HEAVENQUEST: A PILGRIM'S PROGRESS (Digital-Only)

Premiere digital release of evocative score for new fantasy adventure film from Vudu! Matt Bilen directs, Patrick Thompson stars as Vangel, Peta Sargeant plays Ezera, Alan Powell is Aaron, In-Pyo Cha features as Elder. Vivid film portrays both an epic tale of adventure and an inward tale of self-discovery for Vangel, replete with scenes of battle and reflection both requiring lush musical scoring in grand style. Jonathan Beard composes for an array of orchestral and electronic instruments including rich solo writing for cello and violin, large percussion section as well as flute and the soaring soprano voice of Elyse Willis. As film launches with Vangel’s sudden arrest and daring escape, visions of a lady in white appear, summoning him from the North. Beard’s music accompanies Vangel’s journey through mountains and lakes, deserts and forest, all with promises of a better life…should he survive. The primary theme appears in mystic fashion at the outset of the “Opening Titles”, initially in minor mode but soon with brief, surging forays into major sonorities from the entire ensemble. Idea is briefly reprised on reflective mode for solo cello in the subsequent “Vangel In The Desert”. Beard’s alternating minor-to-major harmonic palette moves front and center for the emotional “Speaker of Truth”, giving way to the initial action material of “Vangel Escapes”. Composer Beard balances effective contrast between the tender violin and cello phrases within “He Is Everywhere” and the darker, intense weight of lower strings and dynamic percussion during “Vangel Is Sentenced”. Amongst the many ensuing musical highlights are the riveting triplet figures initially in tenor drum, then low brass and soon swirling strings that propel “Elder’s Story” and the aggressive mixed-meter rhythms of “Battle To The Gate”, the climactic action sequence with virtuoso percussion displays getting the spotlight. It’s also interesting to note how Beard maintains excitement and energy without resorting to musical chaos or dissonance. There is always clarity of line and motif, lending considerable authority to the lengthy cue. The journey climaxes with all-new melodic material for “Prince Elikai”, building an enormous amount of expression through the entire cue. When all is said and done, Beard wraps with a brief, soaring return to his main theme and codas in a satisfying major key. Intrada presents this score in digital-only format as part of our efforts to support newer films with musically-worthy soundtracks and make them available to the download audience!