Echo's van Sobibor
Renger Koning
" Renger Koning'music is very good at supporting all viable emotions and providing structure. "Written by Joep de Bruijn - Review of the music as heard in the movie
Echo's van Sobibor (2026) is a Dutch three-part documentary series by Piet de Blauw and Jan Pieter Tuinstra about the inescapable echo of history in today’s world. It follows their previous effort The Sobibor Tapes. Renger Koning composed the original score.
The music consists of a familiar hybrid of electronics and live instruments such as a 'Jewish' bass clarinet (performed by Giuseppe Doronzo). guitar, strings, cello, an electro-acoustic cello (the Dvina), piano and percussion. Overall, the music adjuncts the reflection on things – now and before – and pushes the narrative forward, using necessities such as the impending use of repetitive phrases, best heard in the atmospheric sound design through the rhythmic percussion or slower and more reflective use of the cello and Dvina.
Given the contemporary approach, there is more of a default whenever the hybrid approach presents less interesting electronics and live instruments in a 'drowned' manner. Also, there is a recurring resonating guitar effect, which, outside the documentary series, is otherwise often used as a means of expressing concepts such as 'time stands still' and creating a reflective, desolate feel and doubt. Yet, here it carries a strong (unintended?) negative connotation as it communicates aloofness, which is far from what Echoes of Sobibor is about.
There is considerable doubt concerning the overall need for any music, as the stories of all the people interviewed speak for themselves. Even so, Renger Koning' music is very good at supporting all viable emotions and providing structure.
(15-01-2026)
Music as heard in the miniseries.
The music consists of a familiar hybrid of electronics and live instruments such as a 'Jewish' bass clarinet (performed by Giuseppe Doronzo). guitar, strings, cello, an electro-acoustic cello (the Dvina), piano and percussion. Overall, the music adjuncts the reflection on things – now and before – and pushes the narrative forward, using necessities such as the impending use of repetitive phrases, best heard in the atmospheric sound design through the rhythmic percussion or slower and more reflective use of the cello and Dvina.
Given the contemporary approach, there is more of a default whenever the hybrid approach presents less interesting electronics and live instruments in a 'drowned' manner. Also, there is a recurring resonating guitar effect, which, outside the documentary series, is otherwise often used as a means of expressing concepts such as 'time stands still' and creating a reflective, desolate feel and doubt. Yet, here it carries a strong (unintended?) negative connotation as it communicates aloofness, which is far from what Echoes of Sobibor is about.
There is considerable doubt concerning the overall need for any music, as the stories of all the people interviewed speak for themselves. Even so, Renger Koning' music is very good at supporting all viable emotions and providing structure.
(15-01-2026)
Music as heard in the miniseries.