David Bertok is the composer behind the neo-classical album “One” and the award-winning film score for Daughter of the Sun. “One,” released on October 11th, is a compilation of previously unproduced compositions recorded across studios in Munich, Bratislava and Redondo Beach, featuring collaborations with 35 musicians. The album's eight tracks showcase a range of ensembles, from solo piano to string and chamber groups, with the nominated piece "Fontana dell'Anima" highlighting intricate neoclassical elements.
Photo credit (top): Crushed Eyes Media
Daughter of the Sun tells the story of a young girl with Tourette Syndrome, and Bertok’s score, which was written before filming was complete, blends a real Macedonian string orchestra with electronic and instrumental elements. The score's sonic variety, built around the characters and cinematography, contributes to the film’s slow-paced, reflective atmosphere, enhancing key moments, such as the dramatic twist at the end. Bertok’s work has received praise, with Daughter of the Sun winning Best Film Score at FilmQuest. Here, he shares insight into his work on both the album and the score.
“One” is an album that brought together a diverse range of musicians and studios across multiple countries. Tell us about how you approached the logistical and artistic challenges of recording in four different locations?
“Each musician brought their own sensibility and background into it. For the neo-baroque piece ‘Fontana dell’Anima,’ I chose to hire a string orchestra in Bratislava. They are classically trained musicians and play works from this time period on a daily basis. They also record film scores a lot, therefore, I had them playing on the cinematic piece ‘June’ as well.
Photo credit: Marco Wriedt
“For the piano trilogy ‘Eno-Eon-Neo,’ I brought in the Canadian pianist Jonas Kvarnström, who is based in Munich and recorded there on a Yamaha Grand Piano. He had the receptiveness that I was looking for in terms of interpreting these piano pieces that have partially odd time signatures, some of which are rooted in minimal music and some in late Romantic/Early Modern concert music.
“I had a diverse ensemble of German musicians for the chamber-style pieces that ranged from Klezmer (‘Humoresque en Bleu’) to the amalgam that is ‘Loondance,’ a mix of Renaissance and modern cinematic elements that features the voice of Californian soprano Emily Dyer. Then there is the meditative ‘Prayer’ that is reminiscent of Arvo Pärt. It was wonderful to have a colorful mix of musicians on the record, given the wide stylistic range.”
"Fontana dell'Anima" is highlighted as a particularly complex and polyphonic piece. Can you talk about the creative process behind this composition?
“Originally intended for the string quartet, this piece just kept growing. It developed its own momentum, so I decided to expand it for string orchestra, where you can divide each group into multiple voices. The multi-layer polyphonic approach of the piece is quite challenging, but the players immediately understood the style and intention behind it. We kept working on their phrasing and dynamics, and even conductor Vladimir Martinka, with whom I have worked for many years, had some interesting suggestions for dynamic impulses in the music. Emotionally, the piece is rooted in stern gravitas, and I wanted to make sure the playfulness was organically woven into it without distracting from the tone of the music. In June 2024, the piece was nominated for a Hollywood Independent Music Award.”
“One” is an album that was built from a collection of scores that didn’t quite fit into other projects, but were too precious to discard. How did you go about selecting the pieces for this album?
“I had some ‘must include’ pieces that just needed to be on there (‘Loondance’ and ‘Fontana dell’Anima’) and started composing from there. As the selection grew, I realized that the pieces weren’t connected stylistically or thematically. However, they did work together when placed in the right order. The album develops smoothly from piece to piece, covers a wide range of musical aesthetics and has an arc that takes you on a journey.”
Photo credit: Guido Karp
Looking at Daughters of the Sun, you wrote the score before filming was completed, using the script as your primary guide. How did you approach composing music without seeing the final visuals?
“Director Ryan Ward gave me a few keywords: vintage, ‘70s, grand, other-worldly and so forth…We had a long conversation about the tone more than anything else. I used this initial composition process to cast a wide net and search for the sonic world of the score. The emotional anchor in this father/daughter story developed naturally with the pieces, probably because the script had such a big impact on me, the ending in particular.”
The score for Daughter of the Sun combines orchestral strings with electronic elements and more unconventional instruments, like the guitar and tenor ukulele. What led you to blend these diverse sounds?
“We had to cover a wide range in this film since it is a father/daughter story, a road movie, but it also has a supernatural element, with beautiful cinematography brought to life by slow-moving camera work, reminiscent of Terrence Malick’s films. I knew we needed a string orchestra for the grand scope of the visuals. The guitar and tenor ukulele did lend itself to the characters and the travel elements. Then there are some vintage ‘70s instruments, like Fender Rhodes, which I ran through a ring modulator to give the solid tone something fragile and restless, which worked in a subtle way for the main character Sonny’s introspection.”
One of the most significant moments in the film is the twist at the end, where the score dramatically builds. How did you approach scoring that pivotal scene?
“From the beginning, (director) Ryan Ward emphasized that the pivotal scene at the end needs to feel like a big katharsis, so I kept the music building on the same root note for an extended period and then resolved it to a dorian chord - from minor to major. I also kept adding layers in the string ensemble, with different overlapping rhythmic subdivisions. This helped create a rush or a swarm, like a huge power drawing nearer.
“Then there were these sonic signatures that we planted throughout the movie. I had this sliding, low-string sound that we called ‘The Whale’ sound. We brought it back for this pivotal moment while previously eluding to it. I also recorded several low-pitched percussive gong sounds to give the final moment more impact, which you may only hear in a movie theatre.
“In terms of overshadowing the rest, I was not afraid of that. The film's ending is such a beautiful blend of release and shattering - an emotional impact that leaves you wondering and yet satisfied. So, I wanted to pull all the strings with the music here and elevate it in whichever way possible.”