Music by Mark Snow used in the Millennium episode The Pest House
Mark Snow's status as one of today's most innovative and successful film and television composers is only the latest element of a far-reaching and eclectic career in music. While Snow is perhaps best known for his theme and scores for The X-Files and Millennium, this Juilliard-trained musician's career has encompassed lush orchestral scoring, album production, classical performance, and five years as a co-founder of the legendary New York Rock N' Roll Ensemble (a band he formed in the late '60s with Juilliard roommate Michael Kamen, himself a much in-demand producer, studio musician, conductor, arranger, and film and television composer). He's been nominated for six Emmy awards (in five different categories) and has worked on many motion pictures, as well as virtually every type of dramatic television program in existence. His best-known work also includes The Oldest Living Confederate Widow Tells All, An American Story, and Something About Amelia. Mark Snow was born Martin Fulterman on 26 August 1946 in Brooklyn.
Where Mark Snow can be heard in The Pest House
The Millennium episode The Pest House contains the following music by Mark Snow:
Mark Snow - additional music heard in Millennium
Millennium's producers would occasionally use additional music from the same artist, band or composer. Sometimes a track or song could be heard in more than one episode of the series.
Music from Mark Snow was used in a total of 6 episode/s of Millennium. Below is a complete list of all music by Mark Snow heard throughout the series and the episodes in which it was used, including links to the relevant music and episode profiles:
About Mark Snow
The Brooklyn, New York native began studying piano at the age of ten, then moved on to both drums and oboe. Four years at Juilliard followed, where he studied with jazz arranger Hall Overton and oboist Melvin Kaplan, as well as 12-tone composer George Tremblay and composer Earl Hagan (best known for the theme of The Andy Griffith Show).
Yet at the same time, Snow found himself bitten by the rock n' roll bug. He found the perfect outlet for his wide-ranging talents and interests in the New York Rock N' Roll Ensemble, which he formed with Kamen to perform both innovative pop and purely classical music (Snow played both drums and oboe (although not at the same time!) in that band).
Snow left the band in 1973 and, after a brief period in record production, moved to Los Angeles in 1974 and began working as a film and television composer. His early successes in the field included episodes of the award-winning series Family, and the theme and episodic scores for the long-running Hart To Hart. Other work included Cagney and Lacey, Baghdad Cafe, and Crazy Like A Fox, as well as many TV movies and mini-series.
Snow's home studio, featuring a mind-boggling array of the latest electronic equipment, enables him to "audition" an entire score for producers and directors (and his very friendly dogs) in the comfort of his own backyard.
Song 1: Night Sins (1997 TV Mini-Series)
Scene:
Night Sins (1997 TV Mini-Series) can be heard during the following scenes in the Millennium episode The Pest House:
Heard throughout the episode's score and during the final scene.
Details:Based on the novel by best-selling romance and thriller writer Tami Hoag, NIGHT SINS was a four hour mini-series broadcast on the CBS network in 1997. NIGHT SINS takes place in the small town of Deer Lake, where the investigation into the recent abduction of a young boy becomes the catalyst for a progressively bizarre and disturbing exposé of small town corruption, hypocrisy and perversion that extends back across decades. Reassigned from the big city to take over the investigation from another agent is Seattle Bureau Of Investigation Agent Megan O'Malley (Bertinelli), who finds herself thrown together with Mitch Holt, Deer Lake's chief of police. Holt, who lost his wife and daughter years ago to a vicious killer, is still haunted by his inability to save them from their fate and may even be a potential suspect himself. As the investigation proceeds, O'Malley and Holt struggle with their mutual attraction and try to stay focused on their work.
In 1993, composer Mark Snow began a fruitful creative collaboration with producer Chris Carter on THE X-FILES, which culminated in a unique marriage of music and macabre storytelling. Snow's work on THE X-FILES put him on the Hollywood scoring map, offering up a unique mix of atmospheric sound design and affecting layers of ambient melody on a weekly basis and this sound became very much in demand in the industry. Of the many television movies Snow scored in the 1990's, NIGHT SINS comes the closest to his work on THE X-FILES and contains many of his signature stylings. For NIGHT SINS, the composer wanted “a somber, elegiac, almost medieval sound for the religious overtones of the story, mixed with a lot of scary, dark atmosphere”. The final result is an electronic score augmented by piano, harp and xylophone, marking NIGHT SINS as a close relative to THE X-FILES and should appeal to fans of Snow's work on that show.
Information sourced from BuySoundTrax
BuySoundTrax Presents Night Sins Original Soundtrack by Mark Snow
Official Website:
Sorry, no official website exists or is currently stored for Mark Snow. If you are aware of an official website for this artist, please contact us and we'll add it to this page.
Other Websites:
The following other websites are listed for Mark Snow:
Biography at ASCAP: the American Society of Composers, Authors and Publishers
Mark Snow - IMDB entry
With grateful thanks to the following sources:
Jem Aswad
Biography at ASCAP: the American Society of Composers, Authors and Publishers
