Soundtrack Board

Jeanne d�Arc - Frau des Jahrtausends

Kumbert — Mon, 06 Sep 2010 11:44:21 GMT

Hallo zusammen,

h�re immer mal wieder eine bestimmte Musik, die �fter in Trailern verwendet wird. Zuletzt hab ich bei einer Doku �ber Franz Josef Strau� geh�rt und eben hier im folgenden Youtube-Video. Musik beginnt bei etwa 0:11. W�re f�r Eure Hilfe sehr, sehr dankbar.

YouTube- Broadcast Yourself.

Vielen Dank im Voraus!!!

Ver�ffentlichung (USA) - Kritzerland: SUGAR (Original Cast Album)

Thomas Nofz — Mon, 06 Sep 2010 07:12:06 GMT

Show-Alben haben es Bruce Kimmel momentan anscheinend angetan:

Zitat:

�DOIN� IT FOR SUGAR�

KRITZERLAND IS VERY PROUD TO PRESENT A SPECIAL 2 CD LIMITED EDITION:

SUGAR
Original Cast Album
Music by Jule Styne Lyrics by Bob Merrill

Sometimes timing is everything. If, for example, Sugar, a musical based on a beloved film comedy, with two great male starring roles, directed by an amazing director/choreographer, had opened not in April 1972 but in April 2001, the year another musical based on a beloved film comedy, with two great male starring roles, directed by an amazing director/choreographer, instead of April 1972, my guess is it would have been a smash hit and run for a very long time. But The Producers had the timing and Sugar didn�t.

Sugar had the misfortune to open at a time when the musical theater was going through great change � as Time magazine critic T.E. Kalem put it in his review of Sugar: �Sugar is almost a textbook case of a musical born after its time. It may well enjoy great wads of audience favor. But in the past three years Company and Follies have altered the critical perspective by providing a musical form that is spare, intelligent, ironic, mature and capable of sustaining three-dimensional characters.� By 2001, audiences, after years of spare, intelligent, ironic, mature musicals, were ready, willing, and more than able to embrace on old-fashioned nothing-on-its-mind-but-laughs-and-entertainment musical like The Producers. But in 1972, Sugar, despite its non-stop hilarity and tuneful Jule Styne/Bob Merrill songs, seemed like a bit of a dinosaur, at least to critics. The book was deemed clunky and the score uninspired. And maybe it seemed that way back then. Now, it seems a model of musical comedy craftsmanship. From the first notes of the overture you know it�s a Jule Styne score � and what an overture it is, classic Styne all the way, with great tunes, one after another, all orchestrated by the wonderful Philip J. Lang. The songs are clever and fun and occasionally laugh out loud funny � it�s a real musical comedy score, the kind they don�t write any more. The performances are stellar, with great work from stars Robert Morse, Tony Roberts, Elaine Joyce, and Cyril Ritchard.

Sugar was originally released on United Artists records. It was then issued on CD in 1999 by Ryko (the Ryko is long out of print and bringing fairly high prices). For this release we pulled all the tapes from the MGM vaults. As was the case with Promises, Promises, the first thing we found was that the Ryko version was not the original album mix, but a remix that simply attempted to ape the original album mix. The original album masters were there, along with all the sixteen-track session tapes. After listening to the album masters, we couldn�t believe how much swimmy, washy reverb was used on that original mix (and on the CD released by Ryko). It was the fashion back then, but this was just about the heaviest reverb we�d ever heard on a cast recording. It robbed the orchestra of detail and the vocals sounded like they were in a huge garage. The album masters did, however, sound better than the previous CD release.

The sound on the sixteen-track session tapes was astounding. Yes, it was dry, and yes it needed some space added, but the recording itself and the way the band and performers sounded was so crystal clear and beautiful and brassy that it took no more than five seconds to realize that we wanted to do what we did with Promises, and offer an alternate new mix along with the original album mix on CD for the first time.

