Soundtrack Board - Score Diskussion http://www.soundtrack-board.de/ Diskussion über orchestrale Scores und Filmmusik. de Tue, 07 Sep 2010 02:41:01 GMT vBulletin 60 http://www.soundtrack-board.de/images/vbseo_skin_2.0/misc/rss.jpg Soundtrack Board - Score Diskussion http://www.soundtrack-board.de/ DIE HARD - komplette score Analyse (in Englisch) http://www.soundtrack-board.de/14104-die-hard-komplette-score-analyse-in-englisch.html Sun, 05 Sep 2010 21:21:58 GMT Hier nochmal für 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... Hier nochmal für 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. ]]> Score Diskussion Mink http://www.soundtrack-board.de/14104-die-hard-komplette-score-analyse-in-englisch.html <![CDATA[Suche Artikel "The Lost Score: DIE HARD" aus Filmmusikmagazin]]> http://www.soundtrack-board.de/14098-suche-artikel-the-lost-score-die-hard-aus-filmmusikmagazin.html 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 könnte einen scan machen?! :) 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 könnte einen scan machen?! :) ]]> Score Diskussion Mink http://www.soundtrack-board.de/14098-suche-artikel-the-lost-score-die-hard-aus-filmmusikmagazin.html Eure Errungenschaften im September http://www.soundtrack-board.de/14094-eure-errungenschaften-im-september.html 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) ]]> Score Diskussion Scorechaser http://www.soundtrack-board.de/14094-eure-errungenschaften-im-september.html The pillars of the earth http://www.soundtrack-board.de/14092-the-pillars-of-the-earth.html Tue, 31 Aug 2010 23:46:56 GMT wird in den USA mit großem Enthusiasmus aufgenommen. YouTube- Broadcast Yourself. von Trevor Morris wird in den USA mit großem Enthusiasmus aufgenommen.


von Trevor Morris ]]> Score Diskussion Herbie58 http://www.soundtrack-board.de/14092-the-pillars-of-the-earth.html INTRADA: John Barry - THE DEEP http://www.soundtrack-board.de/14080-intrada-john-barry-the-deep.html Mon, 30 Aug 2010 22:40:27 GMT DEEP, THE




DEEP, THE

Label: Intrada Special Collection Volume 143
Date: 1977
Tracks: 19
Time = 103:04

Wow! Long-awaited world premiere release of classic John Barry soundtrack in a 2-CD set! After two years of effort with two major licensors (UMG & Sony Pictures), Intrada realizes complete presentation of score plus classic original 1977 album! Peter Yates directs Nick Nolte, Robert Shaw, Jacqueline Bisset in big screen version of Peter Benchley novel. John Barry supplies sensational score to match excitement, danger of underwater tale. Barry melds haunting, richly beautiful theme with abundance of dark, dangerous material to create unusually wide-scale score, replete with dense underwater motifs, aggressive action licks... ever-anchored by stunningly beautiful main theme. Intrada presents complete score on CD 1, in mono from only surviving 1/4" session masters vaulted in excellent condition by Sony, then offers complete (and generous) original Casablanca soundtrack album in stereo from superb condition actual album masters vaulted by UMG - and yes! - including great Donna Summers rendition of Barry's love theme! Unusual at the time, Barry assembled highlights of his score into single 24-minute suite, a technique reprised by Jerry Goldsmith the following year for his THE BOYS FROM BRAZIL album. While Barry covers major highlights, he only touches on half of his score. Complete presentation allows entire hour of music to play in picture sequence, offering rich variations on theme, sizzling danger motifs, other highlights deleted from LP version. Both discs stand by themselves as great listening experiences! John Barry conducts. Intrada Special Collection release limited to 3000 copies!

600x600 Cover

Play all clips

Complete Original Motion Picture Score (CD 1)
01. First Discovery (Main Title) 3:55
02. More Discovery 3:02
03. The Coin; The Vial; The Chase 3:27
04. Your Ship Is Dead; Here You’ll Need This;
Second Dive; Eel Attack 8:56
05. Voo Doo 1:48
06. Tower; Helpless 1:30
07. Three Key Lock; All Yours 3:43
08. Soft Kisses; Dive Preparations 3:01
09. Third Dive 5:32
10. Trouble 3:03
11. Shark Bait (Original Version);
Coffin Discovers; Death Grip 4:34
12. Kevin Dead; Goodbye Coffin 3:09
13. After Explosion 4:46
14. Final Dive/Final Eel Attack; End Credits 7:54

CD 1 Total Time 58:46

Original 1977 Soundtrack Album (CD 2)
01. Return To The Sea – 2033 A.D. 24:01
A Ballet Based On The Score From The Motion Picture The Deep
02. Theme From The Deep (Down, Deep Inside)
- Donna Summer 4:24
03. Theme From The Deep – John Barry 4:33
04. Disco Calypso - Beckett 7:29
05. Theme from The Deep (Down, Deep Inside)
- Donna Summer (A Love Song) 4:01

CD 2 Total Time 44:43

war ja zu "befürchten".

