The OD - Issue 1 - page 15

2011 · iSSuE 1
Hollywood Bound with Music
After the Berklee, Nick returned to
England and in 2008 began working on
an animation of Grimm’s fairy tales. The
project caused some excitement in the
industry but unfortunately was hit by the
recession and the second season was never
completed. Meanwhile, Nick was accepted
onto the graduate programme at the
University of Southern California which he
completes this year and now is involved in
a number of projects and collaborations.
Looking back, Nick is convinced of
the vital importance of the early learning
of music. “Nurturing interest in music is
essential for learning, particularly at prep-
school - not only for those who may pursue
music as a career, but for all pupils who
can go on to enjoy music in one capacity
or another,” he confirms. “I was not aware
of it at the time, but it was at the Dragon
that the seeds of my own ambition in music
were sown and where I was given the depth
of foundation on which I have built my
future. For that I am forever grateful.”
Nick has not forgotten his vocal or
concert roots either and his work still links
him strongly to Oxford; a composition by
Nick will be performed in September at a
friend’s ordination at Blackfriars Priory.
For further information see:
Already an established theatre composer,
Nick Kenworthy-Browne
(OD 1985), has recently been delving into the wider world of film
and television music. Nick is currently working and studying in
Los Angeles, which he describes as the ‘epicentre’ of the film and
television industry, in order to re-shape his musical career. Nick has
considerable musical experience on which to build including the
management of his own production company and several years as
Director of Music for an innovative theatre company in London.
Nick studied at the Berklee College of
Music in Boston, where he went in 2001
with a scholarship to the film scoring
department. Nick says his career stems
from the time he first picked up the
clarinet, an instrument he was encouraged
to learn while at the Dragon. “The clarinet
and I got on famously - I moved from a
plastic instrument to one made of wood
which produces a much smoother, rounder
sound. I felt very grown up,” he recalls.
“The Dragon installed music at the centre
of my life, otherwise I might have enjoyed
it only from the sidelines”
The Dragon also introduced Nick to
performance as he took part in small local
recitals organised by piano teacher Eve
Barsham. At this time, Dragon music was
overseen by the energetic David Andrews.
“He brimmed with enthusiasm and
musicality,” says Nick, who remembers
trying to keep pace with the Director of
Music on speed walks to and from the
Music School.
Through his involvement with music,
Nick gained an entry to the world of
theatre when he sang in a production of
Twelfth Night
with the Oxford University
Drama Society. It was this discovery of
story-telling through music that ultimately
led Nick to compose for the theatre and
for film. Nick’s first real break came from a
chance meeting in Headington which led
to his writing the score for the graduation
film of a budding director. The film
Potemkin: The Runner’s Cut
starred Charles
Dance and was screened at both the
BAFTA and Munich short film festivals.
“The Dragon installed music at
the centre of my life, otherwise
I might have enjoyed it only
from the sidelines”
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