Remixing this score was a particular joy. Suddenly we were hearing wonderful orchestral details we�d never heard before � we placed the instruments a little differently in the soundstage for optimum clarity, and the vocals sound much more present and are no longer occasionally getting beaten up by the band the way they were in the original. So we hope it will be fun to hear this alternate mix with a lot less artificial processing � we think it gives the score a whole new vibrancy and vitality as well as crystal clarity.

This release is limited to 1000 copies only. We�ve priced this 2 CD set at our normal 1 CD price of $19.98 plus shipping.

Quelle und Bestellm�glichkeit

DIE HARD - komplette score Analyse (in Englisch)

Mink — Sun, 05 Sep 2010 21:21:58 GMT

Hier nochmal f�r euch:

DIE HARD

Complete Score Analysis

With the Varese club release, all its wrong sequencing, mistaken slate numbers, crossfades, edits and surprisingly incorrect liner notes as the only official release of the music and concerning the rumor of a new release of the score on its way I decided to go through my favorite film score once more and share my final thoughts with you.
I didn�t focus on characterizing the music so much but rather on describing how it was used in the film.
Basic sources for information were the article �The Classic Score: DIE HARD� by Jason Needs and the liner notes of the Varese edition by Nick Redman. As mentioned above the latter included numerous mistakes. I tried to clarify some of those in this work.

Music Composed and Conducted by Michael Kamen
Performed by The Los Angeles Motion Picture All Stars Orchestra (today�s Hollywood Studio Symphony)
Orchestrations by Bruce Babcock, Chris Boardman, Philip Giffin & Fiachra Trench
Scoring Engineers: Walt Borchers, Terry Brown & Chuck Garsha
Supervising Music Editor: Christopher S. Brooks
Music Producer: Stephen P. McLaughlin
Music Scoring Mixer: Armin Steiner
Recorded at Twentieth Century Fox Studios, June 1988

01. Main Title (?M?) 0:31
First score cue in the movie and the first one to introduce the �christmas bell�- loop which is used throughout the movie. By the way the same sort of bells was used by Kamen before in LETHAL WEAPON.
There is an edit in the loop at 0:21 that indicates a longer version of this cue, or the possibility that the whole cue itself was edited together out of existing material. The �drum burst� to underline the clash of the DIE HARD logo can not be found anywhere else in the score though. Maybe it was recorded solely to underline just that particularly moment and McTiernan and the editor decided to put the bell loop under it to give it a little bit more �drive�. Another indication for this is that the track ends rather abruptly.

02. John and Holly Meet / The Van (?M?) 1:02
This cue resembles a very interesting similarity with a track from one of Kamen�s older scores: �King�s Cross� from MONA LISA (1986) (released only on LP). The similarity is so obvious that it is highly possible that Kamen modeled the cue after that tune.
The film version leaves out the synthesizer effect starting at 0:44. It�s not clear wherever there exists a recording of the track without the synth effect. It is possible that McTiernan and the editor had access to the multiple track-mixes (as indicated in several other cues) and simply left out the synth.
This track was misplaced on the varese and was crossfaded into the last seconds of 11M5.

03. The Terrorists (2M4) 4:10
In the film the rather sweet quote of �Singing in the Rain� from 2:01 to 2:17 is replaced with music from 1:08 to 1:25 from the same cue. Supposedly it was replaced because of its comedic style.
On the varese the opening of the cues was crossfaded with a christmas bell pattern, though not the one from the �Main Title�, etc, but simply an edited loop (not a simple displacement) out of the first 11 seconds of �Welcome to the Party, Pal� (6M4). The edit of the bells is crossfaded in the end of the previous track 4M0 which itself is misplaced and mislabeled as �The Nakatomi Plaza� (see below).

04. Line Are Cut / Party Crashers (?M?) 2:22
Only the middle section of this cue from 0:45 to 1:34 is used in the movie. The cue quickly fades out and the last section from 1:29 on is replaced with �Neck Snap� (4M4a) being repeated two times.

