This cue’s title refers to blindfolds, which put blind and sight-limited fencers on the same playing field. The uncanny ability of these fencers to compete using auditory and tactile cues is a central topic of the documentary Touché: A Blind Fencer’s Story.

Some of the fencers in Touché: A Blind Fencer’s Story had their own themes, reflecting their personalities as captured in the documentary. Robbie’s leitmotif was a bluesy riff on acoustic guitars, performed here by Tom Strahle.

This spirited cello solo is cut from the same cloth as last week’s Fencing Prelude No. 2. To quote last week’s description, which applies equally well: “The piece is meant to convey a sense of fencing’s regal history, as well as the nimble back-and-forth of the sport’s footwork. Cello performances by John Acosta.”

Continuing the music series from Touché: A Blind Fencer’s Story, this is one of several cello solos and duets underscoring the fencing instruction scenes. The piece is meant to convey a sense of fencing’s regal history, as well as the nimble back-and-forth of the sport’s footwork. Cello performances by John Acosta.

George Adams’ documentary Touché: A Blind Fencer’s Story tells the extraordinary story of Catherine Bolton, a woman who after losing most of her vision in adulthood became a champion blindfolded fencer.

As touched upon here previously, music for a documentary has to walk a line between romanticism and respect for its subject matter. That said, I felt that it made sense to compose a leitmotif for Catherine, who recurs throughout the film. Instead taking the traditional approach of varying the theme over time, I changed its instrumentation to reflect the mood of the moment. This solo piano version takes on a reflective but optimistic tone.

Just when you thought the tournament couldn’t get any more final, here’s the second half to the musical accompaniment for the climax of Touché: A Blind Fencer’s Story.

As with the first part, my challenge was conveying a sense of motion and excitement in the context of an intimate personal documentary. Once again a small group of strings and hand percussion did the trick, bringing energy to the fencing competition without overwhelming the scope of the subject.

Continuing the music series from Touché: A Blind Fencer’s Story, this week’s cue is the first of two that accompany the film’s climactic fencing tournament sequence.

Scoring this scene took a delicate touch. The music needed to add energy and a sense of stakes without turning a real-life competition into a scene from an action movie. In other words, to heighten the moment without over-romanticizing nonfictional people and events. And given the prevalence of dialogue and narration, big overarching themes would have felt intrusive.

I chose a minimalist (capital M) approach: rhythmically driven, with gradual changes of texture and harmony. I used a chamber music palette to keep the score intimate and personal: four celli, acoustic bass, and hand percussion.

Continuing the music series from Touché: A Blind Fencer’s Story, this week’s cue is a gentle accompaniment to fully blind fencer Ani Brady, as she deftly prepares a meal with the help of her daughter. The sensitive guitar performance comes courtesy of Tom Strahle.