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The music needs to slowly melt into that. To a less dramatic degree, the same thing happens with the organ music at the Christmas church service. The organist you see is the organist in the local church where they were filming. Suddenly, it became a kind of mini-commission for him. And it became a big motivating thing to listen to lots of organ music—to work out how to write it, to try to understand it a little bit better.

I used to go into the chapel and ass around on the organ a little bit. It strikes me as one of the few ways you can authentically hear how music would have sounded five or six hundred years ago. And these insane keyboards, where you have the black keys doubled, because the F-sharp is a higher note than G-flat.

That thing of it being such a physical effort involved in making the sound. I love the crunchy, tangible side of making this music. What were some of those early exchanges with Jane Campion about? Which was good and bad. I could only find some George Crumb stuff that had banjo scored for it. So I tried writing for string quartet and banjo—which you might not be surprised to learn was terrible. I mean, the worst comical sorts of sounds.

That was a big dead end. But it led me to playing the cello like a banjo instead. Because I played cello a little bit, with the aid of lots of Sellotape to mark where the frets should be, if it was a guitar, and I just learned to play banjo rhythms on the cello. French horns in a big room was an idea I did see through.

The idea of having a French-horn duet in a room so big that the room was another player, an equal part of the sound.

And that we did manage to do in a church in Oxford. The French horns come to the fore when Peter, this sensitive, intelligent, bullied boy, is wandering up a ravine on his horse. No, literally! Not to give anything away, but the music pressures you to pay attention, especially when we get to the cow.

But trying to make it as physical as possible, make it feel sort of dirty. When the players are breathing too loud, make the most of that.

And the drum kit—you can date it back to marching bands, army bands, carrying bass drum, snare drum, and cymbals. The music of war, the sound of armies going into battle. What is the process of deciding when to have music? Are there instances where the initial idea was not to have music, but you feel, Oh, there is something I can add here?

Peter going wandering off on his own on the horse was something I felt strongly should be horn music. But then I go write lots of horn music and see what fits. I love the feeling in a movie when a composer is lying back, watching and waiting.

You almost feel the absence of music. And here sometimes we just want to listen to the soundscape—the wind, the creaking floorboards, these sounds that communicate the loneliness of people out on this huge landscape. But it also felt like you were listening, too, and picking up sonic threads: the player piano, the banjo, singing around the campfire. The piano is a key part of the story as well. And that terrible Strauss march. Was that already in the script?

No, Jane asked me for suggestions: What is a piece of music that is instantly recognizable and not very good? I love that kind of humor, that kind of pain. No, they had this amazing guy that came and just worked it out. But it was a cue to get into, like you say, player-piano territory.

Try to write software that emulates the paper roll rather than using manuscript notation. It was actually the Ligeti mechanical stuff that I was sending Jane and saying, It could be like this. We can do that to a barroom piano. Women in that period were brought up to play piano. The banjo has a masculine identification. So, skipping to the end of the film, we have this gorgeous music for strings and piano. Do you want to take a stab at explaining octatonic music to the people?

Every note works with every note. Octatonic music is kind of the same idea. But all the notes work together and make a certain color that is its own thing.

The relief of getting out of that is a nice effect in itself. But you can have, like, F-sharp major. You have the C-major and minor chords, and the E-flat, F-sharp and A-major and -minor, but you also have the supertonic [D-flat], which gives a nice, tense sourness in the middle of all of the sweetness.

There are a few other limited modes of transposition that I like to use. What was it like working on these scores during the pandemic? Were there extra limitations in terms of ensembles and recording time? Big time.

I just did it all on my own, like a lunatic. And it meant that when we did the viola and cello solos, with Luba [Tunnicliffe] and Oliver [Coates], it was a case of giving them the melody and I could accompany them on faders.

They were responding to whatever chord I was pushing up, or whatever combination of chords. I mean, I was very lazy. I could practically have been smoking and drinking my way through this. There was a maximum of eight people or twelve people in lots of studios in London at that time. I would never have guessed it.

Although, now that you mention it, it maybe gives that music a sort of extra interiority, coming from you layering these tracks on top of one another. I have to ask the obligatory question: Has there been any Radiohead activity during the pandemic?

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