05. John on the Stairs / Gruber�s Intentions (3M2a) 5:57
The �fanfare� like statement from 2:54 to 3:07 is faded out in the film mix. The same goes for the horn and the bell sound from 3:35 to 3:38. Despite these minor alterations the cue plays intact.

06. Takagi Dies (unused) (4M0) 1:44
Now it gets interesting. This cue isn�t heard in the movie at all, and has sometimes been mislabeled as �McClane's Theme� which he is definitely not.
Based on the slate number it must go somewhere after the previous track 3M2a and before the later 4M1. Leaving the possibility that it has to be right after the end of 3M2a and would therefore start on the cut to McClane hiding under the table.
Synchronized with the movie it runs slightly longer than it should but this seems to be the reason of re-editing. This is underpinned by a statement in the text commentary of the DVD quoting Kamen himself saying that Takagi�s death ran slightly longer in its original version.
Ultimate proof came from Kamen himself, as he titled a newly recorded version of 4M0, leaving out the guitar, on his �Michael Kamen�s Opus� compilation album, �Takagi Dies� and calling it inspired by, ironically not the McClane but the Gruber character. Not only is it the exact cue minus the guitar but the first seconds from 0:11 to 0:17 are in fact the �Singing in the Rain� quote from the very end of 3M2a leaving no further doubt that 4M0 belonged right after 3M2a.

07. Takagi�s Death (4M1) 0:52
As the slate number indicates that 4M0 must be its direct predecessor and 4M2 its direct successor (for that cue can really be heard in the movie) it is very obvious that it belongs in between them and is meant to underline the death of Takagi.
Further proof is the Cue �The Doll� on the DIE HARD 2: DIE HARDER soundtrack which also presents the theme of 4M0 in an orchestral version and segues into, not material from DIE HARD 2 but actually 4M1 and 4M2 from DIE HARD! This indicates a further connection between this cue and 4M0 and that 4M1 was obviously meant to play right after 4M0.
If one listens carefully a part of the cue can actually be heard in that very scene. The string outburst from 0:08 to 0:14 is used as some sort of �shock moment�-overlay for the cue that was tracked as film version: �And If He Alters It?� (5M4/6).
It�s interesting how the full (!) cue 5M4/6 fits the scene. Obviously to accentuate the moment as Takagi gets shot the short statement from 4M1 was mixed in the cue.
The film version stops abruptly at 1:32 (as Takagi gets shot), then the part from 4M1 sets in at 1:33 and 5M4/6 comes back in at 1:34 with the 7 seconds from 4M1 continuing.

08. Planting the Explosives (4M2) 0:57
The film version leaves out the pizzicato played strings from 0:00 to 0:08. Again there�s the possibility of both, a rescore or that McTiernan and the editor just took out the strings.

09. Fire Alarm (4M3) 2:06
The movie omits the beginning from 0:00 to 0:34 and replaces it with a statement of Beethoven�s Ninth (the same that will later reappear in 11M3). It sounds as if this statement is taken directly out of Beethoven�s symphony and is not a rescore of some sort, though there�s no proof for this of course. Given the fact that the original cue comes back in rather abruptly (as a rescore would most likely create a much smoother transition into the original track) is a hint in that direction though.
In the film dub the next cue 4M4 is mixed in already at 1:57.

10. Searching For John (4M4) 1:42
The varese contains an alternate of this cue (4M4alt.). The film version omits the pizzicato played strings from 0:00 to 0:56.

11. Neck Snap (4M4a) 1:07
The cue plays almost in its entirety (with only the last few seconds faded out) and is reused a number of times in the movie.

