Music for Matilda - An Interview with the Play's Composer, Nick Harvey

As the rerun of Matilda finally opens tomorrow, we talk to Nick Harvey about creating the brilliant music that brings this classic children’s story to life.

《瑪嬌達》明天即將重演!我們跟作家Nick Harvey談談有關本劇的原創音樂…

What inspired you about the story of Matilda?

Nick: Growing up, I used to devour the books of Roald Dahl. He was, without a doubt, my favourite author, so when Lindsey offered me the chance to work on a musical adaptation of Matilda, I literally whooped for joy! Having never really fitted in as child – I was, let’s say, a little bit different! – I could totally relate to the central character and was thrilled to have the opportunity to bring such a vibrant story to life musically.

《瑪嬌達》的故事如何啓發你?

Nick: 年少時，我最喜愛的作者絕對是羅爾德·達爾，並狼吞虎燕地細味他的著作。因此當導演麥蓮茜讓我為《瑪嬌達》作曲，我實在是又驚又喜！由於小時侯的我總是與身邊的人格格不入 (或者說是有點不同)，我與劇中主角身同感受，所以很高興有機會用音樂將此故事活化。

 What is your process when creating music?

Nick: That really depends on whether I’m writing the music for a song (more on that later) or an instrumental. If it’s a moving, emotional instrumental piece, the piano is always a good source of inspiration; a more up-tempo composition, however, might start with a drum beat or a bass-line and then, having decided on a structure, I’d build the layers up from there.

Nowadays, I spend most of my time scoring TV dramas or documentaries, so of course my focal point compositionally has to be what’s happening on the screen in front of me. For example, writing a comic cue for tuba and swanee whistle wouldn’t be appreciated by the director if it was meant to underscore a tearful funeral scene.

你作曲的過程是怎樣的？

Nick: 這視乎我是創作一首已配詞的歌曲還是純音樂創作。如果我要寫一首動人且充滿情感的歌，鋼琴永遠是良好的靈感來源；如果是節奏較快的歌曲、我會先從鼓聲或低音的節拍落手，在決定了歌曲架構後，便會分層逐一加上。現在，我多為電視劇或紀錄片作曲，因此我作曲的焦點當然是熒光幕上所發生的事。假如為一場悲哀的葬禮寫一首以低音號及滑動哨子笛彈奏的搞笑歌，我一定會被導演鄙視。

 How would you describe your creative process when collaborating with Lindsey?

Nick: Not only is Lindsey’s energy and enthusiasm infectious, but her creativity and imagination consistently astounds me. When writing songs together, Lindsey pens the lyrics and I put them to music. They might be in poem form initially. I’ll then sit at the piano and bellow my heart out, improvising chords and experimenting with melodies. The rhythmic quality of a lot of Lindsey’s lyrics helps to forge pacey, exciting songs that I’ll then arrange them for a bigger ensemble when the structure has been decided upon.

你與導演麥蓮茜合作的創作過程是怎樣?

Nick: 麥蓮茜不僅擁有充滿感染力的熱忱和精力，她亦有驚人的創意和想像力。當我們一起寫歌的時候，她負責填詞，而我則負責作曲。歌詞起初就如一首詩一樣，而我就會坐在鋼琴面前即興作曲和試驗不同的和弘。麥蓮茜寫的詞富有節奏感，有助我創作一些輕快的歌。當我們一起決定了歌曲結構後，我便會將音樂再次編排，將它演變成更大型的合奏樂曲。

What projects have you worked with YAF on?

Nick: Oh, gosh! Now let me see if I can remember them all. Erm, right, here goes:

Curiouser and Curiouser
Obsession is not a Perfume
Hong Kong Handover Celebrations
Who’s Afraid of Monsters
Shhhhhh!
Shhhhhh! 2
Matilda
Flesh

I think that’s the lot but I may be wrong. My memory’s not what it used to be!

 你有參與香港青年藝術協會的其他作品嗎?

Nick: 噢！要看看我能否記得，應該有…

《好奇一族》
《Obsession is not a Perfume》
香港回歸交接儀式
《邊嗰驚怪獸》
《Shhhhhh!》
《Shhhhhh! 2》
《瑪嬌達》
《Flesh》

我想就是這些，不過我不肯定有否記錯…我的記性已不如以往了。

Where are you in the world and what are you doing now?

Nick: I’m now living in the UK and work from my home studio as a composer composing music predominantly for TV programmes.

你現在居住在哪裹? 從事什麼工作?

Nick: 我現在居住於英國，是一位作曲家。我現時多在家中的音樂室工作，主要為電視節目作曲。

Describe the experience of touring a show to the Edinburgh Fringe Festival?  

Nick: I’ve been to the Edinburgh Fringe a few times, both as a musical director and as a performer. A more vibrant atmosphere anywhere in the world it’s be hard to find. With hundreds of shows, thousands of fellow artists and a sea of people, the majority of whom are appreciators of live performance, the excitement and buzz of the Fringe is infectious. It has to be experienced to be believed.

可否形容一下在愛丁堡藝穗節的經歷是如何？

Nick: 我曾多次到訪愛丁堡藝穗節，分別擔當音樂總監和表演者。我相信在世上很難找到一個比那裡更有活力的地方。那裡不但人山人海，擠滿上千位藝術家和熱愛現場演出的觀眾，更有數百項不同的節目，四處都充滿了興奮的氣氛。這確是人生裡不可錯過的親身經驗！