Angelo Badalamenti, the composer best known for composing the score for the television series twin peaksdied at the age of 85.
He died of natural causes on Sunday, December 11, his family said in a statement.
As well as his work on twin peaksBadalamenti has composed a number of scores for other David Lynch films, including blue velvet (1986) and Mulholland Drive (2001).
He made cameos in both films, starring coffee-loving mobster Luigi Castigliane in Mulholland Driveand play the piano with Isabella Rossellini in blue velvet.
During his lifetime, the Brooklyn-born composer worked with musicians such as Nina Simone, David Bowie, Paul McCartney, Shirley Bassey, Marianne Faithfull, Liza Minnelli, Pet Shop Boys and LL Cool J.
As a child, Badalamenti grew up listening to Italian opera with his family. He started piano lessons at age eight and went on to earn a bachelor’s and master’s degree from the Manhattan School of Music.
His big breakthrough came in 1986 when he was asked to help Isabella Rossellini sing “Blue Velvet” for Lynch’s iconic film.
“They were shooting in North Carolina, so they flew me in to meet Isabella and see what I could do. When I got there, we walked into a small room with just Isabella and me and a piano. J worked with her for two or three hours straight until we had a good idea of a small recorder,” Badalamenti recalled in an interview with Culture.org.
He also wrote the song “Mysteries of Love” and found the late Julee Cruise to sing it. This began a long collaboration between the trio that would extend to Lynch’s flagship series. twin peaks.
“David felt that the music of twin peaks should cover a lot of ground, a wide range of moods: sadness, passion, ecstasy, love, tenderness and violence. He wanted the music to be dark and abstract,” Badalamenti said. “He asked me for music that would tear people’s hearts out.”
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Badalamenti has worked with other directors before, including Jane Campion, Danny Boyle, Paul Schrader and Walter Salles.
“He’s got that musical soul and the melodies still float within,” Lynch said of Badalamenti in a 1990 interview with people magazine. “I feel the vibe of a scene in the music, and one thing helps the other, and they both start to climb.”
Talking about his work with directors, Badalamenti said he always starts collaborations asking for the same.
“I always have a major question for a director when composing a soundtrack: what do you want your audience to feel? Do you want to scare them? Squirming in their seat? Do you feel beautiful? he said in an interview.
“And the way they answer that question gives me clues to work on. I translate their words into music.
Additional reports per AP