12. Ho, Ho, Ho, One Dead Terrorist (4M5) 0:55
Plays unaltered.

13. Now I Have A Machine Gun (5M1) 1:57
Plays unaltered.

14. On the Elevator (unused) (5M3) 1:02
Completely unused in the movie. Synchronized with the film it doesn�t quite match the picture and seems too long. Again re-editing is most likely the reason for this. The second half of the scene where this cue would have gone is scored with the first 33 seconds of �And If He Alters It?� (5M4/6).

15. And If He Alters It? (5M4/6) 2:40
Plays unaltered.

16. Rooftop / Elevator Shaft (5M7) 4:28
Plays unaltered.

17. Come Out To the Coast (6M0) 0:55
Plays unaltered.

18. Air Shaft (6M1) 2:37
There is at least one alternate of this cue that replaces the first 10 seconds of 6M1. A possible second alternate can be heard partially in DIE HARD WITH A VENGEANCE (right after McClane shot the rearguard in the aqueduct). This version has again a slightly different beginning though it could be also just an edit of the alternate version.

19. John Kills Marco (no slate, only named Cue 83) 1:59
Plays unaltered.

20. Welcome to the Party, Pal (6M4) 1:10
In the movie the middle part of the cue from 0:30 to 0:52 is faded out.
The varese edition omits the christmas bells from the first 11 seconds and uses an edited loop of them as transition between the misplaced 4M0 and 2M4 (see above).

21. News Room (6M5) 0:40
Plays unaltered.

22. His Bag Is Missing (?M?) 1:24
Now this cue is interesting. It�s the third appearance of the �christmas bell loop� (the second one being �John Kills Marco� (Cue83)) and is basically the same cue as Cue 83 (with the exception of a short �dark� string drone at the beginning, which is taken from �Lines Are Cut� 0:45 � 0:52) with almost the whole orchestra left out! Only the pizzicato played strings and the bells are left over.
The question that remains is if this is nevertheless a cue by itself, or if McTiernan and the editor just removed the majority of the orchestra to have a cue they could put under the scene. A hint at this is the segment from �Line Are Cut�at the beginning, the cues abrupt ending and, like mentioned above, that it is the exact (!) underlay of Cue 83, even the volume changes can clearly be heard.

23. Preparing to Come In (?M?) 1:17
Plays unaltered.

24. They�ll Be Coming (7M3) 2:04
Plays unaltered.

25. S.W.A.T. (8M1R) 1:38
Plays unaltered until 1:19 from where the cue fades abruptly into 8M1a.

26. Send in the Car (8M1a) 1:16
From 0:59 on the cue starts fading into an edit of cues that covers its own second half as well as the first half of the next cue �The Assault� (8M1b).
It was misplaced on the varese between 7M3 and 8M1R.
Edit breakdown:
0:00 � 0:30 from 8M1a
0:44 � 0:56 from 8M1a
0:07 � 0:30 from 8M1a
0:50 � end from 8M1b

27. The Assault (8M1b) 1:17
First half is replaced by material from the previous cue (see above). Only the last 27 seconds (from 0:50 to the end) are used.

28. Big Boom (8M2) 2:20
1:11 to 1:38 is faded out. The rest plays unaltered.

29. John & Al / Ellis Dies (9M1) 5:01
There are alternates for each half of the track: 9M1 alternate (1:56) and 9M2 (3:03).
The film dub runs 3:59 in total. It starts at 0:13, continues until 0:59 and then edits out the next 49 seconds (0:59 � 1:49) and cuts the last minute (3:59 � end). The film version omits the guitar in the first half while in the second half a great deal of the orchestra is left out and (except for a short string segment in the middle) only the pizzicato played strings remain.
Since the alternates are unreleased and only mentioned by Needs in his article it is also possible that they aren�t used at all and again certain parts of the orchestra were simply taken out of the cue(s) afterwards to fit the scene more appropriately.

