{"id":49057,"date":"2024-10-26T11:00:00","date_gmt":"2024-10-26T09:00:00","guid":{"rendered":"http:\/\/4c6ce290-ef09-4b7e-b723-66f23db56c34"},"modified":"2024-10-26T12:08:30","modified_gmt":"2024-10-26T10:08:30","slug":"ludwig-we-solve-the-bbc-dramas-beethoven-puzzle","status":"publish","type":"rss_feed","link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/rss_feed\/ludwig-we-solve-the-bbc-dramas-beethoven-puzzle\/","title":{"rendered":"Ludwig: we solve the BBC drama\u2019s Beethoven puzzle\u2026"},"content":{"rendered":"<p class=\"rssexcerpt\"><\/p><p class=\"rssauthor\">By <\/p><p class=\"rssbyline\">Published: Saturday, 26 October 2024 at 09:00 AM<\/p><hr class=\"no-tts wp-block-separator\"\/><?xml version=\"1.0\" encoding=\"UTF-8\" standalone=\"yes\"?>\n<!DOCTYPE html PUBLIC \"-\/\/W3C\/\/DTD HTML 4.0 Transitional\/\/EN\" \"http:\/\/www.w3.org\/TR\/REC-html40\/loose.dtd\">\n<html><body><p>John Taylor is a creature of habit, no happier than within the safety and familiarity of his own four walls. The outside world, its noise, excesses, people and problems are too much for this puzzle-setter. That\u2019s right, Taylor creates crosswords (among other brain teasers) and he does it under the name \u2018Ludwig\u2019.<\/p><p><a href=\"https:\/\/www.classical-music.com\/features\/composers\/ludwig-van-beethoven\">Beethoven<\/a> is big in Taylor\u2019s world; ever since he was a child (abandoned by his father one New Year\u2019s Eve) he has consoled himself in the music of Beethoven and it\u2019s safe to say that his affinity with the composer is strong.<\/p><ul><li><a href=\"https:\/\/www.classical-music.com\/articles\/beethoven-what-did-19th-century-think\">Beethoven &#8211; what did the 19th century think?<\/a><\/li><li><a href=\"https:\/\/www.classical-music.com\/features\/composers\/10-famous-beethoven-fans\">Ten famous Beethoven fans<\/a><\/li><\/ul><p>So when Taylor is wrenched from his ordered life so that he might help his sister-in-law get to the bottom of his twin brother\u2019s disappearance, his world is upended. In order to help he must pretend to be his brother, a police detective, and in doing so finds himself having to solve a string of murders. The perfect puzzle.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Ludwig | Trailer - BBC\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/imTyEPCAbc8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><figcaption class=\"wp-element-caption\">Ludwig &#8211; Trailer (BBC)<\/figcaption><\/figure><p><em>Ludwig<\/em>\u00a0is the brainchild of Mark Brotherhood (<em>Death in Paradise<\/em>) and stars David Mitchell as the titular Beethoven-obsessive. Anyone who has enjoyed the series on BBC One or iPlayer will have heard the music by composers Nathan Klein and Finn Keane, who do a little more than tip their hats to Beethoven. <\/p><ul><li><a href=\"https:\/\/www.classical-music.com\/features\/works\/five-unfinished-masterpieces-beethoven\">Five unfinished masterpieces by Beethoven<\/a><\/li><li><a href=\"https:\/\/www.classical-music.com\/articles\/top-10-beethoven-places-visit\">Top Ten Beethoven places to visit<\/a><\/li><\/ul><p>Their music uses Beethoven as its starting point, a hint of a melody here, a harmonic progression there. It\u2019s given musically minded audiences their own classical music puzzle to solve. But what are the Beethoven pieces hidden in\u00a0<em>Ludwig<\/em>, and how did Klein and Keane work together to create one of this year\u2019s most puzzling TV scores? We sat down with Nathan Klein to find out just that. And be warned, there are spoilers ahead, both musical and narrative!<\/p><h4 class=\"wp-block-heading\"><strong>This kind of project is a bit of a gift for a composer isn\u2019t it?<\/strong><\/h4><p>Both of us were so excited when we read the script for the first time, because it\u2019s not just a passing reference to Beethoven. The main character\u2019s identity is totally entwined with him, and at a really seminal moment in his life. In Episode One he\u2019s processing a really traumatic moment and he turns to Beethoven for safety and comfort, but he also clearly turns to him for inspiration \u2013 because that\u2019s what he uses to create his first puzzles. So there is that connection there and it didn\u2019t feel like a light thing, it felt like we needed to do it. If we didn\u2019t incorporate Beethoven when we were writing the score, that would maybe be a bit of a problem.<\/p><h4 class=\"wp-block-heading\"><strong>Was the idea of integrating Beethoven\u2019s music into the score presented to you when you were brought on board, or was that something you came up with?