Regrettably, Klaus Badelt is best known for his contributions to the score to Disney's blockbuster film, Pirates of the Caribbean: The Curse of the Black Pearl, a score which in no way showcases Badelt's innate talent.
This has been much better achieved by his robust scores for The Time Machine, The Promise, K-19: The Widowmaker and Rescue Dawn, to name a few, but even these all consist of heavy drama and epic adventure themes, with little to reveal Badelt as a composer with a lighter, breezier side. Le Petit Nicolas definitely changes this.
Colorful, Lighthearted Score by Klaus Badelt
A score with an inherently warm, humorous heart, Le Petit Nicolas uses an ensemble of specialty instruments which is only marginally backed by an orchestral sound. Instead, a motley group of guitars, mandolins, xylophones, rattles, whistling, chimes, bells, castanets, Hammond organ, bicycle bells, and other similarly offbeat instruments create an extremely colorful musical palette, richly upbeat and entertaining in its freshness and optimism, and also quite touching at times.
The quirky, unexpectedly mischievous tone of the score is heard immediately in “Un Drôle De Sujet De Rédaction,” a nearly eight-minute cue which splashes across the score's emotional spectrum in a nearly dizzying, grin-inducing overture, introducing the score's very memorable main theme in extremely charismatic fashion. Combining elements of lullaby, jazz, waltz, and spicy latino & French accents, the tone thus established is incredibly unique and affable.
Wide Melodic & Instrumental Palette in Le Petit Nicolas
The score rarely deviates from this model, although some softer moments pop up now and again, as in “Les Filles C'est Pas Intéressant” and “Neuf Mois,” the latter featuring a stunningly lovely duet for acoustic guitar and cello.
A gorgeous children's choir is introduced in “Un Jeu Drôlement Compliqué” and further utilized in “Une Balade En Forêt,” melding seamlessly with the rest of the ensemble to provide a magical new dimension to the score. Sadly, the choir is somewhat underused outside of these two cues, though its further appearances never fail to elevate the score to enchanting levels.
Orchestral Presence in Badelt's Music
When the full orchestra is introduced, the effect is extremely dramatic. “Rolls Folle” builds to several dynamic crescendo, bringing the sparkling brass section and the childrens' choir to bear in a comedic action frenzy, an album highlight. A brief militaristic march in “Et En Plus, C'est Un Sale Cafard!” is very entertaining as well, and the string section brings urgent depth to “Potion Magique.”
The score's main theme is present in the majority of cues, and is put through a very satisfying series of variations. Aside from the faux-dramatic renditions of the theme in cues such as “Rolls Folle” and “Potion Magique,” the straightforward performances of the theme in “Rivalités Fraternelles” and “Les Filles C'est Pas Intéressant,” and “On Dirait Un Poivron Confit” (among others) serve not only as concert-like performances of the lovely theme, but as examples of the melody's astounding versatility, both emotionally and instrumentally.
Conclusion
Le Petit Nicolas is, all in all, an unexpectedly winning score from Klaus Badelt, and an easy recommendation for most score collectors. The consistently upbeat, rhythmically cheery tone of the music may become obnoxious to some after only a few cues, but the sheer originality and intelligent development of the score's lovely melodies will make it irresistible to many others.
The score's unique blending of genres also provides a terrific showcase for unusual but beautiful instrumental arrangements which will be of immense interest and intrigue. A catchy, heart-warming delight!
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