Jofre Horta

ProAvailable to hire

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

About

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.

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  • Joined March 2026

Languages

  • Spanish; CastilianFluent
  • Catalan; ValencianFluent
  • EnglishFluent

Industry experience

  • Media & Entertainment

Projects · 6

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.

Short orchestral excerpt for string ensemble focused on sustained musical development and expressive phrasing.

The piece explores gradual dynamic shaping, voice leading, and harmonic tension within a slow, continuous texture. Particular attention is given to balance between inner voices and melodic projection, as well as to the overall coherence of the string writing.

The excerpt is conceived as an intimate, emotionally driven introduction, with a clear emphasis on legato articulation and long-form continuity.

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.

  • Composer
  • Orchestrator

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.

Original score composed for a dance video art piece by photographer Tatiana Mikhina.

The music explores movement, rhythm, and visual expression, supporting the choreography through a fluid and atmospheric approach. The composition blends subtle textures with dynamic gestures, enhancing the interaction between image and sound.

This excerpt presents a condensed version of the work, focusing on the dialogue between motion, timing, and musical structure within a video art context.

Original score composed for El Silenci del Jonc, a documentary directed by Susanna Barranco.

The music focuses on emotional depth, intimacy, and narrative support, blending subtle textures with expressive melodic writing to enhance the film’s human and psychological dimension.

This excerpt showcases a restrained and sensitive approach to scoring, highlighting control of atmosphere, pacing, and emotional nuance in a documentary context.

Work experience

Film Composer(Freelance) · Self-employedMar 2026 – Present · 9 mos

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 · University of Barcelona1996 – 2001

Certifications and awards

Professional Piano Degree – Conservatory of Castellón1997 – 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.

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