<\/strong><\/h4><p>That was something we pitched when we met for the first time. I don\u2019t know if anyone else had suggested that, or if they were already thinking about it, but it seemed like the reason we got asked to do it. We did some small sketches on some Beethoven themes; one of them was the\u00a0<em>F\u00fcr Elise<\/em>\u00a0that ended up opening the whole show. So right from the beginning we had that key musical game in there, and that definitely made us feel like we could make it work.<\/p><h4 class=\"wp-block-heading\"><strong>Was it a challenge to maintain the idea?<\/strong><\/h4><p>It was a real challenge. In some ways I was a bit worried, because when you\u2019re scoring a show you can just sit down, watch the scene, feel it and think, \u2018okay, I\u2019m going to do this music.\u2019 And it\u2019s almost easier that way, to do it instinctively. Whereas you\u2019re setting quite a difficult parameter for yourself if it has to have some link to Beethoven. <\/p><p>We stretched that parameter sometimes, where it was quite a loose link, but at least it was inspired by it in some way. There might be a small amount of harmony, or a short motif, or even just a rhythm; so in some cues the connection is looser. But it was definitely harder to approach it like that, at least at first. Once we felt like we\u2019d cracked the back of it and had done an episode or two, we had such a palette and a sense of how it could work that it made things easier \u2013 like any show, when you\u2019ve found your themes and you\u2019ve found your language. But it was definitely a daunting thing.<\/p><h4 class=\"wp-block-heading\"><strong>How did you come up with the final set of Beethoven pieces to work with?<\/strong><\/h4><p>There was a lot of discussion. We sat at the piano playing lots of different bits of Beethoven, thinking about it emotionally and thinking about the story and what function it would have in the scene. It was an instinctive feeling in terms of how it would work. <\/p><p>Initially we really wanted to use some other bits of the Ninth Symphony, particularly the second movement (which was used in\u00a0<em>A Clockwork Orange<\/em>) and that\u2019s such an exciting, thriller-ish thing. We thought we\u2019d use it for all the thriller elements of the score to really create that energy, but we couldn\u2019t get it in. So it\u2019s definitely something we played around with. Ultimately you have to put it with the scene, sculpt it to the scene and see if it\u2019s working.<\/p><ul><li><a href=\"https:\/\/www.classical-music.com\/features\/recordings\/beethovens-piano-concerto-4-guide-best-recordings\">Beethoven&#8217;s Piano Concerto No. 4 and the best recordings<\/a><\/li><li><a href=\"https:\/\/www.classical-music.com\/features\/composers\/10-beethoven-references-popular-culture\">10 Beethoven references in popular culture<\/a><\/li><\/ul><h4 class=\"wp-block-heading\"><strong>Did you set out to have a single Beethoven musical theme running through each episode?<\/strong><\/h4><p>We\u2019d sit down and try to find at least one new piece that would be the central theme for each episode. Sometimes that came from the \u2018cold opens\u2019 \u2013 the episodes open with a murder and it\u2019s a bit of a set-piece without dialogue. So we\u2019d try and find something that worked with that, because the music has to do a lot of heavy lifting. <\/p><p>In Episode Two, for example, we tried <a href=\"https:\/\/www.classical-music.com\/features\/works\/beethoven-fifth-symphony\">Beethoven\u2019s Fifth <\/a>for the chase through the manor house and that worked really well. Then the rest of the episode is that piece. <\/p><p>Episode Three is the <a href=\"https:\/\/www.classical-music.com\/features\/recordings\/best-recordings-beethovens-moonlight-sonata\">\u2018Moonlight\u2019 Sonata<\/a>, which was gifted to us in the script, and it worked really well for all the organ stuff. It was a more emotional story, which felt right, because it\u2019s an incredibly emotional piece of music. <\/p><p>Episode Four was the first movement of the <a href=\"https:\/\/www.classical-music.com\/features\/works\/guide-beethovens-symphony-no-9\">Ninth Symphony<\/a>, and Episode Five was the\u00a0<em>Coriolan Overture<\/em>, which kind of felt like it had a resonance with the story. John is becoming a bit of a hero himself, serving society. Beethoven\u2019s music is not always necessarily programmatic, but the titles can suggest something programmatic. <\/p><p>And then we used the <a href=\"https:\/\/www.classical-music.com\/features\/works\/eroica\">\u2018Eroica\u2019 Symphony<\/a> for the last episode, because he really is the hero. We called one of the tracks \u2018Puzzling Hero\u2019, which is the moment where he saves Lucy; he really has to use all of his mental abilities to figure her out of a very difficult situation. I think it just creates so much richness, and I love extra levels of meaning in things; not even on a sonic level, there\u2019s a bit of thought behind every moment.