argument with his colleagues, at home with his family, at the doctor’s or after a long night out on the town, the hand-held camera is always lurking there in the background. KIDD LIFE presents us with a disarming view of how this teenager’s dream turns out. At the same time it records the way in which the music business of the digital era whistles up a storm, and mirrors the spirit of the time, something we have often seen – but never at such close quarters – and want to see again and again."
Jury members were: Emily Thomey, journalist (Berlin/Cologne), Ralph Christoph, head of strategy c/o pop Festival & C'n'B Convention (Cologne), Uwe Flade, director (Berlin).
The SoundTrack_Cologne Lifetime Achievement Award to Manfred Eicher
With his label ECM, founded in 1969, he became world-famous. His recordings with jazz musicians such as Keith Jarrett, Jan Garbarek and Chick Corea set new standards: Manfred Eicher, the outstanding music producer of our time, was awarded this year’s Honorary Award of SoundTrack_Cologne by Michael P. Aust, Matthias Kapohl und Matthias Hornschuh.
Extract from the Laudation by jazz pianist Hans Lüdemann:
“[...] You are the ideal of a creative producer. You are giving support, critique and stimulation in the process of the creation and realisation of music and you are preserving it at the same time. I would like to quote once more Jean-Luc Godard, who saw you apart from all the producers he knew from the film scene and who were only concerned about the commercial utilisation. Godard described the way you work: „He searches, he hears something and then
he tries to create soundscapes, of which other record producers do not have the faintest idea. And it is not until afterwards he thinks about the distribution“.
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