By admin 
HangupsMusic.com – Los Angeles, Six days prior to the illustrious 98th Academy Awards, the air at the iconic Eastwood Scoring Stage within Warner Bros. Studios hummed with a meticulously orchestrated energy. At the heart of this vibrant hub was Michael Bearden, the esteemed music director for the Oscars, commanding a sprawling live orchestra through a sophisticated array of musical cues – from celebratory walk-on anthems to poignant walk-off melodies and interstitial bumper music. This marked the second day of intensive pre-rehearsals for the upcoming telecast, and the assembled virtuosos, spanning generations and genres with effortless fluidity, navigated over twenty distinct musical pieces within a breathtaking half-hour, all under Bearden’s assured guidance. "Let the rhythm breathe, just free," he instructed at one juncture, a testament to his blend of precision and artistic intuition. Later, a pleased nod and a crisp "Nice. Crisp. I like that," affirmed a passage executed with perfection.
While the Academy Awards rightfully spotlights the cinematic masterpieces and the luminaries who bring them to life, the profound influence of music in shaping the evening’s emotional landscape is undeniable, mirroring its crucial role within the films themselves. As Bearden later revealed in an exclusive conversation, the demands placed upon the orchestra during the telecast’s three-and-a-half-hour runtime are nothing short of monumental.
"Last year, we navigated through approximately 111 to 112 distinct pieces of music," he recounted via Zoom a few days subsequent to the studio session. "It’s an immense undertaking." He further elaborated on the dynamic nature of the program, sharing that he had spent the very morning grappling with a brand-new composition destined for this year’s ceremony – a piece so fresh, the orchestra hadn’t even encountered it during the observer’s recent visit. Bearden aptly characterized the final musical blueprint as "a constantly shifting target," a living entity that continues to evolve and refine itself right up to the eve of the grand spectacle.
Beyond the meticulously curated interstitial scores, Bearden and his formidable ensemble are also tasked with orchestrating the much-anticipated return of the Best Original Song performances. This year, two nominated works are poised to captivate the global audience: "I Lied to You" from the film Sinners and "Golden" from KPop Demon Hunters. Bearden described his deep collaborative engagement with the featured artists. For "I Lied to You," he has been working closely with Miles Caton and Raphael Saadiq, who lead an all-star roster including blues legend Buddy Guy, powerhouse vocalist Brittany Howard, and genre-bending artist Shaboozey. Meanwhile, Ejae, Audrey Nuna, and Rei Ami, the dynamic vocalists behind Huntr/x, are preparing their rendition of "Golden." Bearden’s philosophy for these presentations is clear: "I always strive for the artists to understand that this is the Academy Awards, an unparalleled stage. Let’s elevate it, make it even grander, in a manner that amplifies their artistic vision rather than diminishing it. We possess the capacity to make it resonate with an even bolder impact than they might initially envision."
This marks Bearden’s second consecutive year at the helm as the Oscars’ music director, yet his connection to the show spans decades, having graced the event as a seasoned musician on numerous prior occasions. His illustrious career is a testament to his versatility and profound musical acumen, including conducting multiple Emmy Awards broadcasts and serving as the esteemed music director for a pantheon of pop royalty: Lady Gaga, Madonna, Jennifer Lopez, and the late, iconic Michael Jackson. Such a pedigree unequivocally positions him as a maestro adept at crafting monumental, globally resonant performances.
"The Academy Awards possesses its own distinct musical lexicon, an inherently elegant and sophisticated language," Bearden articulated. "Consequently, one cannot simply insert any piece of music into the telecast. Each selection must intrinsically resonate with the spirit of cinematic celebration and, crucially, sound impeccable on what is arguably the most prestigious platform in Hollywood."
During the recent pre-rehearsals, Bearden and his orchestra fluidly traversed a breathtakingly diverse musical landscape. Passages from acclaimed film scores such as The Mandalorian, St. Elmo’s Fire, and The King’s Speech seamlessly blended with iconic pop hits like Seal’s "Kiss From a Rose" and Wilson Phillips’ "Hold On," alongside timeless favorites by legendary artists including Stevie Wonder. Even at this early stage of rehearsals, the entire operation unfolded with the grace and precision of a finely tuned ballet. Dressed casually in all black and high-top sneakers, Bearden would swiftly turn to a nearby bench, retrieve the next sheet of music, and the orchestra would instantly launch into the subsequent passage. Some selections, like the bossa nova-infused Gershwin classic "’S Wonderful" from the musical Funny Face, proved infectious, inspiring spontaneous movements and subtle swaying from Bearden and others present in the studio.
The task of curating such an extensive and impactful musical program, given the boundless expanse of the world’s musical catalog and the sheer volume of pieces required for an event of the Oscars’ magnitude, might appear overwhelmingly daunting. Yet, for Bearden, it is a deeply intuitive process. "As a music director, one of my most cherished guiding principles is ‘discernment’ – the innate ability to understand precisely what to play and, more importantly, where to play it," he emphasized, noting his collaboration with over 530 artists throughout his distinguished, multi-decade career. To maintain his fresh perspective and expansive knowledge, he commits to actively discovering and listening to ten new, previously unheard songs every single day. This relentless pursuit of musical discovery, he explains, is what "informs my choices regarding placement and execution. There’s no arcane secret formula to this art."
However, the musical selections are not entirely at Bearden’s sole discretion. A significant portion of the repertoire comprises compositions by other artists, necessitating meticulous clearance processes for broadcast performance – permissions that are not always granted. "If a piece perfectly fits a moment, but we’re unable to secure the necessary rights, then I must pivot and select an alternative," he explained, underscoring the complex logistical layers involved. "It truly is an immense undertaking with many moving parts."
Further complicating the intricate tapestry are stringent time constraints, particularly for the brief bumper pieces that precede commercial breaks. "I must pinpoint the segment of a song that possesses the most potent emotional resonance, that will instantly captivate the listener, and that is immediately recognizable," Bearden detailed. "The goal is for the audience to hear those few seconds and think, ‘Oh, yes, that’s that song.’ Then, the producers transition to commercial, and our moment is complete. You might only catch 10 to 12 seconds of it, but I’ve connected with you because I’ve chosen the very core of the song, that visceral, emotional element that registers instantaneously."
For this year’s installment of the Academy Awards, several significant musical moments are meticulously planned, including the deeply revered In Memoriam segment, which Bearden personally arranged. While the specific song choices remain under strict wraps for now, Bearden affirmed, "A tremendous amount of careful and thoughtful work went into this by my team, the entire Oscars production team, and myself. We approach this segment with profound seriousness, committed to making it resonate truly and to honoring the luminaries who have passed on." This past year, the cinematic world bid farewell to many beloved figures whose legacies continue to enrich the art form.
With only a few days remaining until showtime, Bearden acknowledged that final adjustments and refinements to the musical program might still occur during the last rounds of rehearsals. Yet, one fundamental principle, he assured, will remain steadfast: every single musical selection will be chosen for its capacity to stir the human spirit. "Music, for me, stands as the most potent and universal language on Earth," he articulated with conviction. "I make it my mission to select music that genuinely moves souls. It’s one of my favorite affirmations I share with anyone I’m collaborating with – once all the preparatory work is complete, and we’re poised to take the stage as they announce us, I always tell them, ‘Let’s go move some souls.’"