Allen fans viel spaß damit! ]]> Score Diskussion Beaverhausen http://www.soundtrack-board.de/14080-intrada-john-barry-the-deep.html Christian Gaubert: The Little Girl Who Lives Down The Lane http://www.soundtrack-board.de/14072-christian-gaubert-the-little-girl-who-lives-down-the-lane.html Sun, 29 Aug 2010 12:45:58 GMT Hallo, ich habe die Suchfunktion verwendet aber nichts zu diesem OST gefunden. Er existiert in zwei Versionen, Philips 6042 265 (Frankreich, 1977) und Polydor MPF 1087 (Japan, 1976). Ich suche verzweifelt seit ewigen Zeiten danach. Hat irgendjemand aus diesem netten Forum einen Tip? Danke. Hallo, ich habe die Suchfunktion verwendet aber nichts zu diesem OST gefunden. Er existiert in zwei Versionen, Philips 6042 265 (Frankreich, 1977) und Polydor MPF 1087 (Japan, 1976). Ich suche verzweifelt seit ewigen Zeiten danach. Hat irgendjemand aus diesem netten Forum einen Tip? Danke. ]]> Score Diskussion tlg fan http://www.soundtrack-board.de/14072-christian-gaubert-the-little-girl-who-lives-down-the-lane.html Der deutsche Filmmusik-Dienst http://www.soundtrack-board.de/14063-der-deutsche-filmmusik-dienst.html Fri, 27 Aug 2010 10:09:52 GMT Hab gerade bei meinen Eltern auf dem Boden aufgeräumt und da sind mir alte Exemplare des Deutschen Filmmusik-Dienstes in die Hände gefallen. Die älteren wie Hubert, Hilde und Stefan Jania werden das von Thomas Karban herausgegebene Blättchen noch kennen: echte Pionierarbeit. Die in drei oder... Hab gerade bei meinen Eltern auf dem Boden aufgeräumt und da sind mir alte Exemplare des Deutschen Filmmusik-Dienstes in die Hände gefallen.

Die älteren wie Hubert, Hilde und Stefan Jania werden das von Thomas Karban herausgegebene Blättchen noch kennen: echte Pionierarbeit. Die in drei oder vier Jahresausgaben erschienen Blättchen (lose zusammengestellt) boten neben den aktuellen CD Rezensionen unter anderem Interviews (zb. m. Oskar Sala, Rolf Wilhelm, Georges Delerue), Konzert-Kritiken (zB. Goldsmith, Morricone), Veranstaltungshinweise.

Ich hab leider nur noch 7 Exemplare gefunden aber gedacht, daß es auch für andere interessant sein könnte hier noch einmal nachzuschlagen. Vielleicht hat der ein oder andere noch Exemplare zu Hause herumliegen, die man dann zusammenführen könnte.

Ziel sollte es sein, eine geschlossene Abfolge dieser Blätter zusammenzustellen.

Ihr könnt euch bei Bedarf an mich per PN wenden.
Angehängte Grafiken
Dateityp: jpg FM 001.jpg (524,4 KB)
]]> Score Diskussion peter-anselm http://www.soundtrack-board.de/14063-der-deutsche-filmmusik-dienst.html <![CDATA[BSX-Records: Jerry Goldsmith "The Going up of David Lev"]]> http://www.soundtrack-board.de/14054-bsx-records-jerry-goldsmith-the-going-up-of-david-lev.html Tue, 24 Aug 2010 21:25:50 GMT Und wieder ein kleiner Hammer : ---Zitat--- BUYSOUNDTRAX Records will be releasing *THE GOING UP OF DAVID LEV*, featuring music composed and conducted by the great Jerry Goldsmith for the 1973 television film directed by James Collier and starring Brandon Cruz (THE COURTSHIP OF EDDIE’S... Und wieder ein kleiner Hammer :

