Gibson: Charade (1963): Alternate Edit Film Score for Chamber Orchestra [2026] with Video Credits: Video of the Martians at ArtShare L.A., Los Angeles, CA, February 21, 2026 Performing Gibson: Charade: Alternate Edit Film Score for Chamber Orchestra [2026] - Filmed and Edited by Alan Clark Sound Produced and Engineered by Sean Gibson Live Video Playback and Second Sound Engineer - Hallie Campos Sound Mastered at the Mothership by Patrick Gibson Charade (Source Material of Film in Picture) - Directed by Stanley Donen, Released 1963, Public Domain, Starring Cary Grant and Audrey Hepburn, featuring Original Score by Henry Mancini ©1963 Henry Mancini (No part of Henry Mancini's score for Charade was used in this presentation) Charade (1963): Alternate Edit (Film in Picture) - Edited by Patrick Gibson for this Project Charade (1963): Alternate Edit Film Score for Chamber Orchestra [2026] - New Score by Patrick Gibson, ©2026 Patrick Gibson I. a) Pre-Titles; b) Opening Titles II. Regina's Apartment III. Nightclub Shenanigans IV. An Evening Spent Running Around V. "Did You Say Marriage License?" All Music Performed by the Martians The Martians Chamber Group Grace Mehm, oboe Janet Cisneros, Bb clarinet Christian Dubeau, piano Christine Lee, synthesizer Javier Castillo, electric guitar Gracie Sprout, harp Kaija Rose Hansen, violin I Sarah Wallin Huff, violin II Claire Mehm, violoncello Jimmy Beall, double bass Patrick Gibson, conductor Program Note by the Composer Charade, the 1963 film starring Cary Grant and Audrey Hepburn has been entertaining audiences for more than sixty years and is, by any measure, truly a classic film. It features some of the finest performances of Grant and Hepburn’s careers, and is arguably one of the most beautiful films of its era. It has, also, always been one of my favorite movies. Charade (1963): Alternate Edit Film Score for Chamber Orchestra was written as a commission from the Los Angeles-based composers collective, Unequal Fifths, of which I am a founding member. It was written for my chamber group, the Martians, a modified Pierrot Ensemble (oboe, Bb clarinet, piano, synthesizer, electric guitar, harp, violin I, violin II, violoncello, and double bass). The Martians have been performing my original works throughout the Los Angeles Area, along with works by my colleagues Dr. Christian Dubeau and Dr. Christine Lee, for nearly a decade. For this concert project, which was sponsored by Unequal Fifths Composer Collective, and called "The Martians at the Movies!", our brief was to compose new film scores to films that were in the public domain. Charade ranks high on my list of favorite films for many reasons, not the least of which are its stunning technicolor beauty (characteristic of its era), its masterful blend of comedy and thrills, and the pitch-perfect Rom-Com dialogue and action. All of these elements are the work of the masterful director, Stanley Donen (An American in Paris [1951] and Singin' in the Rain [1952]). I must also acknowledge the enormous debt owed by me to the legendary, original score by the incomparable Henry Mancini. I consciously tried to avoid certain stylistic choices, musical gestures, and orchestrations that Mancini used in his score, out of respect, as much as anything else, but there are, undoubtedly and unavoidably, some similarities between our scores. I could not fail to be influenced by his masterful scoring of this film, with which I am very familiar. In fact, some of the things that Mancini did are so brilliant and so perfect for the film that it was nearly impossible to avoid doing some version of them myself. They are simply “right” for the film. That said, I hope that my score will be seen as a bit of a tribute to Mancini, as well as an alternate musical possibility, and, thanks to very heavy editing of the film, not truly analogous to Mancini’s work. My music for Charade is the result of the many edits that I made to the film, and an expression of my love for the film, as well as my musical telling of this beautiful (and sometimes surprising) love story, full of twists and turns. Patrick Gibson Composer Conductor, The Martians March 2026

