Silent One CD cover

Silent One, The - 1984

Jayrem Records Ltd - CDJAY321 (2009) - 42 min.
UPC #9421002391681

Composer: Jenny McLeod.
Performed by the Wellington Regional Orchestra, conducted by William Southgate.
Leader: May Hannan; Piano: Kevin Wooding; Bass: Barry Johnson; Drums: Bud Jones.
The Bach Choir conducted by Roy Tankersley with Kathy Blennerhassett, soloist.
Electronic engineer and Turtle calls by Tim Jordan; Drum tracks on location in Aitutaki by 'The Aitutaki Diggers'.
Recorded and mixed at The Studio Centre, Wellington, by Garry Clark.


Copies may be purchased from various New Zealand sources for about $20nz
Note that there are LP and audio cassette versions of this soundtrack, but new copies are no longer available.

As of February 2016, NZCDs says they have copies for about $18us

MP3 clip from this title's soundtrack

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01 - Ancient Voices - 1:00
02 - Main title theme - 3:40
03 - The Meeting - 5:31
04 - Ka ta te puaka - :52
05 - Night to Day - 1:11
06 - Underwater Ballet - 3:05
07 - Homecoming - 2:21
08 - The Call - :42
09 - Paui - :58
10 - Te Kaikai - 2:00
11 - Discovery - 1:16
12 - Rude Awakening - 1:17
13 - The Cry - 1:58
14 - Trouble - :52
15 - Peril - 1:43
16 - The Turtle Hunt - 3:09
17 - Shark - 1:37
18 - Jonasi Weeps - :37
19 - Confrontation - 1:50
20 - The Return - 4:53
21 - Jonasi's Theme - 2:11


MUSIC FOR THE SILENT ONE: An Interview with Composer Jenny McLeod by Riette Ferreira

Information at Soundtrack Collector Website

Jenny McLeod Bio

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Jenny McLeod, composer of the New Zealand Music Awards winning soundtrack for 'The Silent One', was not the first choice for the job.
Director Yvonne Mackay says Gibson was initially looking for an overseas name of the Vangelis variety to supply music and another selling point for the film. But McLeod's music turned out to be "everything that we dreamt of." McLeod is a modest winner. "I like the music and its kind of nice to feel that other people like it too."She says what pleased her most was the reaction from the audience. "I'd forgotten that there were so many Maori people in the audience and then the Patea Maori Club let out this roar."
It was McLeod's first feature soundtrack and her initial reaction to the assignment she says was one of utter panic. "I hadn't done any sync work before, and there were so many things to combine. I rang up all my friends and told them not to visit and went underground for six weeks."
Mackay says she and producer Dave Gibson wanted music that wasn't just wallpaper and would supply an emotional level to the film. They also wanted to use some elements of traditional Cook Islands music and electronic music for the underwater sequences. Combining the different elements was the challenge, says McLeod. "One had to consider that you were trying to appeal to a local audience as well as to a wider one." "I used a variety of modes, but I feel that it all hangs together. Sometimes it sounds like Sakamoto and sometimes like pop Rachmaninov."
"To me it happened very naturally. That's partly why I like the music because these diverse things came in without my having to concoct them." McLeod used orchestral, electronic and traditional island music for the film. She says she used a number of traditional melodies throughout the film, and the opening sequence of a Cook Island pre-Christian chant provided a mythical element which was central to the film. "It appealed to me, the baby arriving out of the sea in a canoe, with voices out of the past, deep and distant."
Mackay says working with McLeod was like working with another director. "She was so concerned with the themes, she has an amazing sense of drama." 'The most amazing experience I remember was Jenny demonstrating the music to us. Here was this woman, with a sound recorder with two tracks on it and she says, 'that's the strings and percussion. I'm going to play the woodwind on the piano and the the brass'. So she was rushing about and hitting buttons and playing. She's so warm and has such enthusiasm."
McLeod says there are no more features on the horizon at the moment, but she would like to do more film work, "if it was something I could respond to." Of winning the award, Mackay's response is "fantastic". She says it's also an added plug for the film's Auckland release. - [from OnFilm magazine - 1984]

The Silent One won five awards including the Best Film Soundtrack of the Year at the New Zealand Music Awards (it was the first New Zealand feature film with a Dolby stereo soundtrack)


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