30. Gruber�s Demands (?M?) 2:02
In the film the cue stops at 0:24, then starts again from 0:09 and edits out the middle section from 0:58 to 1:47. Presumably McTiernan wanted to leave the second half of the scene unscored. Therefore the ending was brought forward to end the track faster but in a proper way.
An alternate version can be heard right at the beginning of the slideshow on the DVD. It brilliantly underlines Gruber's dialog humorously by using asian chords and christmas bells as the terrorist organisation "Asian Dawn" and Christmas are mentioned. The alternate is basically the exact same cue with the only difference being a synth/bell overlay track. This indicates however that McTiernan and the editor might have not doctered that much and that several cues indeed exist in multiple versions.

31. In My Youth... (unused) (?M?) 0:48
This cue was supposedly meant to underscore the brief conversation between McClane and Powell, though there is no proof for this since no slate number could be found in any source.

32. FBI (?M?) 0:53
Plays unaltered.
The oriental riff in the beginning of the cue seems to be not accentuating a hint to Takagi�s fate as Nick Redman concludes in the varese liner notes, but rather supports Robinson�s dialog as he speaks of an organization called �Asian Dawn�.

33. Gruber�s Deception (?M?) 2:03
In a very clever move Kamen underlines the meeting between McClane and Gruber with a specific eerie string motive and frightening electronic effects (probably distorted christmas bells). The motive only appears in the two cues that accompany the confrontation between McClane and Gruber (this cue and 10M0) and is never heard again in the movie as are the synth effects. A brilliant approach!.
The film version omits the string motive (from 0:00 to 0:45) and fades out from 0:55 to 1:40.
Again it is not sure wherever the film version was recorded as such or if the actual recording was altered afterwards. The fact that the film version was reused in a deleted scene on the DVD suggests that it was in fact recorded. Another possibility is that it exists in that way on a music only track.
The varese liner notes inaccurately state that portions of 9M1 are used in the scene.

34. Bill Clay (10M0) 2:06
There is a �noise� at 0:36 which means either a mistake made by the orchestra or that the takes of the tracks weren�t edited properly into each other. Fact is that it can actually be heard in the movie. Therefore this version of the cue is the correct and only existing one.
It is interesting how the music editor tried to cover the sound by moving the cue a little bit backwards so that the �noise� would play at the same time as Rickman�s laughing at one point (�We spent a weekend at a combat ranch.�) and therefore be unheard. This is obvious since the track starts not directly on the cut to McClane�s toes but a little bit afterwards.
This particularly sound is edited out on the varese edition. The unaltered version of the cue with the �noise� included can be heard partially at the very end of the slideshow on the DVD.
The varese version also misplaces the cue between 6M5 and �Preparing to Come In�.

34 � B. Shoot the Glass no slate 2:15
Not an actual Track but a clever edit of existing material.
Edit breakdown:
0:00 � 0:23 from 12M2 and 0:00-0:27 from 4M4a play simultaneously
0:00 � 0:42 from 12M2
0:00 � 0:23 from 12M2 and 0:00-0:18 from 4M4a play simultaneously
0:01 � 0:32 from 4M4a, from 0:30 fades into 3:30 to end from 8M1R

35. Bathroom Stories (11M1) 2:36
Plays unaltered.

36. Ode to Joy (11M3) 2:09
The film actually uses two versions of this cue: Only the first 0:20 seconds from 11M3 (this one is on the varese) are used. The Film edit then replaces 0:20 to 0:43 with the same Beethoven�s Ninth excerpt used in Fire Alarm (4M3). From 0:43 on the alternate (11M3A, 2:12) is used until the end. 11M5 is mixed in from 2:07.
The alternate leaves out the synths at the beginning, segues slightly different into the full segment of the Ode to Joy and has differences in the performance of the orchestra and the use of the choir (heard prominently at 1:43).

37. Emptying the Vault (11M5) 0:58
Ends quickly after 0:43 and fades into the next cue from 0:40 on.

38. John�s Confession (?M?) 2:49
Unreleased, no further information.

39. Double-crossed (?M?) 1:17
From 0:23 to 0:33 it sounds like a rescore, overlay or insert was used. The cue is unreleased and therefore it�s unknown what versions might exist.

