Cory Stillman
Peacock’s The Tattooist of Auschwitz is a powerful retelling of the true story of Lali Sokolov, a Jewish prisoner in the Auschwitz-Birkenau concentration camp who is given the job of tattooing the identification numbers on his fellow prisoners’ arms. With such unique and traumatic subject matter, composer Kara Talve understood her responsibilities as both a musician and a storyteller.
“This series is about one of the most horrendous events in history, and it doesn’t shy away from these horrors because we must never forget them,” says Talve. “However, it’s also a beautiful story, of love, hope, and survival– an important reminder to humanity that love is the only thing that can overcome evil.”
Talve scored the six-part miniseries alongside legendary composer Hans Zimmer. The co-collaborators immediately bonded over their shared personal connection to the Holocaust, further cementing their commitment to creating respectful and resonant musical accompaniments for the show.
“We were constantly questioning, making sure we did the story justice while being respectful to the history, and the images on screen,” says Talve.
Zimmer, Talve, and score producer Russell Emanuel all agreed that the score for The Tattooist of Auschwitz did not need to be too epic or intrusive. The show drew power from its incredible true story, and the score could simply accentuate that story in the right moments.
“From the very beginning we all talked about having a score that was abstract and emotional, and never illustrative,” says Talve. “They were always reminding us that the actors need to lead the scene, never the music. The images in this show really speak for themselves, and the story itself is a powerful truth on its own.”
Check out our full conversation with Talve to learn more about her relationship with Zimmer, an incredible true story about her own family’s connection to the Holocaust, and Talve’s moving tribute to her family through her work on The Tattooist of Auschwitz.
What was the process of finding the initial tone for the score of The Tattooist of Auschwitz, and how did you ensure it fit the series’ narrative?
When we were finding the initial tone for the score, Hans said something very important that really resonated with me:“If we are sentimental, we will fail.” This stuck with me through the whole score. We had to be deeply emotional without being sentimental, or over the top with the music. The subject matter is incredibly important, complex, and time relevant. I think I speak for the whole music team when I say that we took the responsibility of doing the story justice as a personal crusade, especially when me, Hans and Russell Emanuel (our score producer) all have family connections directly to the Holocaust. We were constantly questioning, making sure we did the story justice while being respectful to the history, and the images on screen.
How did you decide on the specific instruments and sounds to use, especially considering the historical context of the series?
There are incredible musicians playing on this score; without them, telling the story wouldn’t be possible. String instruments can convey so much emotion, especially when you have masterful players like Leah Zeger, Molly Rogers and Louisa Byron on violin. We had the privilege of working with cellist Tina Guo; her gorgeous interpretation of the love theme appears all throughout the series. As well as the dark, bruting string effects she played for the darker moments in the series. We also had the incredible Luanne Homzy and Alyssa Park play the violin duet over the Gypsy evacuation scene in episode 4, which was so heartbreakingly beautiful. That was a difficult scene to score, but again, being mindful to not be epic or excessive over the harrowing images, the duet seemed like a respectful way to underpin the emotion in the scene.
Can you talk about the overall collaboration process with Han Zimmer, Russell Emanuel, and the Bleeding Fingers Music team?
The collaboration we had with director Tali Shalom-Ezer, and producer Claire Mundell was like none other. We all formed a very quick bond, which I think is so important on a project like this one. From the very beginning we all talked about having a score that was abstract and emotional, and never illustrative. They were always reminding us that the actors need to lead the scene, never the music. The images in this show really speak for themselves, and the story itself is a powerful truth on its own, so we had to keep in mind that the music should subtly support, and never be too epic. It didn’t need to be. I know I speak for the whole music team when I say we really admire Tali and Claire and the teams at Sky and Synchronicity. They took on a nearly impossible task, and everyone within every department of production put their heart and soul into this project. Hans and I’s collaboration with Russell, our score producer, was truly special. He is our extra pair of (very great!) ears, on every single piece of music in this series, and he always brings fresh ideas to the score. He is always there to make sure we are fulfilling the vision of the client while still encouraging creative experimentation. Without him, none of it would be possible!
How did your grandmother’s piano, with its unique imperfections, contribute to the overall sound and feel of the score?
My Grandma Matty was 9 years old when the Nazis invaded Paris. The officers knocked on the door of her family apartment with a list of names, intending to arrest everyone who resided there. Miraculously, my Grandma’s name was not on the list– it was a total fluke, and the officers pointed at her in question. Her mother pushed her out of the way, saying something along the lines of “she’s not on your list, so you have no business with her.” My young Grandma escaped through the fire escape, running to her piano teacher, André Levallois, who was working with the French Resistance at the time. She hid Grandma and several other Jews for the duration of the war. When the war was over, Grandma’s piano came overseas with her from Paris to Brooklyn, and when she passed away just a few years ago, I inherited that very piano which now lives in my studio. I always wanted to use her piano to write music for a greater cause, and The Tattooist of Auschwitz seemed like the perfect series for that.
The piano itself retains its original condition and tuning, and it is exactly this imperfection that transports you back to the 1940’s– truly making it the sonic DNA of the score. The piano can sound incredibly intimate and human, while the lower keys sound very dark and disturbing. In this series, all of the above exist. While the series focuses on Lali and Gita’s love story, it isn’t a simple or traditional love story in any way… It’s love in the darkest place.
How did the collaboration with Barbra Streisand on “Love Will Survive” come about, and what was that experience like for you?
A true highlight of this project was collaborating with the one and only Barbra Streisand. She sings “Love Will Survive”, over the end credits of episode 6. The song is written by Hans, Walter Afanasieff, and myself, with lyrics by Charlie Midnight. It is executive produced by Russell Emanuel and Jay Landers, and arranged by Bill Ross. The song’s melody is derived from Lali and Gita’s love theme. Hearing the London Symphony Orchestra play the song, along with Barbra’s gorgeous, iconic vocals, was a moment I will never forget. When Barbra sings, she isn’t just singing; she is really telling a story. That’s what moves me so much when I hear the song.
How did you approach composing the love theme for Lali and Gita amidst the backdrop of Auschwitz?
The love theme is the heart of the score. Because Lali and Gita’s love blossomed in an unimaginable, horrific place, the love theme had to reflect that. There is a deep sadness and longing to the melody, but at the same time, it has a hopefulness and a defiant feeling to it.
What do you hope viewers and listeners take away from the music of The Tattooist of Auschwitz, and how do you feel it contributes to the series’ overall message of love, hope, and survival?
It’s our responsibility as artists and storytellers to keep telling stories like Lali and Gita’s in The Tattooist of Auschwitz. This series is about one of the most horrendous events in history, and it doesn’t shy away from these horrors because we must never forget them. However, it’s also a beautiful story, of love, hope, and survival– an important reminder to humanity that love is the only thing that can overcome evil.
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