Reviews:

Rainer Nonnenmann (250 piano pieces for Beethoven - volume 4):

"The piece in both of its structural sections is dominated obsessively by an omnipresent one-bar motive. At the beginning of the piece, this is played three times sequentially over four octaves. This motive incorporates stylistic hallmarks of the young Beethoven: strong rhythm, syncopations, shifting between duplets and triplets, a wide tonal range, and relentlessly impelling movement."

Darren Rea (reviewgraveyard.com):

"Mark Candasamy's orchestral score for Anne & Alet straddles the line between score and classical music. There are so many beautiful themes woven throughout this album, that even after listening to this constantly for over a week, I'm still discovering things about it that I love. (...) This is a most impressive score - and one I'd suggest all lovers of classically scored soundtracks should add to their collection as soon as possible."

Olivier Debrosses (underscores.fr):

"Composed for a documentary feature, this graceful score is characterized by a flower skin sensitivity, and his seemingly calculated approach conceals a burning passion. We look forward to this composer handling the big screen!"

Pierre Braillon (underscores.fr):

"This score, with its broad string movements loaded with end to end emotion, possesses the beauty that these early scores from young composers tend to have, with that "first time" naivity, a total devotion."

Eirik Mortensen (Grimstad tidende):

"How differently the tones ring in Mark R Candasamy's pieces from "Anne & Alet", where we find ourselves carried away by unspeakable melodically and harmonically beautiful saxophone and piano tones. The music is incredibly well-composed, open, and airy enough to make room for the film medium, but at the same time possess the character and robust composure to stand on its own. It was the most "ear-friendly" part of the day's program, in the best meaning of the term."

Thor Joachim Haga (Celluloid Tunes):

"As the only Norwegian or Scandinavian contribution, (Anne & Alet) was recently nominated for the IFMCA awards (...), which is an award held in high esteem among composers, and the only recognition available from film music critics. (...) The music is mainly romantic (...) at times almost reminiscent of Ralph Vaughan Williams, with its soft string textures (...) a slightly unknown gem from the passing year, which recieved more recognition abroad than it did in Norway."

Melissa Minners (g-pop.net) says:

"Candasamy has been nominated for the International Film Music Critics Award for his musical score for Anne & Alet. It is easy to understand why. (...) ...the entire album is highly enjoyable."

Stipendium/Grants:

NOPA (Norwegian society of composers & lyricists) stipendium 2016

Det norske komponistfond (Norwegian Composer's Society) 2015

Sørnorsk filmsenter (South-Norwegian Film Centre) 2015

Det norske vederlagsfond (Norwegian Composer's Remuneration Fund) 2014

Søgne kommune/Muncipality of Søgne artist stipendium 2009

Cultiva Express project fund 2009

Awards/nominations:

Sørnorsk filmsenter (South-Norwegian Film Centre) 2015: "Best short film" (for "Sympho Noir", winner)

Documentary Film Festival of Volda 2015: "Best film by a newcomer: "Nymfeprisen" (for "Forestillinger om frihet", winner)

IFMCA (International Film Music Critics) 2014: "Best original score for a documentary feature" (for "Anne & Alet", nominated)

Nordic/Docs 2014: "best nordic student film" (for "Ponytales", winner)

GoldSpirit awards 2009: "best original score by a new audio-visual composer" (for "Bak Fasaden", pre-nominated)

Amandus Festival 2009: "best short film" (for "Arkitektene", nominated)