40. Holly Discovered (12M2) 1:15
Plays unaltered. 12M3 is mixed in from 1:12 already though.

41. Choppers (12M3) 1:50
The film edit is chopped, filled up or replaced with material from 12M3 and 12M4.
Edit breakdown:
0:00 � 1:26 from 12M3 - segment from 0:05 to 0:10 from 12M3 is mixed in 0:03 � 0:08
0:00 � 0:14 from 12M4
0:27 � 0:35 from 12M4 - a short segment from 12M3 (1:43 � 1:45) is mixed in 0:30 � 0:32

42. The Chains (12M4) 1:20
In the original version some rattling was used to accentuate Karl being hung by McClane on chains. The film version uses a �cleaner� rescore (running about 0:28) of the ending that replaces the original version from 0:48 to the end.

43. Helicopters (12M5) 2:25
The original cue was stretched out by using material from the same cue. On the varese it is faded out quickly and is crossfaded into 13M1.
Edit breakdown:
0:00 � 0:15 from 12M5
0:10 � 0:43 from 12M5, from 0:41 on segues into 0:46 to 0:50 from 12M5
1:00 � 1:08 from 12M5
1:01 � 1:08 from 12M5
1:01 � 1:49 from 12M5
1:01 � 1:48 from 12M5
1:32 � 1:40 from 12M5
1:49 � 1:52 from 12M5

44. John�s Big Jump (?M?)
Unreleased, no further information.

45. Bye, bye FBI / Enough Jokes (13M1) 4:05
Plays unaltered.

45 � B. The Big Fall no slate 1:36
Again edited out of existing material: �His Bag is Missing� (if it should be a track on its own) and �John Kills Marco�.
Edit breakdown:
The first 12 seconds are a simple repeat of the bell loop then cut to:
0:06 � 0:09 from �His Bag is Missing�
0:12 � 0:15 from �His Bag is Missing�
0:00 � 0:11 from �John Kills Marco�
0:12 � 0:29 from �John Kills Marco�
0:44 � 0:51 from �John Kills Marco�
0:46 � 0:51 from �John Kills Marco�
0:46 � 0:49 from �John Kills Marco�
0:51 � 0:59 from �John Kills Marco�
0:58 � 1:02 from �John Kills Marco�
1:32 � 1:35 from �John Kills Marco�
1:34 � 1:38 from �John Kills Marco�
1:40 � 1:43 from �John Kills Marco�
1:47 � end from �John Kills Marco�

46. We�ve got Each Other1:58 (Composed by John Scott for MANON FIRE)
Play unaltered.

47. Resolution2:49 (Composed by James Horner for ALIENS)
Is used from 0:00 to 1:36.

48. End Credits Suite5:06
Consists of:
0:00 � 1:12: Let It Snow! Let It Snow! Let It Snow! Performed by Vaughn Monroe
1:12 � end: Unidentified Performance of Ode to Joy by Ludwig van Beethoven (the use of Beethoven�s Ninth in the movie is unmentioned in the end credits!)

Known Recorded Source Music:

Winter Wonderland(Bernard, Smith) (unused) ?:??

Let It Snow! Let It Snow! Let It Snow!(Cahn, Styne) 1:57
0:24 to 1:14 of the cue is used in the scene where Powell is shopping at the gas station.

Roy Rogers Meets Beethoven�s Ninth(Beethoven, Kamen) (unused) 1:31
This cue might be intended as background music playing either briefly in the airplane at the beginning or right from the fade-in on the landing plane at the very start of the movie.
The length of the cue matches perfectly the time from the landing of the plane to the start of the �Main Title�. It even matches and accentuates the action on screen remarkably accurate.