The Martians Chamber Group in a live performance of Patrick Gibson's Nexus: Music for a Shadow Animation at the Downtown Anaheim Community Center in Anaheim, CA, November 12, 2023. The Martians: Soli Jones, oboe Reyneelynn Cameros, Bb clarinet Christian Dubeau, piano Christine Lee, synthesizer Gracie Sprout, harp Kaija Rose Hansen, violin Jimmy Beall, double bass Patrick Gibson, conductor Nexus: Music for a Shadow Animation is a piece for chamber orchestra, composed by Patrick Gibson for the chamber group, The Martians. It was premiered on November 16, 2019 at ArtShare L.A. in Los Angeles, CA, as part of the Sound and Fury Concert Series, curated by Christian Dubeau and Christine Lee. This video was directed by Alan Clark for Alan Clark Media. For more information on Alan's work, please visit alanclarkmedia.com. Nexus is a piece that was written as an alternative score to an old commercially released (on television and film) animation. After initially composing new music to synchronize with the film, the music was then pulled from the film and developed further, into a stand-alone chamber symphony in five movements: I. "Fiction Often Has a Way of Becoming Fact" II. Democritus and the Lost Concept of Atomos III. "Heat through an Atomic Eye" IV. Curie's Discovery of Radium V. The Promenade of Elements: "A Fascinating Study in Numbers" This process was intended to give the piece some of the dynamism of animation music from the era, both through the synchronization process and by adopting some of the same compositional methodologies as the film and animation composers of that era, while at the same time permitting an expansion upon those techniques in the final chamber symphony. It is hoped that the piece demonstrates the viability of these methods in the creation of twenty-first century concert music, and the importance of a close study of film, television, and theme park music of the era. Nexus: Music for a Shadow Animation was composed and performed in partial fulfillment of the requirements of the doctor of Philosophy in Music degree for the University of California, Riverside. Dissertation Chair: Dr. Ian Dicke. Dissertation Committee Members: Dr. Paulo C. Chagas and Dr. Roger Hickman. Patrick Gibson's dissertation, "Tonal-Serial Hybridity in the Music of Three Composers of the Walt Disney Studios with an Analysis of Patrick Gibson's Nexus - Music for a Shadow Animation for Chamber Orchestra," of which this piece forms a part, can be found at https://escholarship.org/uc/item/1g17b2jz More concert, media, and rock music by Patrick Gibson can be found at @ patrickgibsoncomposer.com

Program Note from the Composer: "Fugue for Martians is a five-movement piece of chamber music written for the Martians as a meditation on the contribution of Black creators of music in the twentieth century and their influence on my compositional language. This video performance is its public premiere, and is intended to be followed up, when conditions are safe for musicians and audiences, with a public performance on the Sound and Fury Concert Series (Dr. Christian Dubeau and Dr. Christine Lee, directors). The piece is meant as a loving tribute to and appreciation of my musical forebears, most especially William Grant Still, McKinley Morganfield (Muddy Waters), Miles Davis, Duke Ellington, and Jimi Hendrix. Though it may not be apparent on the surface, their influence shapes every bar of music I write, for which I am grateful, and of which I am proud." The Martians chamber group is comprised of the following members: Spencer Keeling-Klass, oboe (in this performance, the oboe is played by Soli Jones); Reyneelynn Cameros, B-Flat clarinet; Christian Dubeau, piano; Christine Lee, synthesizer; Patrick Gibson, electric guitar and conductor; Gracie Sprout, harp; April Kim, violin I; Kaija Rose Hansen, violin II; Michael Aburas, double bass I; Jimmy Beall, double bass II. I am truly grateful for all of their hard work and artistry on this project! They are an amazing group of players and artists and it is my honor to work with them. For more information on Patrick Gibson's compositional output, please visit patrickgibsoncomposer.com. For more information on Sound and Fury Presents, please visit soundandfuryconcerts.com. Patrick Gibson: Fugue for Martians, I. Prelude: 1619 ©2022 Patrick Gibson

