“Doctor Who is the hardest job I’ve ever done”

As I delve into the captivating tale of Murray Gold, a maestro who effortlessly blends the realms of music and television, I find myself awestruck by his incredible journey. His life story is a testament to the power of dreams, persistence, and a touch of audacity.

As a longtime fan of Doctor Who, I’m thrilled to share that the much-anticipated Doctor Who Prom will be airing on Radio 3 this coming Monday. With decades of watching and appreciating this iconic show, I can confidently say that this event is not to be missed. Although we’ll have to wait for the television broadcast later in the year, the radio version promises an immersive experience filled with the show’s beloved music and moments. So, mark your calendars, fellow Who fans, and let’s savor every moment of this extraordinary event together!

For a longer version of RT’s exclusive Murray Gold interview, click here.

Murray Gold carries his achievements humbly, casually attributing it to good fortune. He modestly states, “I’ve simply been the composer for TV’s northern poets.” By this, he refers to esteemed television writers such as Paul Abbott (known for Shameless and Clocking Off), Sally Wainwright (Last Tango in Halifax, Scott & Bailey, Gentleman Jack), Russell T Davies (It’s a Sin, A Very English Scandal, and of course, Doctor Who).

As a passionate movie enthusiast, I can’t help but marvel at the unique artistic imprint John Williams has left on cinema. But what truly sets him apart is not just the numerous shows that carry his signature, it’s the fact that he’s the only living composer to have five entire BBC Proms concerts dedicated to his work. These performances are so highly anticipated that tickets sell out in mere hours after they become available, even with two shows scheduled for the same day.

Gold has graciously allowed me a peek into his creative haven, his north London residence, where he weaves his enchanting tunes. His recording studio, nestled in the loft, is brimming with five Apple Macs, synthesizers, an analogue reverb unit, and a collection of guitars. Does he ever struggle for ideas? “Not at all,” Gold says. “I believe the music simply materializes as I observe and listen to the narrative unfolding. I shut off any notion that I’m composing and instead position my hands on the piano, much like an old-time theater organist would. I play along, capturing the performance.”

At the roof’s edge, there’s a play spot for his two daughters aged five and seven. It seems to function like a soothing melody for them? “Sometimes they tell me, ‘That sounds great, Dad.’ However, they aren’t allowed to watch Doctor Who yet because it’s too frightening.” Gold, now 55, became a father later in life. His wife Gemma (an actress and dancer whom he met while working with Ballet Leront in Newcastle) takes care of the children’s daily needs – she’s like the producer on set, while I’m more like the executive producer.”

Growing up in Portchester, Hampshire, he was part of a close-knit Jewish family, with his father being an accountant and mother, both a homemaker and educator for individuals with learning disabilities. Often referred to as a ‘short-sighted geek’ during his youth, he was the eldest of three sons and demonstrated a natural affinity for music despite an unconventional career trajectory. Early piano lessons paved the way for him leading school bands, but when he attended Cambridge University, he studied history instead. Reflecting on his time at Corpus Christi College, he laments, “It was a lovely place, but I can’t help but remember my mistakes. I only focused on music and theatre and didn’t pay attention to my academics. On the day of results, I lay in bed surrounded by broken mirrors, still asleep as my friends told me, ‘You got a 2-2, Murray.’ I continued sleeping, seemingly unaffected.”

What composers did he draw inspiration from musically? “He had a fondness for Haydn, whose work incorporates elements of folk music, and he’s always been captivated by the harmonic minor. In the classical repertoire, major-key pieces seemed dull to him. Bach is difficult to avoid because everything contemporary and everything historical can be found within his works. It’s complex, spiritual, and it takes you on a journey seeking a sort of psychedelic, drug-induced high as you climb the mountain in search of God.” He laughs, expressing his enthusiasm.

This Prom isn’t going to be a jukebox musical. There’s a lot of new stuff

“David Bowie has always been my role model, and since childhood, I’ve emulated his style. People in my family would often call me ‘Little Bowie.’ One day in America, I had the opportunity to meet him – I spotted him buying an ice cream for his daughter. He was courteous, but he wasn’t interested in conversation. Looking back, I’m grateful for that encounter because Bowie didn’t live much longer after that.”

In his twenties, Gold gained experience as a session musician and later created the unique soundtrack for the BBC’s 1998 adaptation of Vanity Fair. This attracted the attention of Russell T Davies, who was seeking an exceptional talent for his innovative Channel 4 series Queer as Folk. Gold recalls a memorable meeting with Davies and fellow executive Nicola Shindler at his apartment. He had prepared some toast in case they were hungry, but they suggested going out for pizza instead. As a result, Gold’s toaster malfunctioned, causing a fire that destroyed his flat. However, this incident signaled the beginning of a productive partnership between them.

25 years on, I find myself swamped with projects. I’m currently working on Sally Wainwright’s gritty punk-band series, “Riot Women”, and Stephen Frears’s upcoming drama about Margaret Thatcher. For the Doctor Who Prom, I’m preparing a delightful mix of fan favorites but warn enthusiasts, “There’s plenty of fresh material yet to be unveiled” – hinting at elements from Ncuti Gatwa’s series that have yet to premiere. I assure you, this isn’t just a musical journey with familiar tunes; audiences might not be humming the pieces upon arrival. Instead, I aim to leverage the powerful vocals of the London Philharmonic Choir and Russian soprano Aida Garifullina. Her presence is indeed a major coup; she’s quite a star in her domain. Lastly, I’m overjoyed that Catherine Tate will be hosting the event. “She’s simply brilliant,” I can’t help but say.

After chatting for quite some time, he asks, “Would you like to listen to some music?” Absolutely! He starts up his computers, “Let me pull up my templates,” he says, “I’ve got a wide variety of instruments here, including strings, arpeggios, and every instrument imaginable.” He sets a metronome and adds reverb. “I’ll play a soothing lyrical legato,” he explains. As layers build upon layers, the music starts to mimic the soundtrack of a Scandinavian crime drama but eventually transforms into a grand Time Lord theme. “Repeat this process millions of times,” he notes, “and you’ve essentially composed an entire season of Doctor Who.”

Afterward, he erases it. “It’s gone. It was only present for an instant.” I need to make sure he knows I’m recording this conversation, as those fleeting moments could become extremely valuable in the future, perhaps even turning into rare Gold material.

Spontaneously, he starts performing the lively 2010 theme for Matt Smith’s Doctor Who character. It’s exhilarating to listen to the musician perform this piece in his artistic workspace. “I haven’t played that in a while,” he muses. “Let Russel know subtly, but the chord progressions in Doctor Who have a bit of a 1950s melodramatic feel to them, yet they’re arranged in a way that makes them quite dynamic.” He concludes by playing and humming the opening notes of David Bowie’s Changes. Truly, gold!

2024-08-21 16:05

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