Verkauf - div. Intradas/LLL OOPs... und DVDs...

ronin1975 — Sun, 05 Sep 2010 10:57:50 GMT

ich r�um mal wieder bei mir und hab folgendes abzugeben:

Godzilla - Arnold
Baby - Goldsmith
House of Cards - Horner
Predator (Intrada) - Silvestri
Something wicked this way comes - Horner
Species - Young

und f�r alle Madonna Fans unter euch (harhar): Die Bluray mit CD von der Sticky and Sweet Tour...

ferner noch DVDs:

Dexter Season 1,2,3 (RC1!)
Heroes Season 1,2 (RC1)
Nip/Tuck 1,2,3,4 (RC2)

alles muss weg! :-)

Angebote per PM bitte!

Ver�ffentlichung (USA) - Perseverance Records: RAIN MAN von Hans Zimmer

neo — Sat, 04 Sep 2010 20:03:29 GMT

Zitat:

Well, now that the cat is out of the bag, I might as well spill the beans. We are indeed working on Zimmer's Rain Man, not Young's Hard Rain. The reference to Chris Young was in connection to his Unforgettable score that will be out later this year, completely different from the Intrada promo from 1997.

Our license from MGM limits the run to 2,000 copies. It should be out as soon as possible, considering we have a contractual release date of October 1, 2010. I might actually put it in the Yahoo store before then, just so I have enough money to finance the production of the album. The album will go for $18.95 and come with a 12 page booklet, maybe 16 if Hans and Barry Levinson can tell us about the score and the way it works in the movie.

Hope this clears things up.

FSM Board: Perseverance Records working on RAIN MAN!
Rain Man (Score) soundtrack Hans Zimmer (1988) - www.hans-zimmer.com

Fragen zum Thema Film

Scorechaser — Fri, 03 Sep 2010 18:50:07 GMT

Wei� jemand, wie "The Swarm" auf Deutsch hei�t?

EM-Qualifikation 2012

Handstand — Fri, 03 Sep 2010 16:58:20 GMT

Heute abend spielt im Br�sseler Baudoin-Stadion (ehemals: Heyzel-Stadion) Belgien gegen Deutschland. Das Spiel wird so enden:

Belgien - Deutschland 2:2.

Vielen Dank

Urs

Suche Artikel "The Lost Score: DIE HARD" aus Filmmusikmagazin

Mink — Fri, 03 Sep 2010 11:35:41 GMT

ich suche einen Artikel von Jason Needs aus einem mir leider entfallenen Magazin, worin er eine track-by-track analyse zu DIE HARD abgibt.
kennt/hat den jemand und k�nnte einen scan machen?! :)

Suche ein Instrumentalst�ck aus dem Film PS Ich Liebe Dich (GEL�ST)

uniique_blond — Thu, 02 Sep 2010 16:03:43 GMT

Hallo!
Ich suche schon l�ngere zeit ein Lied das u.a. im Film Ps ich liebe dich kurz angespielt wird. Meist kommt nur ein kurzer teil des St�ckes in den Filmen vor, der teil ist instrumental und h�rt sich eigentlich fr�hlich an.Wenn mich nicht alles t�uscht kommt das lied bei dem teil vor wo die hauptdarstellerin hilary swank(holly) mit ihren freundinnen nach irland reist.W�re sehr dankbar �ber hilfe.
Mfg

Eure Errungenschaften im September

Scorechaser — Wed, 01 Sep 2010 18:04:49 GMT

"Cleopatra Jones" (Simon, Johnson, Frontiere, FSM)
"Spacecamp" (Williams, Intrada)
"Point Break" (Mark Isham, LaLa Land)
"The Going Up Of David Lev" (Goldsmith, BSX)
"Chips, Vol. 3" (Silvestri, FSM)
"Green Zone" (Powell, Varese)
"Cohen and Tate" (Conti, Intrada)

The pillars of the earth

Herbie58 — Tue, 31 Aug 2010 23:46:56 GMT

wird in den USA mit gro�em Enthusiasmus aufgenommen.

