Dance & Ballet Music
Writing music for dance is like writing film music before the cameras are turned on and as such it asks the composer to take a more weighty responsibility for the style and shape of the story-telling, with the music playing a far greater role in defining character and pacing of drama right from the conception of the work. After leaving college I was music librarian for the Royal Ballet for 5 years and gleaned a great deal from the experiences of those years which paid off when I came to write my first ballet 'The Wind in the Willows' for the Royal Opera House in 2002. The success of this work was followed by further commissions for the Royal Opera House, Royal Ballet, English National Ballet, Sofia National Opera Ballet and the English Ballet School.
Music and video files for some of those shows are below...
‘As a choreographed impression of the tale it is clever and endearing and it is made more irresistible by Martin Ward’s atmospheric score’ (review for ‘Wind in the Willows’ – Guardian 2003)
‘All is ably knit together by Martin Ward’s excellent score, giving (choreographer) Tuckett exactly what he needs.’ (review for ‘Wind in the Willows’ - London Evening Standard 2003)
‘Martin Ward’s jazzy score is an absolute delight’ (review for ‘Pinocchio’ - Daily Telegraph 2005)
‘Martin Ward’s excellent score provides both comic atmosphere and dramatic highlights’ (review for ‘Pinocchio’ - The Times 2005)
‘Martin Ward’s first-class score is an excellent partner, lush with romance and humour’ (review for ‘The Canterville Ghost’ – The Times 2006)
‘The ballet’s best feature is its score, whose debt to Prokofiev, Elgar and Joplin is wholly justified in romping tunes and fabulous orchestrations that send the house out humming’ (review for ‘The Canterville Ghost – Independent on Sunday 2006)