Zitat:
BUYSOUNDTRAX Records will be releasing THE GOING UP OF DAVID LEV, featuring music composed and conducted by the great Jerry Goldsmith for the 1973 television film directed by James Collier and starring Brandon Cruz (THE COURTSHIP OF EDDIE’S FATHER), Topol (in his American television debut) along with Claire Bloom and Melvyn Douglas.
THE GOING UP OF DAVID LEV tells the story of a ten year old boy growing up in present day Israel who goes on a journey to find out more about his father who lost his life years earlier during the fighting of the Six Day War. David (Cruz) skips school and finds a sympathetic cab driver (Topol) who drives the boy from Tel Aviv to Jerusalem, teaching him about the history of his country and helping him to discover what he needs to know about his father’s death along the way.
Prepared in anticipation of the 25th anniversary of the founding of the state of Israel, producer Mildred Freed Alberg and director James Collier set out to make a film that would showcase the sights and sounds of contemporary Israel and would also be accessible to a modern television audience. To compose the music for DAVID LEV, the filmmakers sought out the services of one of the finest composers working at that time in film and television, Jerry Goldsmith. 1973 was already a busy year for Goldsmith, working on THE WALTONS, BARNABY JONES, HAWKINS and POLICE STORY, as well as another version of THE RED PONY for television. And he was also about to get married! Despite this hectic time in his life, Goldsmith took the assignment, perhaps because DAVID LEV offered the composer an opportunity he had been looking for, the chance to immerse himself in the music of his Jewish heritage. The next year, he would return to this territory with QBVII and again once more in 1981 with MASADA. For these later efforts, he would receive two Emmys. Goldsmith’s exuberant and ultimately poignant music for THE GOING UP OF DAVID LEV uses traditional folk instruments including guitar, recorder, accordion, clarinet and tambourine.
BUYSOUNDTRAX Records presents THE GOING UP OF DAVID LEV, featuring music composed and conducted by Jerry Goldsmith, is taken from mono tape (the only available source) and has been digitally edited and mastered by James Nelson at Digital Outland, with liner notes written by Jon Burlingame. Also included are two songs from the film with vocals by Topol. THE GOING UP OF DAVID LEV is a limited edition release of 2000 units.

1. Main Title (1:15)
2. Last Thoughts (1:03)
3. Thoughts Again (0:37)
4. Ask the Doctor ((1:30)
5. Accepting Reality (1:23)
6. Don't Miss The Bus (1:18)
7. Intro/A Girl With
Ribbons In Her Hair (3:03)
Written by Yair Rosenblum
Lyrics by Norman Newell
Performed by Topol
8.The Kibbutz (4:18)
9. Chiribim (3:23)
Lyrics by Sheldon Harnick
Performed by Topol
10. Sleepy Boy (2:37)
11. No Information (0:49)
12. The Old City (2:23)
13.A New Friend (2:16)
14. A Sin Against God (1:37)
15. The Legend (5:39)
Total Time (33:46)


2000 dürften zu wenig sein...
 ]]> Score Diskussion scorefun http://www.soundtrack-board.de/14054-bsx-records-jerry-goldsmith-the-going-up-of-david-lev.html Was muss man haben? http://www.soundtrack-board.de/14042-was-muss-man-haben.html Sun, 22 Aug 2010 20:39:34 GMT Hallo,

ich bin neu hier, lese aber schon eine Weile mit. Leider habe ich nur einige, wenige Scores in meiner CD-Sammlung und wollte daher mal wissen, welche Alben sozusagen ein "must have" sind. Was ist, eurer Meinung nach, wirklich herausragend? Was sollte auf keinen Fall fehlen? Ein paar Anregungen wären nicht schlecht. ]]> Score Diskussion Nostradamus http://www.soundtrack-board.de/14042-was-muss-man-haben.html <![CDATA[Intrada: Bill Contis's COHEN AND TATE & John Williams SPACECAMP]]> http://www.soundtrack-board.de/14026-intrada-bill-contiss-cohen-and-tate-and-john-williams-spacecamp.html Mon, 16 Aug 2010 22:53:16 GMT Und die Titel sind : ---Zitat--- COHEN AND TATE Label: Intrada Special Collection Volume 139 Date: 1988 Tracks: 16 Time = 43:02 Und die Titel sind :

Zitat:
COHEN AND TATE
Label: Intrada Special Collection Volume 139
Date: 1988
Tracks: 16
Time = 43:02

World premiere of intense Bill Conti soundtrack from grim Eric Red thriller with Roy Scheider, Adam Baldwin as pair of hit men involved in murder, kidnapping, other nastiness. Conti takes cue from dark proceedings, writes tough orchestral score with abundance of cold strings, throbbing low piano, solid French horn. Action segments are rhythmic, aggressive highlights! Intrada presents entire score in dynamic stereo from two-track digital masters, courtesy both composer and MGM! Fans of Bill Conti may enjoy hearing this serious, extreme side to generally bright composer. Bill Conti conducts. Intrada Special Collection release limited to 1200 copies!