YouTube- Broadcast Yourself.

von Trevor Morris

James Newton Howard

Herbie58 — Tue, 31 Aug 2010 22:57:19 GMT

Der schon bald zu den Altmeistern z�hlende Komponist �berrascht noch immer.
SIGNS ist grandios.
In den 90er und 2000er war JNH bei mir nicht so "haften" geblieben.
Aber immer wieder blieb was zur�ck, was ich dann doch immer wieder herauskramte.
Mit THE VILLAGE fing es an.
Die einfache Melodie setzt er so schlicht aber gekonnt ein. Das musste ich dann doch
immer wieder h�ren.
Das machte ihn f�r mich einzigartig. SIXTH SENSE war �lter, aber der war ebenfalls beeindruckend (leider zu wenig Musik auf dem Album).
Immer mal wieder kommt dann so was sehr mainstream angepasstes wie Peter Pan oder NannyMcPhee.
Aber einer der ganz gro�en!

Der Automobil-Thread

Sebastian Schwittay — Tue, 31 Aug 2010 21:31:41 GMT

Da ich vor kurzem (endlich) meinen F�hrerschein gemacht habe, stellt sich nat�rlich nun die Frage nach einer geeigneten Karre. ;)

Da ich den von mir gew�nschten Mini leider nicht finanziert bekomme, suche ich jetzt nach Alternativen. Habt ihr irgendwelche Tipps im Kleinwagen-Bereich? Und welche Autos fahrt ihr so bzw. mit welchen habt ihr gute Erfahrungen gemacht?

Ich habe alternativ schon den Peugeot 207 ins Auge gefasst - der gef�llt mir, scheint robust zu sein und hat im Euro-NCAP-Crashtest sehr gut abgeschnitten. Hat schon jemand Erfahrung mit dem Modell?

Ver�ffentlichung (USA) - La-La Land Records: HELL'S BELLES (Lex Baxter) und DUNSTON CHECKS IN (Miles Goodman)

Marcus St�hr — Tue, 31 Aug 2010 18:04:54 GMT

Neues aus dem La-La Land:

Zitat:

Howdy y'all!

Coming at ya next week, Sept 7, 2010 at NOON PST are two new LLL Limited Edition titles:

HELL'S BELLES -- Limited Edition of 1200 units
Music by Les Baxter
Produced by Ford A. Thaxton
Mastered by James Nelson
Liner Notes by Randall Larson
Art Direction by Mark Banning
Retail Price: $19.98

Les Baxter's fast and furious score to one of AIP's "classic" motorcycle films comes roarin' at you for the first time on cd. For this release, the producer went back to the original 1/4 inch elements and prepared one wild album. As presented, the original album assembly is first followed by a handful of bonus tracks. Album cover features, in our opinion, one of the best one sheets EVER!

DUNSTON CHECKS IN - Limited Edition of 1200 units
Music by Miles Goodman
Produced by Nick Redman and Mike Matessino
Mastered by Daniel Hersch
Liner Notes by Daniel Schweiger
Art Direction by David Fein
Retail Price: $19.98

La La Land goes APE over of our latest release -- Miles Goodman's heartwarming, comical tale of a boy and a monkey. A must have for any fan of Simian Cinema! But seriously this score is FANTASTIC!

MV

Buch/Zeitschrift - Neues Buch �ber JOHN WILLIAMS von Christina Volz

Mathilda — Tue, 31 Aug 2010 15:36:20 GMT

Die globale Bedeutung von John Williams f�r die Filmmusik: Musikdidaktische �berlegungen am Beispiel des Films"Die Geisha": Amazon.de: Christina Volz: B�cher

Habe ich gerade entdeckt. Mit 59 Euro sehr teuer f�r 144 Seiten.
Scheint mehr f�r den Unterricht in der Oberstufe zugeschnitten zu sein, ist aber vielleicht doch interessant. Im M�rz 2010 erschienen. Hat das jemand?