<\/p><h4 class=\"wp-block-heading\"><strong>You\u2019ve created your own musical puzzle for the audience\u2026 were you expecting that people would want to join your musical dots?<\/strong><\/h4><p>That was the thing that we debated at the beginning, because for some people this was going to be really fun, tracing all of this. I\u2019ve had messages from people saying they\u2019ve really enjoyed doing that, so it is adding an extra level of enjoyment. Obviously we didn\u2019t want to alienate anyone; it\u2019s a show for a wide audience and it had to work for the story, it couldn\u2019t just be about providing that musical puzzle for people. So that was the challenge, but hopefully we\u2019ve done both; hopefully it\u2019s fun for this extra reason, but it still serves the drama.<\/p><h4 class=\"wp-block-heading\"><strong>If you get a second series, will you feel more pressure to continue to weave these musical references in and maybe make them more complex?<\/strong><\/h4><p>I think it\u2019ll be exciting if there are future series&#8217;, I\u2019d love to explore more of those kind of connections. Luckily Beethoven wrote an enormous amount of brilliant music. I think it\u2019ll be so much fun; even the pieces we\u2019ve already used, there\u2019s plenty more there.<\/p><h4 class=\"wp-block-heading\"><strong>Tell us about your use of orchestral music and synths in the score, do the two soundworlds have a narrative function?<\/strong><\/h4><p>We really wanted to make sure the score wasn\u2019t just orchestral, which is particularly important because of the Beethoven inspiration. We really wanted it to feel like re-composition and a new musical language with some ideas from Beethoven, so incorporating non-orchestral instruments was important. The big thing we used was prepared piano; we\u2019d mute strings, put things on the strings, and we felt something about that would really distress John. He\u2019s quite a conventional guy and the idea of playing the piano in the wrong way would grind his gears. <\/p><ul><li><a href=\"https:\/\/www.classical-music.com\/features\/works\/six-best-pieces-prepared-piano\">The best pieces for prepared piano<\/a><\/li><\/ul><p>That first episode is, especially, all about him being exposed and out of his comfort zone. Where you really see that is when he\u2019s going through the police station for the first time; we called that \u2018Station Disorientation\u2019, because he\u2019s really overwhelmed by the environment. The sound designer did an amazing job creating that, but hopefully we did that with the music, too. That was largely prepared piano and some unusual percussion. <\/p><p>We wanted to bring in the synths because it looked back to the \u201980s, when he was growing up with his brother. He\u2019s living this weird synthesis of his life, with his brother\u2019s, so we thought that would be an interesting element to call back to. It also just felt like a really good way of modernising the score; we wanted it to feel like a modern palette.<\/p><h4 class=\"wp-block-heading\"><strong>What was the process for the two of you, working together on the score?<\/strong><\/h4><p>We started at the piano, sketching and choosing themes, and then we\u2019d part and work on sketches, come back together and evaluate them, change things and come up with different ideas. I\u2019ve done a lot of co-composition and it really varies; sometimes you\u2019re in the room together, sometimes you\u2019re separate. But with Finn, because he does a lot of work in pop music, he\u2019s pretty much always in the room when he\u2019s working with a vocalist, a top line, or another producer. So he\u2019s so used to being in the room, doing live ideas and experimenting. I\u2019ve done a reasonable amount of that, but a lot less than he has. <\/p><p>So it was a really lovely thing for me to be with someone who is so used to doing that together. Composing can be such a solitary thing where you get stuck in your head and bit protective of your ideas. It\u2019s like a beautful, liberating thing to share that with someone. We\u2019ve been friends for 12-13 years, so it feels safe and that he isn\u2019t going to walk out if he doesn\u2019t like something. The most positive thing I\u2019ve done in my career is co-write with people; and whenever I talk to someone who is starting out and looking for advice, I always say it\u2019s all about collaborating with other musicians. I think film and TV composers start out thinking they need to meet lots of directors and producers, but I\u2019d say it\u2019s more important to meet other composers and work with them.