Even the most vibrant, exotic scores could not disguise the introspection and sensitivity of the man himself.
He was honing that classic Barry sound, with lush strings and achingly lyrical melodies.
He lived through his music, but did not consciously seek to reveal himself though it.
Hed intended to go to the USA for a few weeks, but fate had other plans.
They moved to Oyster Bay in New York, forty-five minutes from the city.
In this secluded hamlet, Barry watched the boats and thought about a million notes.
As his friend Don Black would later reflect, Barry brought York to New York.
In this score, as withThe Ipcress FileandMidnight Cowboy, Barry composes around specific characters.
This score is replete with vulnerability, warmth, dignity and heartbreak.
Mary, Queen Of Scotsis a story of duality and conflict.
Still, Barry ensures that those contrasts are accentuated in a thoughtful and sensitive manner.
This theme describes perfectly the emotional resonance at the centre of the story; warm, feminine and heartrending.
Sometimes the only word for a film is lovely.
In this film, the characters are all instructed to listen to the sound of emotions growing.
This is what Barrys score seeks to illuminate, and the results are exquisite.
His genuinely delightful arrangements give this sweet film a passionate touch.
Its a gorgeous coupling.
The listener is urged to take this score to bed and have an early night.
Barry gives the film, named after an allusion to Don Quixotes tilting at windmills, an affectionate touch.
Barrys contribution resists the obvious aboriginal choices and brings subtlety and grace to a distressing emotional landscape.
As a side note, Donald Sutherland plays a character called Homer Simpson.
Legend has it this is one of his most bootlegged scores.
This striking mix of kantele, accordion, feisty bass and melancholy Moog became a top 20 UK hit.
Katherine Hepburn is the curmudgeonly mother in this TV movie by Anthony Harvey.
Barrys score didnt hurt, either.
