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This hard-hitting look at the life of peacekeeping soldiers in Bosnia required a music score that would stay on the right side of melancholy. Having taken pains to elicit convincing results from his actors, director Peter Kosminsky (with whom Debbie Wiseman had previously worked on The Dying Of The Light
) knew that semi-tragic would be the correct tone.
And once again Wiseman has pulled a rabbit out of one of her many hats. By layering ethnic flutes and voices into her score, she adds an otherworldly distance to the music. It relates to the action in its desired sad tone, while avoiding the emotive familiarity of the strings in, for example, her score for Wilde. Her themes are made the more memorable for being presented in these unpredictable formats: A nasal whine will stay with you longer than (an admittedly lovely) piano solo like "Twelve Hours". There's also a favourably miked percussive set that ripples under many of the cues and adds to the geographical dis-association. This is how all TV music should be in conception and result. --Paul Tonks
--This text refers to an out of print or unavailable edition of this title.