Composer specialized in orchestral and cinematic music, with a strong focus on narrative, emotional depth, and large-scale structure. Alongside film scoring, I write music for concert works, commissions, and stage, including orchestral pieces and ballet, approaching each project with a strong sense of form, balance, and dramatic development. I have contributed music to multiple film projects, collaborating on soundtracks across independent films and documentaries, and I am currently involved in projects connected to art director and visual development specialist Virginie Bourdin. My work is deeply influenced by the symphonic tradition, particularly Wagner and Beethoven, bringing a structured and dramatic approach to both concert and screen music. I have also developed a full orchestral score synchronized to Sergei Eisenstein’s Battleship Potemkin, demonstrating my ability to sustain large-scale musical form and align music precisely with visual storytelling. I aim to create music that enhances narrative, supports visual rhythm, and delivers a powerful emotional impact. Available for films, concert works, commissions, ballet, and audiovisual projects. _Website not available. Sign in: https://www.twine.net/signup_…

Jofre Horta

PRO

Composer specialized in orchestral and cinematic music, with a strong focus on narrative, emotional depth, and large-scale structure. Alongside film scoring, I write music for concert works, commissions, and stage, including orchestral pieces and ballet, approaching each project with a strong sense of form, balance, and dramatic development. I have contributed music to multiple film projects, collaborating on soundtracks across independent films and documentaries, and I am currently involved in projects connected to art director and visual development specialist Virginie Bourdin. My work is deeply influenced by the symphonic tradition, particularly Wagner and Beethoven, bringing a structured and dramatic approach to both concert and screen music. I have also developed a full orchestral score synchronized to Sergei Eisenstein’s Battleship Potemkin, demonstrating my ability to sustain large-scale musical form and align music precisely with visual storytelling. I aim to create music that enhances narrative, supports visual rhythm, and delivers a powerful emotional impact. Available for films, concert works, commissions, ballet, and audiovisual projects. _Website not available. Sign in: https://www.twine.net/signup_…

Available to hire

Composer specialized in orchestral and cinematic music, with a strong focus on narrative, emotional depth, and large-scale structure.

Alongside film scoring, I write music for concert works, commissions, and stage, including orchestral pieces and ballet, approaching each project with a strong sense of form, balance, and dramatic development.

I have contributed music to multiple film projects, collaborating on soundtracks across independent films and documentaries, and I am currently involved in projects connected to art director and visual development specialist Virginie Bourdin.

My work is deeply influenced by the symphonic tradition, particularly Wagner and Beethoven, bringing a structured and dramatic approach to both concert and screen music.

I have also developed a full orchestral score synchronized to Sergei Eisenstein’s Battleship Potemkin, demonstrating my ability to sustain large-scale musical form and align music precisely with visual storytelling.

I aim to create music that enhances narrative, supports visual rhythm, and delivers a powerful emotional impact.

Available for films, concert works, commissions, ballet, and audiovisual projects.

Website not available. Sign in: https://www.twine.net/signup

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Language

Spanish; Castilian
Fluent
Catalan; Valencian
Fluent
English
Fluent

Work Experience

Film Composer(Freelance) at Self-employed
March 23, 2026 - Present
Composing original orchestral and cinematic music for film, short films, and audiovisual projects. Experience in scoring to picture, developing thematic material, and structuring music to support narrative and visual rhythm. Contributed to multiple film and documentary projects, as well as developing a full orchestral score synchronized to Battleship Potemkin.

Education

Studies in Philosophy and Art History at University of Barcelona
September 18, 1996 - June 19, 2001

Qualifications

Professional Piano Degree – Conservatory of Castellón
December 18, 1997 - June 26, 2003
Formal training in orchestral conducting and orchestration with Antoni Ros Marbà. Studies in composition, harmony, counterpoint, and musical analysis with Willem Dragstra. Piano studies with György Sándor and José María Escribano. Solid classical foundation focused on structure, interpretation, and orchestral thinking.

Industry Experience

Media & Entertainment
    paper Battleship Potemkin – Final Act (Orchestral Score Excerpts)

    Original orchestral score composed and synchronized to the final act of Sergei Eisenstein’s Battleship Potemkin, conceived as a centenary tribute to one of the most influential films in cinema history.

    The project was developed following a request to orchestrate and score the final sequence, with the intention of live presentation in a concert setting, requiring precise synchronization and sustained large-scale dramatic control.

    These excerpts present two contrasting moments from the score, highlighting both the intensity of the climactic material and the structural continuity across the sequence. The writing focuses on long-form tension, thematic development, and detailed orchestral balance in direct relationship with the visual narrative.

    The work has been shared privately with established film directors and industry professionals, including Neil Jordan, receiving very positive artistic feedback.

    paper Marketing the Messiah – Opening Titles (Score Excerpt)

    Original score for the opening titles of Marketing the Messiah (2020), directed by Cameron Reilly.

    This 33-second cue combines piano, organ, and choir to create an intentionally intense and quasi-liturgical atmosphere, subtly playing with expectations to introduce the film’s ironic and humorous tone.

    The music balances dramatic weight with underlying irony, establishing both the subject matter and the documentary’s perspective from the very first moment.

    paper Hero – Orchestral Excerpt

    60-second excerpt from Hero, recorded with the Moscow Symphony Orchestra (2009).
    A solemn and noble orchestral piece built around clear thematic material, strong harmonic grounding, and controlled dramatic development.