01. Main Title 1:13
02. The Hit 5:33
03. Wounded? 3:50
04. Tail Lites 4:23
05. It’s Them 1:11
06. It’s Really Them 0:54
07. Roadblock 6:11
08. Kaboom 1:18
09. The New Car 0:38
10. Travis Is Right 2:48
11. Near Miss 1:58
12. Round To Tate 1:43
13. Travis Slips Away 2:33
14. Help Me 1:17
15. The Final Battle 4:40
16. End Title 2:06
Zitat:
Label: Intrada Special Collection Volume 140
Date: 1986
Tracks: 14
Time = 48:32

Long overdue first U.S. CD release of brilliant, exuberant John Williams soundtrack from Harry Winer young astronaut tale with Kate Capshaw, Lea Thompson, Kelly Preston, (very young) Joaquin Phoenix. John Williams brings incredible sense of wonder, exhilaration to outer space saga with melodies both awe-inspiring, exciting. Highlights are many: rich, expressive opening theme, rousing action sequences during space flight, powerhouse fortissimo finish to "Home Again", others. Special spotlight goes to "SpaceCamp" cue, heard in film as the end credits: here composer launches brilliant orchestral display with fanfares, rhythms, resounding statement of main theme - all in single cue that clearly inspired future fanfares for Olympics, various Americana events. Wow! This is top drawer Williams! Intrada presents original album (a then generous 48 minutes) in stereo direct from RCA album masters now vaulted by Sony. Descriptive notes by Michael Matessino plus original LP cover art complete the package. John Williams conducts. Intrada Special Collection release limited to 3000 copies!

01. Main Title 3:07
02. Training Montage 2:00
03. The Shuttle 5:02
04. The Computer Room 1:54
05. Friends Forever 2:20
06. In Orbit 3:12
07. White Sands 6:52
08. SpaceCamp 4:06
09. Viewing Daedalus 2:45
10. Max Breaks Loose 2:21
11. Andie Is Stranded 4:08
12. Max Finds Courage 3:53
13. Re-Entry 3:55
14. Home Again 3:30
Interessant sind die Nummern 139 und 140 - hatte doch PREDATORS bereits die Nummer 141 :D ]]> Score Diskussion scorefun http://www.soundtrack-board.de/14026-intrada-bill-contiss-cohen-and-tate-and-john-williams-spacecamp.html RETURN OF THE JEDI. Neue Szene - Bekannte Musik http://www.soundtrack-board.de/14022-return-of-the-jedi-neue-szene-bekannte-musik.html Sun, 15 Aug 2010 22:18:47 GMT Hey Leute,

George Lucas hat eine alte Szene aus The Return of the Jedi mal wieder "neu entdeckt" (die in der Blu Ray Edition 2011 zu sehen sein wird...), was am Anfang des Filmes spielen soll, wo Luke sein grünes Lightsaber baut und alles vorbereitet um Han Solo von Jabba zu retten...
Der Punkt ist: diese Minute Musik gibt´s seit immer in der Soundtrack und ich hab mich immer gefragt, wo diese Musik her kommt oder was das sein soll...
Jahre später ist hier die Antwort auf meine Frage :)



]]> Score Diskussion Héctor Marroquin http://www.soundtrack-board.de/14022-return-of-the-jedi-neue-szene-bekannte-musik.html Scott Pilgrim vs The World Score http://www.soundtrack-board.de/14017-scott-pilgrim-vs-the-world-score.html Sat, 14 Aug 2010 06:34:24 GMT Der Score zu der Action-Comedy SCOTT PILGRIM ist von Nigel Goodrich (gehört der nicht zu BECK?)... sehr lustiger Score, der - im Film gehts ja um nen C-64er Game Freak - mit sehr viel nun ja C-64 Sounds geschrieben ist. Die Universal Titelmusik is schon mal mein neuer Klingelton geworden.... Der Score zu der Action-Comedy SCOTT PILGRIM ist von Nigel Goodrich (gehört der nicht zu BECK?)... sehr lustiger Score, der - im Film gehts ja um nen C-64er Game Freak - mit sehr viel nun ja C-64 Sounds geschrieben ist. Die Universal Titelmusik is schon mal mein neuer Klingelton geworden.
Ansonsten zum anhören etwas schwierig, sehr viel, und sehr lauter, Rock und sowas, manchmal mit Orchesterunterstützung und viel BIEP BIEP ZRRRRRR DOING DOING... Im Film sicher sehr passend und lustig, auf CD bedingt anhörbar, aber mal was anderes!