Departments of Music, Comparative Literature/German Program, History of Art, and UCR ARTS present Metropolis Multi-Media Event. The Metropolis Multi-Media Event follows the inspiration of Fritz Lang’s large-sized ‘marriage of the arts’ while rediscovering the historical roots from which it arose – the interplay of filmic art and live performance. These audiovisual performances by UCR students, faculty, and guest artists are standalone performances that respond to and vary themes of “Metropolis” implementing digital visual arts, electronic music and piano performed live. Performed live, Friday November 17, 2017 at UCR ARTS' Culver Center of the Arts. Patrick Gibson Music Inspired by Fritz Lang’s Metropolis (1927) video, live piano and digital orchestra (2017) – 9'30" I. Maria II. Interlude III. a) Rotwang’s Laboratory; b) The Experiment; c) The Transformation Music Inspired by Fritz Lang's Metropolis (1927), for live piano and digital orchestra, is a multimedia work employing scenes from the film, and focusing on three characters: Maria, the heroine; Rotwang, the corrupted scientist; and The Man-Machine, an abomination born of Science that threatens Maria’s individuality and spreads a false “gospel” of violence and chaos. The images give rise to the music, which, in turn, gives voice to characters from a distant past. Patrick Gibson is a composer, electric guitarist, educator, and Ph.D. student in the Digital Composition Program at UCR. He holds an M.M. in Composition from Cal State Long Beach, an M.Ed. from National University, and a B.A. in Music Theory/Voice from Loyola Marymount. Works include: Missa Familiae Sanctae (SATB/Pierrot Ensemble), Speed Metal through the Viewfinder (String Quartet), Sonata for Electric Guitar (Rock Power Trio), and Mars Chamber Symphony (Modified Pierrot plus Harp).

Facing Fire is an exhibition that explores western wildfires as omen and elemental force, as metaphor and searing personal experience. Fire tends to spread. So, too, does the meaning of fire. Sixteen artists bring us photographs, paintings, drawings, ceramic, and video as they face fire, sift its aftermath, and struggle with the implications. UCR ARTS is collaborating UCR's Department of Music to present original compositions created by students and faculty around artworks found in the exhibition. The faculty and student composers in the UCR Music Department work in a variety of media drawn from influences that range from hip-hop to experimental electronic music. The approaches for each piece within the Facing Fire project are highly individualized. Some works are fully scored compositions for classical instruments, others use external source material and text taken from other mediums, such as video game soundtracks and news reports. Their compositions are a testament to the importance of expressing one's creative impulses during times of uncertainty and isolation. Patrick Gibson is a composer, songwriter, educator, electric guitarist, and vocalist based in Anaheim, California. He is the General Music Teacher and Choir Director at Cubberley K-8 School, Fremont Elementary School, and Patrick Henry Dual Immersion Elementary School in the Long Beach Unified School District. He holds a PhD in Digital Music Composition from the University of California, Riverside; an M.M. in Music Composition from California State University Long Beach; an M.Ed. from National University; and a B.A. in Music Theory and Voice from Loyola Marymount University. He composes and conducts concert music for his chamber group, the Martians, and has composed pieces for ensembles and artists from around the world, including members of the California E.A.R. Unit; flutist Sarah Carrier; the Robin Cox Trio; HUB New Music Ensemble; Transient Canvas; ensemble PHASE (South Korea); the Argus Quartet; the Eclipse Quartet; the Friction Quartet; Los Angeles Percussion Quartet; ensemble Fret; PHAZE Ensemble (University of Redlands); guitarist, Pedro López de la Osa; cellist, Maksim Velichkin; pianists, Christian Dubeau and Soo Lee Biancalana; saxophonist, Kelsey Broersma; and harpist, Gracie Sprout. He also composes media music for clients, and composes rock music for his band, Kirk Out.