Volker Bertelmann’s composition for "Conclave" is a testament to his ability to weave together the sacred and the sinister, creating a soundscape that resonates long after the credits roll.
Bertelmann initially approached the script with apprehension. The film’s focus on a predominantly male-dominated setting, steeped in patriarchal traditions, made him question whether he could connect with its core message. Growing up in a strict religious community in Germany, where gender roles were rigidly defined, Bertelmann had firsthand experience with the constraints of such systems. Yet, this very background provided him with invaluable insights into the complexities of faith and human nature.
In crafting the score, Bertelmann sought to highlight the universal aspects of humanity, transcending the film’s masculine framework. He aimed to emphasize the idea that every individual, regardless of gender or background, has a meaningful role to play. By incorporating elements that reflect this belief, Bertelmann infused the music with a sense of inclusivity and empathy, offering a fresh perspective on the narrative.
One of the most striking aspects of Bertelmann’s work on "Conclave" is his use of religious motifs. Drawing from his extensive knowledge of biblical texts and religious practices, he created a musical theme that evokes the idealistic aspirations of faith. However, he was careful not to glorify the institution itself. Instead, Bertelmann focused on the personal, inner journey of the characters, using music to convey their struggles and aspirations.
A key instrument in this endeavor was the Cristal Baschet, a rare French instrument played by rubbing glass rods coated with water. Its otherworldly tones perfectly captured the ethereal quality Bertelmann envisioned. This choice allowed him to bridge the gap between the divine and the earthly, creating a sound that feels both ancient and modern. The Cristal Baschet’s haunting melodies underscore moments of introspection and doubt, adding depth to the film’s emotional landscape.
While the religious undertones are central to the score, Bertelmann also had to address the film’s thriller elements. The story unfolds as a high-stakes drama, with Cardinal Thomas Lawrence (Ralph Fiennes) navigating a web of secrets and power struggles. To complement this tension, Bertelmann employed a dynamic approach to his composition. He used a combination of orchestral elements and unconventional instruments to create a soundscape that keeps audiences on edge.
One of the most challenging scenes involved the transport of the deceased pope’s body out of the Vatican. Bertelmann struggled with finding the right balance between reverence and intensity. Ultimately, he crafted a piece that builds in momentum before abruptly cutting to the eerie silence of the ambulance. This juxtaposition of sound and silence became a recurring motif throughout the film, enhancing the overall suspense. Director Edward Berger was so impressed by this sequence that he incorporated variations of it into other parts of the movie.
Rather than assigning specific themes to individual characters, Bertelmann chose to focus on overarching emotional states. Given the large ensemble cast, each character shared similar internal conflicts and desires. By concentrating on universal emotions like longing for peace and hope for a better future, Bertelmann created a cohesive musical narrative that resonates with all viewers.
This approach allowed him to explore deeper psychological dimensions without being confined to any single storyline. It also gave him the freedom to experiment with different musical ideas, ensuring that the score remained fresh and engaging. Through this method, Bertelmann succeeded in capturing the collective spirit of the film, providing a rich auditory experience that complements the visual storytelling.