Terry Plumeri had begun his musical education at the age of 10, then attended The Manhattan School of Music in New York City on a scholarship. There he studied with Robert Brennand, principal bass player of the New York Philharmonic. Later, when Terry himself became a bassist for the National Symphony Orchestra in Washington D.C., he studied composition and conducting with the Hungarian conductor/composer Antal Doráti, an eminent student of Béla Bartók. The studies here lead to an interesting and varied career which touch upon several different sections of the music world.
Even though he has been proved to be prolific in the fields of jazz and classical music as well, Plumeri may be better know to film scoring fans as the composer of passionate crime and war stories, where he get to focus on the character’s emotional journey rather than the action on screen. Terry’s 1988 debut score for Black Eagle uses sprawling motives to depict the battle between American and Soviet intelligence for a rare aircraft; written in the same year, Scarecrows is a more atmospheric endeavor for the kidnapping of a pilot and his daughter.
Terry also has a knack for scoring sequels where he not only captures the music of any given franchise, but vitalizes it with a breath of fresh air when needed. Such is the case with his haunting score on Death Wish V: The Face of Death – the last installment of the popular Charles Bronson franchise, made in 1994. Night Eyes Three is another good example for such a takeover: the Andrew Stevens franchise about a security expert and his sensual employers received its richest accompaniment from Terry.
Terry’s works in the field of film scoring have been acknowledged with a number of awards: his music for the 1994 One False Move ( a member of The New York Times List of the 1000 Best Films Ever Made) won the Best Score category in the IFP Spirit Awards. It’s a lesser known fact that in addition to writing, orchestrating and conducting most of his scores, Terry also likes to become a part of the music by playing bass on his scores (like he did with the acoustic bass solos in One False Move).
If needed, Terry can score a movie without the director’s involvement such as he did with the action film Black Sea Raid. His more recent ventures include more family friendly ventures: Mr. Atlas (1999) for instance tells the story of a boy and his friendship with the legendary Greek titan who keeps the globe. Nate and the Colonel (2003) is another touching story, focusing on Native American culture through the show stopping flute number, "A Prayer For My People". Currently working on When Jane & Johnny Come Marching Homeless (2012), Terry is close to completing his 60th film score in a matter of years.
In addition to being a film composer, Terry had also conducted a number of popular concert works, including the 4th, 5th and 6th Symphonies of Tchaikovsky with the Moscow Philharmonic Orchestra in 2007. In addition to producing music, Terry is also an experienced lecturer: his "Vocabulary and Psychology of the Music of Bernard Herrmann in the Alfred Hitchcock thriller, Psycho" could be of interest for film music fans too.
For more information, visit the composer’s official website at http://terryplumeri.com