Music from AURORA

Collection Contents

#		Title	Length
1		Aurora Open	5:21	Play
2		Ship Out of Control!	3:29	Play
3		On the Beach	1:29	Play
4		A Kind of Brother	1:48	Play
5		Just a Walk in the Desert	4:16	Play
6		Loved Ones Memories	2:25	Play
7		A Desert Too Far	2:37	Play
8		Tent Talk & Magnetic Storm!	3:27	Play
9		Dead Sailor	3:51	Play
10		The New Day	1:11	Play
11		The Insurmountable	2:27	Play
12		Farther Still	2:27	Play
13		You're Almost Dead	2:05	Play
14		A Glimmer in the Lightness	3:05	Play
15		Falling	1:34	Play
16		The Stars Are Dead	2:09	Play
17		Heat Surge	2:28	Play
18		What a Waste	2:59	Play
19		Peter's Farewell	1:10	Play
20		Skies	3:06	Play
21		Madness in the Light	2:50	Play
22		False Hope	2:42	Play
23		Last Thoughts & Rescue	3:16	Play
24		Aurora Close	2:52	Play

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Description

A Message from Christopher Kulikowski, Writer & Director

As a teen shooting super 8 films, there were several things I often dreamed. One was to make films that many people would see and enjoy. The other was to have Stephen Melillo, my friend, compose the scores.

I met Stephen in 1979. Over the years and with many miles between us, we kept in touch, growing in our own artistic ways and hoping that one day we would have the opportunity to work together. That dream came true with Aurora.

Filmmaking, by its nature, creates many opportunities for artists of all kinds to combine their talents and create experiences far beyond the viewers ability to ever encounter. One of the strongest and most manipulative forces at work in the filmmaking process is the composer. The composer can direct ones emotional response so effectively, that whatever one accomplishes as an actor, cinematographer or director, is radically enhanced or destroyed by the power of the music score.

Having the opportunity to watch Stephen compose and mix over a course of a few days was truly awe inspiring. I cant think of anything more exhilarating than listening to music that not only captures what one tries to accomplish as a filmmaker, but actually defines it. Stephen Melillos score for Aurora is all that I had hoped and prayed for. It is melodic, grand, wondrous, at times oppressive, mysterious, driving and yet tender, hopeful and extremely passionate.

I thank God for allowing me to share my gifts with so many people and for introducing me to such a vast group of incredible artists and technicians who have shared their gifts with me. Thank you, Stephen, for your music, your support and for believing in my work.

I look forward to many more collaborations in the years to come.

Godspeed... Christopher Kulikowski, March 1998


Stephen Melillo's more than 940 works range from interactive video scores to three symphonies commissioned by Gerhardt Zimmerman and the North Carolina Symphony Orchestra, a Concerto for Violin & Orchestra composed for Anne Akiko Meyers, and over 14 hours of Music commissioned for Wind & Percussion Ensembles of the 3rd Millennium.

His scoring work includes 13 feature films and Music which has appeared on 28 network television programs. He scored the Academy-Award-nominated 12:01PM and the Emmy-nominated Actress Works.

Stephen's film-scoring text, Music To Picture was completed during the scoring and orchestration of Academy Award-nominated 12:01PM. He implemented the film scoring program at the State University of New York at Purchase and as author of MIDIMAST, sponsored by the Ford Foundation, he trained teachers and taught inner-city students mathematics and science concepts via musical composition.

Simply by word-of-mouth, Stephen's pioneering, self-publishing entity known as STORMWORKS has gone from 0 to thousands of worldwide renderings in just 4 years.

Stephen is a many-times recipient of ASCAP Special Awards in Concert Music and has guest conducted and recorded with some of the worlds finest ensembles. His students now enjoy a range of musical careers as teachers, and professional musicians in an eclectic range from television jazz bands to studio musicians to members of major symphony orchestras.

Stephen studied conducting with Jens Nygaard and Atilio Poto, a student of Arturo Toscanini. Varied educators, conductors and commissioning parties have termed Stephen Melillo's work a new voice in the direction of music.

"He could become the Leonard Bernstein of this age... Everything he creates has many layers, ranging from synchronicity to the significance of numbers, from visceral emotions to the brotherhood of mankind." John S. Sweeney, Music Critic

"His S-MATRIX Symphony was fabulous, full of childlike wonderment as the composer intended and marvelous sounds. And they worked to maximum effect - a brilliant, original use of orchestral resources for a sophisticated, sensational, beautiful and satisfying experience."Nancy R. Ping-Robbins, Music Critic

"Melillo is to wind music what Beethoven was to the symphony orchestra, and he follows a Beethovenesque design of increasing the musical tension almost to the breaking point, receding, and then reaching again. It is superlative musical craftsmanship and inspiring to hear." Marvin Sosna, Special to The Tribune.

"...a new voice in the direction of music, his sound ? a bridge between the serious and the immediately visceral." Maestro Gerhardt Zimmerman, Conductor

"... his ability to create a mood, find precisely the right touch of drama and create the needed effect was manifest... the sustained chords in the choir, the timpani's roar, the harp's glissandos. Melillo used them all with a sense of absolute rightness and the result was fresh, joyful and exciting... each measure scored with an unerring ear for drama and emotion." John S. Sweeney, Music Critic

"I sit back in a studio. There are others around me. Our eyes are focused on a viewing screen and our ears poised. The two tapes roll. A video and a film score from you. What takes place has to be called a miracle. We are pulled here, then yanked back, thrown into despair then lifted back on to our feet and beyond, far far beyond. The score is beautiful Steve. More than I could have hoped for. What a triumph! I thank you." Rogers Follansbee, Director