Born into a family of musicians, Alexis Maingaud began his musical journey at the age of six by learning to play the violin. From a young age, he listened to the music of greats such as Wagner, Brahms, Khachaturian, Ravel, Debussy, Shostakovich, Saint-Saëns and Dukas, always trying to reproduce what he heard on the family piano.
After several years occupying the different violin desks of the youth orchestra at the National Music School of Aulnay-sous-Bois, he finally chose the piano, which he had already been self-teaching himself for several years.
After studying writing, composition and conducting, he joined Guillaume Connesson's orchestration class at the regional conservatory of La Courneuve-Aubervilliers. In addition to his musical studies, Alexis Maingaud graduated with a Bachelor’s in Musicology (Sorbonne - Paris IV) and a higher education diploma in sound techniques (ESRA Paris). This latter experience enabled him to meet a number of young aspiring directors, for whom he would write his first scores.
He fell in love with cinema at an early age and throughout the 90s spent countless hours in theatres discovering some of the greatest productions of the American entertainment industry. One of his most memorable experiences was the film Dragon Heart, which he saw when he was eight. It was the first time he cried in a movie theater, and that’s when he understood it was in large part thanks to the music, by Randy Edelman.
Almost twenty years later, after scoring over sixty short films, several documentaries and a good few commercials around the world, he composed his first feature-length original soundtrack, for Olivier Wright’s debut film Psi (2017). In 2018, he was hired by British filmmaker Andrew Desmond to write the music for his film The Sonata, featuring Simon Abkarian and Rutger Hauer. For this, he conducted the National Orchestra of Ile-de-France and inaugurated the orchestra's brand-new recording studio.
At the crossroads between classical symphonic art, minimalist compositions, sound experiments and modular synthesis, Alexis Maingaud draws his inspiration above all from cinematic language: movement, sound, light.
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FilmQuest (USA) 2019
Best Score for a Feature - The Sonata (dir: Andrew Desmond)
Wreak Havoc Horror Film Festival (USA) 2019
Best Score Award - Blossom (dir: Natacha Thomas)
Independent Horror Movie Awards (USA) 2018
October Award / Best Music - Blossom (dir: Natacha Thomas)
Wasteland Film Festival (USA) 2018
Music Video Honorable Mention - Red Tale (dir: Natacha Thomas)
Eurasian Film Festival (Russia) 2017
Best Music - Silhouette (dir: Bertrand Cazor)
Parma International Music Film Festival (Italy) 2019
Golden Violet / Best Music for a Feature - The Sonata (dir: Andrew Desmond)
McMinnville Short Film Festival (USA) 2019
Best Music / Score - La Rage (dir: Aurélien Mathieu)
La Baule Film Festival (France) 2017
Best Music - Red Tale (dir: Natacha Thomas)
DAILY DEAD (10/14/19 - Derek Anderson)
"The other star of The Sonata is unquestionably Alexis Maingaud’s string-centric score, which brings the film’s titular composition to life in a fashion so haunting and beautiful that it almost makes you just want to close your eyes and savor the sound of the film…"
THE B CLUB (09/29/19 - Martin Tranter)
"Everything about this film oozes class from the cinematography to the film’s score."
SCARIEST THINGS (08/14/19 - Robert Zilbauer)
"First and foremost, in a movie about classical music you’d expect there to be some top notch compositions. The Sonata and its award winning French composer Alexis Maingaud do not disappoint. Not only is the score wonderfully done, but The Sonata itself is an interesting piece of music."
BLOODY DISGUSTING (08/14/19 - Dax Ebaben)
"On another note, as one might imagine, the score for a film called The Sonata plays a key role. Composer Alexis Maingaud really delivers with his haunting work, which plays over almost every scene of the film. Maingaud’s score is just as beautiful and enveloping as the film’s imagery. The sound of it adds richness to contrast the drab colors of the neglected, old structure and its dreary landscape."
THE HOLLYWOOD NEWS (08/25/19 - Kat Hughes)
“For a film about characters obsessed with music, the score becomes an even more important component than normal. Luckily, the score is of suitably high calibre, and the work on the highly sought after sonata that we hear works. It would be awful if it were a bland and simplistic piece, given a man is meant to have spent his life working on it. Composer Alexis Maingaud skirts the pitfalls though and crafts an enchanting and intricate piece of music, more than befitting the story.
NIGHTMARISH CONJURINGS (10/09/19 - Sarah Musnicky)
“I would be remiss if I didn’t mention the score because, honestly, with a film called THE SONATA you need a decent score. Composer Alexis Maingaud completely knocks it out of the park and, once the film’s titular song comes together, it is really something that will force chills up and down your spine as you contemplate what will happen once the song ends. The composition of the film’s score also helps to create a balance between the darkness that is evoked onscreen with the cinematography, creating a further image of that Gothic horror that this film kept reminding me of.”