<\/p><h4 class=\"wp-block-heading\"><strong>What was the Beethoven piece that was the most fun to play around with?<\/strong><\/h4><p>I think \u2018Eroica\u2019 for Episode Six was definitely the most fun. It\u2019s such a great melody and we made it minor in the opening sequence. Beethoven does that himself in his development, but the bit that everyone knows the best is the major version and we do it in a minor key. It became really versatile and flexible, and Episode Six is just endless \u2018Eroica\u2019, but it never got tiring or boring.<\/p><p><em>Ludwig is currently on BBC One and iPlayer in the UK. Nathan Klein and Finn Keane\u2019s album is available to stream wherever you enjoy your music, courtesy of Silva Screen Records.<\/em> <a href=\"https:\/\/music.apple.com\/gb\/album\/ludwig-original-television-soundtrack\/1771462702\" target=\"_blank\" rel=\"noreferrer noopener\">Listen on<\/a><a href=\"https:\/\/music.apple.com\/gb\/album\/ludwig-original-television-soundtrack\/1771462702\"> <\/a><a href=\"https:\/\/music.apple.com\/gb\/album\/ludwig-original-television-soundtrack\/1771462702\" target=\"_blank\" rel=\"noreferrer noopener\">Apple<\/a>. <a href=\"https:\/\/music.apple.com\/gb\/album\/ludwig-original-television-soundtrack\/1771462702\" target=\"_blank\" rel=\"noreferrer noopener\">Listen<\/a><a href=\"https:\/\/open.spotify.com\/album\/3aho2Iikg3odjXQCnuBtcO?si=1fxsjKKpSES3zKX98gPCZg\"> on Spotify<\/a>.<\/p><figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe title=\"Spotify Embed: Ludwig (Music that inspired the score to the BBC series)\" style=\"border-radius: 12px\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/playlist\/4hV55u3VCOHWt6CqiZgAHC?si=b8347d70726f4152&amp;utm_source=oembed\"\/><\/div><figcaption class=\"wp-element-caption\">Ludwig &#8211; Music that inspired the score to the BBC series (Spotify playlist)<\/figcaption><\/figure> <\/body><\/html>\n<hr class=\"no-tts wp-block-separator\"\/>","protected":false},"excerpt":{"rendered":"<p>By Published: Saturday, 26 October 2024 at 09:00 AM John Taylor is a creature of habit, no happier than within the safety and familiarity of his own four walls. The outside world, its noise, excesses, people and problems are too much for this puzzle-setter. That\u2019s right, Taylor creates crosswords (among other brain teasers) and he [&hellip;]<\/p>\n","protected":false},"author":24,"featured_media":49058,"template":"","categories":[1],"acf":{"readingTimeMinutes":"10"},"uagb_featured_image_src":{"full":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/10\/ludwig-we-solve-the-bbc-dramas-beethoven-puzzle.png",1200,800,false],"thumbnail":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/10\/ludwig-we-solve-the-bbc-dramas-beethoven-puzzle-150x150.png",150,150,true],"medium":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/10\/ludwig-we-solve-the-bbc-dramas-beethoven-puzzle-300x200.png",300,200,true],"medium_large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/10\/ludwig-we-solve-the-bbc-dramas-beethoven-puzzle-768x512.png",768,512,true],"large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/10\/ludwig-we-solve-the-bbc-dramas-beethoven-puzzle-1024x683.png",800,534,true],"1536x1536":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/10\/ludwig-we-solve-the-bbc-dramas-beethoven-puzzle.png",1200,800,false],"2048x2048":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/10\/ludwig-we-solve-the-bbc-dramas-beethoven-puzzle.png",1200,800,false]},"uagb_author_info":{"display_name":"importmanagerhub@sprylab.com","author_link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/author\/importmanagerhubsprylab-com\/"},"uagb_comment_info":0,"uagb_excerpt":"By Published: Saturday, 26 October 2024 at 09:00 AM John Taylor is a creature of habit, no happier than within the safety and familiarity of his own four walls. The outside world, its noise, excesses, people and problems are too much for this puzzle-setter. That\u2019s right, Taylor creates crosswords (among other brain teasers) and he&hellip;","_links":{"self":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed\/49057"}],"collection":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed"}],"about":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/types\/rss_feed"}],"author":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/users\/24"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media\/49058"}],"wp:attachment":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media?parent=49057"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/categories?post=49057"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}