Viewers were treated to two different takes on an 18th century Russian empress this season: HBO’s four-part “Catherine the Great,” starring Helen Mirren, and Hulu’s 10-part …
Gregson-Williams — reunited with director Philip Martin, with whom he had done two seasons of “The Crown” –– started early, writing a song that Catherine’s lover Potemkin would sing on screen. “I’m a great fan of Russian music,” the composer says, “but when I looked at that period, the classical music felt to me that it didn’t have that Russian passion that one recognizes in later eras.
The story “was really about two things: about building an empire, and about [Catherine and Potemkin’s] deep love for each other. I wanted to make the audience feel that Russian passion, the size and scope of the empire.” He spent about eight months writing four hours of music , about two and a half hours of which is in the final version.
Demo-ing for the job, music supervisor Maggie Phillips urged Barr to be musically daring, even outrageous. “I did a super-’70s synth track for the opening scene,” the composer says, and while he won the job, Hulu urged him to “pull back a bit from being too contemporary — although the showrunners were constantly saying, ‘more synth!'”
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