Rossenbach/Van Volxem
(Music inspired by Characters, Soundconcepts and Stories)
About:
Sven Rossenbach (1966). 1988, studied music at the "Frankfurter Musikwerkstatt",
following up in Maastricht & Köln. Record Production included: "Black Mesa",
"Dear Wolf", and "Gadu Gadu". Florian Van Volxem (1973). Session musician with,
amongst others, FM Einheit, Thomas D und Black Mesa.
They have worked together as sound designers and composers since 1993.
From 1995 until 2000, they mainly worked for the TV stations Vox und SWR as
well as doing many adverts, including: AOL, DRK, Bündnis 90/Die Grünen and VW.
From 2000 onwards they have worked more as sound designers and composers for ZDF
on such programmes as Kanzleramt, Aktenzeichen XY, ZDF Reporter and Was Nun.
Their work can be heard in many prize-winning films, station IDs, title music,
station designs and several radio plays with the Zürcher Sprechtheater audio publisher.
Parallel to this they also created the post-art-rock-project VOTBM with Harald Bernhard und UK Rattay.
Filmographie (Auswahl)
Im Angesicht des Verbrechens (In view of the Offence) 8 Episodes (2009) Director: Dominik Graf
Das Gelübde (The Vow) (2007) Director Dominik Graf
Eine Stadt wird erpresst (A City Held to Ransom) (2006) Director: Dominik Graf - Grimme Prize
Polizeiruf 110 Er sollte tot (Emergency call 110 - He Should (be) Dead) (2005)
Director: Dominik Graf – German TV Prize / Munich Film Festival Award /
Polizeiruf 110 Der scharlachrote Engel (Emergency call 110 - The Scarlet Angel)
(2004) Director: Dominik Graf- Grimme Prize - Gold /
Toyota jagt Ferrari (Toyota chases Ferrari) (2003) Director: Christoph Weber
Vorher/Nachher (Before/After)(2003) Theatre Oberhausen Director: Christoph Roos
Hotte im Paradies (Hotte in Paradise) (2002) Director: Dominik Graf
Filmstadt Hof Prize / TV Film Prize Baden Baden / The German Academy TV Film Prize /
Die Freunde der Freunde (Friends of Friends) (2001) Director: Dominik Graf - Grimme Prize
München _ Geheimnisse einer Stadt (Munich: Secrets of a City) (1999) Director: Dominik Graf
Awards: Commercials, and Sender Design (Selection)
ADC Award, Promax / BDA Silver "Best Sound Design"_Promax / BDA Gold + Bronze_Promax /
BDA Gold + Silver_Promax / BDA Gold_Promax / BDA Silver_Promax / BDA Silver
Background:
"There was always an interest in old films and film music but at that time there were
no thoughts - beyond TV clips, adverts and trailers - of doing a sound track for a full
length film. The idea first materialised in 1998 in connection with Dominik Graf
"Der Skorpion" (The Scorpion), which impressed us immensely. Here, we felt, was an
approach to film that was very close to our music.”
Process:
"A film composer often paints a picture in separate parts. The director then takes
these parts and creates a new picture and at the end the composer realises that he
probably would never have been able to paint such a picture; it has become more
than it ever could have been if it had been painted alone.
Film compositions for Dominik Graf as concept albums:
"Graf inspires us to spend a lot of time in specific style periods or to reach for an
instrumentation that we wouldnU+2019;t normally contemplate.
This finally led to the concept albums based on the ideas and impulses of Dominik Graf.
We produce an hour of music and in the final analysis we could say that he is,
more or less, our producer.
Film music as an assignment:
" This is definitely similar to working with a band but with a concrete theme, a motto
that requires a certain sound or instrumental concept.
Researching the sound concept is exciting, as is the moment when all the research that
that one emotionally controls in the composition is put together and finally begins to
work – through the behaviour of the cast as well– with the emotional concept of the
story and the figures within it.
Another very interesting aspect of film music is the illustration of a characters inner
voice, showing the characterU+2019;s point of view and stimulating the audience into
understanding the characterU+2019;s feelings and thoughts with music
but without concretely prescribing exactly what the character should feel.