gibts bei Itunes... ]]> Score Diskussion ronin1975 http://www.soundtrack-board.de/14017-scott-pilgrim-vs-the-world-score.html Kritzerland veröffentlicht: Saint Joan - Mischa Spoliansky http://www.soundtrack-board.de/14007-kritzerland-veroeffentlicht-saint-joan-mischa-spoliansky.html Mon, 09 Aug 2010 13:20:38 GMT “O GOD THAT MADE THIS BEAUTIFUL EARTH, WHEN WILL IT BE READY TO RECEIVE THY SAINTS? HOW LONG, O LORD, HOW LONG?” Kritzerland is proud to present a new limited edition soundtrack CD: SAINT JOAN Music Composed and Conducted by Mischa Spoliansky Joan of Arc has served as inspiration to... “O GOD THAT MADE THIS BEAUTIFUL EARTH, WHEN WILL IT BE READY TO RECEIVE THY SAINTS? HOW LONG, O LORD, HOW LONG?”

Kritzerland is proud to present a new limited edition soundtrack CD:

SAINT JOAN

Music Composed and Conducted by Mischa Spoliansky

Joan of Arc has served as inspiration to many filmmakers and actresses over the years – from Carl Theodore Dryer’s The Trial of Joan of Arc (starring Falconetti), to Joan of Arc (starring Ingrid Bergman), to Luc Besson’s The Messenger (starring Milla Jovovich), with many stops in between, the story of the girl who heard voices has been told in many different ways. Each approach – in style, storytelling and performance – was completely different.

Otto Preminger’s 1957 film of George Bernard Shaw’s play Saint Joan is probably his most maligned film (even more so than Skidoo) – the critical reaction was downbeat and downright nasty, and the film was a huge box-office disaster. Part of the reason for this is because he chose to go with a very young and completely unknown actress as Joan – the beautiful seventeen-year-old Jean Seberg. For critics and audiences she was not up to the demands of the role, especially in the company of such superb players as Richard Widmark, John Gielgud, Richard Todd, Kenneth Haigh, Harry Andrews, and Anton Walbrook. The film came and went quickly, and, over the years, has either been completely forgotten or counted as one of the director’s lesser films by all but a handful of people. The director himself said he realized that his film was a failure. Jean Seberg said, “I have two memories of Saint Joan. The first was being burned at the stake in the picture. The second was being burned at the stake by the critics. The latter hurt more. I was scared like a rabbit and it showed on the screen. It was not a good experience at all. I started where most actresses end up.”

But time is the great leveler and occasionally time is kind to certain films. Watching Saint Joan today, away from all the hullabaloo and critical brickbats, one finds a compelling film (with a screenplay by Graham Greene), beautifully acted and with, surprise of surprises, an incandescent performance by Jean Seberg.

For Saint Joan, Preminger hired Mischa Spoliansky, not exactly a film composer whose name was known to the public, even though he’d provided great scores for numerous films by then, including the scores for many high-profile films like The Private Life of Don Juan, Sanders of the River (starring Paul Robeson, and for which Spoliansky composed several songs), The Man Who Could Work Miracles, King Solomon’s Mines, Wanted for Murder, The Happiest Days of Our Lives, and many others. Spoliansky’s main theme for the film is astonishingly beautiful and evocative, and his dramatic scoring accompanies Preminger’s stately visuals masterfully. Every cue in the film helps underscore the characters’ many and varied emotions.

For this first ever CD release of Saint Joan, we used the original album masters housed in the Capitol/EMI vaults. The score was recorded and released in mono. For an LP presentation back then, it was quite long – over 38 minutes, and the album contained all of Spoliansky’s score. On the LP, cues were combined, and rather artfully so, so we’ve left our CD in the exact album configuration. The cover art is by the brilliant Saul Bass.

This release is limited to 1000 copies only. The price is $19.98 plus shipping

CD will ship by the second week of September – however, preorders placed directly through Kritzerland usually ship one to five weeks earlier (we’ve been averaging four weeks early).


Available now $19.98

Quelle: Classic soundtrack composed by Mischa Spoliansky "Saint Joan"

:music:
Angehängte Grafiken
Dateityp: jpg Calloway 02, Cab.jpg (33,6 KB)
]]> Score Diskussion Bastet http://www.soundtrack-board.de/14007-kritzerland-veroeffentlicht-saint-joan-mischa-spoliansky.html