“Queen Charlotte: A Bridgerton Story” has one of the most complicated, and yet stylistically unified, scores of any series this year — Kris Bowers’ original score, the 18th-…
‘ original score, the 18th-century period music, and a surprising number of string-quartet covers of 21st-century hits.
Bowers, who earned two Emmy nominations for his work, returned for the prequel but took a different approach. “This show needed a level of intimacy that the score for ‘Bridgerton’ doesn’t necessarily have,” he says. “My initial instinct was to write for a smaller ensemble, and to mic and mix the music in a way that was more intimate and tactile, a sense of closeness to the instruments.”
In a surprising connection with another Bowers project, he was inspired by the music of French-Caribbean musician Joseph Bologne, Chevalier de Saint-Georges, just weeks before he got the job of scoring “Chevalier” . He penned a song with Tayla Parks, “A Feeling I’ve Never Been,” for the royal wedding, along with other moments “where my reference point was trying to emulate Chevalier in different ways.
Similar to the much talked-about covers of contemporary songs in “Bridgerton,” “Queen Charlotte” contained versions of songs “written, performed, or turned into cultural juggernauts by women of color,” Patsavas says, including “Halo,” “If I Ain’t Got You,” “Deja Vu,” “Run the World,” “Nobody Gets Me” and “I Will Always Love You.”
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