The music that Christopher Young wrote in the 2022 for the German classic "Nosferatu, eine Symphonie des Grauens" (F.W. Murnau, 1922), in the film. The composer wrote this score for a concert that took place in February 2023 with the Tonhalle Orchestra in Zurich (Switzerland). It is a soundtrack of great intensity, dark and highly dramatic, flowing between darkness and light depending on who is on screen. It evolves and flows solidly until the end, offering a wide range of colors and emotions, dark and sinister, yet radiant and exquisite. The main theme is magnificent. Some important points about what we have done:

1.- The music released by Young, although presented with individually titled tracks, is in many cases not individual cuts, but rather abrupt transitions between one and another. It is therefore a work of continuity. Its length is practically the same as that of the movie: the music is only a few seconds shorter than the movie.

2.- These tracks are titled after the scenes or situations to which the music corresponds in the movie, and are correlative to the plot of the movie, so we have obviously understood that they follow that order.

3.- It does not seem that Young wrote this score in order to match exactly (mickeymousing) the rhythm of the editing or the images. Although there are some points of clear connection - especially at the end of the acts and the beginning of the following ones - in other places the music is much more about creating atmosphere and dramaturgy than explaining and punctuating what is seen on screen. There are scenes where the music does not seem to react to what is seen, or even to contribute something that is not on screen: the Nosferatu theme playing in the inn scene (00:13:50). Or the flutes (00:59:31), which seem to represent the fast movement of the rats, but - and we tested this - do not match the animals in their appearance.

4.- Even so, and given that there are different copies of the film with slightly different lengths (in seconds, substantially), it is possible that our work is not exactly the same as Young's, but in any case the differences must be minimal, tiny: we had to cut a two-second shot to make the adjustment.

5.- Except for the latter, we did not want to manipulate anything, neither the film nor the music: we put the music into the film and let it fly in it.