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Das kann gut sein 🤔. Aber ich kann mir nicht vorstellen, dass du sie dann gerne hörst 🙈😂

Wann soll denn eigentlich die Musik zum 8. Teil erscheinen? DIesen Freitag?

Neu von BSX/Dragon's Domain: Dragon’s Domain Records presents BATTLE OF NERETVA, featuring music composed by Bernard Herrmann (CITIZEN KANE, PSYCHO, TAXI DRIVER) for the 1969 historical epic directed by Veljko Bulajic, written by Ugo Pirro, Stevo Bulajic, Ratko Djurovic and Veljko Bulajic, starring Yul Brynner, Hardy Krüger, Franco Nero, Sylva Koscina, Orson Welles, Curd Jürgens, Anthony Dawson, Milena Dravic, Sergey Bondarchuk, Ljubisa Samardzic and Bata Zivojinovic. To film this epic chronicle of raw courage and stubborn savagery, executive producers Henry T. Weinstein and Anthony B. Unger chose Veljko Bulajic, the renowned Yugoslav director noted for his adroit handling of large-scale subject matter. Military experts from [the former] Yugoslavia, Germany, and Italy each contributed to the battle scenes with tanks, artillery, planes and cannons. Special effects were provided by Barrandow Studios in Prague, while the [former] U.S.S.R. supplied a team of pyrotechnicians. Four 1943 Bosnian villages and a complete fortress were constructed for destruction by aerial bombardment. For the director’s cut of BATTLE OF NERETVA, Vladimir Kraus-Rajteric composed the original score where the music is sparsely utilized, primarily to drive the human drama and not the action sequences. It is not a typical Hollywood-style score, which often serves to romanticize war as heroic conflict. Rather, it emphasized the suffering. Kraus-Rajteric’s music, frequently interpolated with partisan songs, was also retained in edits created for Germany and Italy. Due to the extensive editing for the English-language versions, Kraus-Rajteric’s score was rejected as it could not be effectively altered to fit the new interpretation, and Bernard Herrmann was engaged to compose a replacement score that would be more familiar to our audiences. For the score, Herrmann chose the London Philharmonic Orchestra, augmented by a large brass and percussion section, a total of 120 pieces, to perform this epic work under his direction. Bernard Herrmann is one of the greatest composers of motion picture music in the twentieth century. He is considered the man behind some of the most original and distinctive film scores. He was a master at evoking psychological and dramatic tension in his music to suit the dramatic needs of a film. He won his only Oscar in 1947 for writing the score for THE DEVIL AND DANIEL WEBSTER. Herrmann made a powerful mark in radio and in 1934 he began a 25-year career as a conductor and composer in radio, working for the CBS. In 1938, he scored the notorious infamous presentation of Orson Welles’ Halloween production of H. G. Wells’ THE WAR OF THE WORLDS broadcast. He is best remembered for his collaborations with some of Hollywood’s most celebrated film directors like Alfred Hitchcock, Orson Welles, Martin Scorsese and Brian DePalma. Described as a perfectionist, he believed that most directors didn't have a clue about music so he would blithely ignore their instructions. His filmography includes CITIZEN KANE, THE MAGNIFICENT AMBERSONS, NORTH BY NORTHWEST, PSYCHO, VERTIGO, MYSTERIOUS ISLAND, CAPE FEAR, FAHRENHEIT 451, OBSESSION, TAXI DRIVER and many hours of episodic television including THE TWILIGHT ZONE and HAVE GUN, WILL TRAVEL, among others. Born on December 14, 1924 in Zagreb, Croatia (now part of the former Yugoslavia), Vladimir Kraus-Rajteric is best known for NIGHTS AND DAYS and the anti-war ATOMIC WAR BRIDGE. He passed away on July 29, 1996. Originally released in the early days of compact disc, Dragon’s Domain Records is excited to bring BATTLE OF NERETVA back to the marketplace, featuring music composed and conducted by Bernard Herrmann, performed by the London Philharmonic Orchestra, newly remastered by James Nelson at Digital Outland. For the first time, selections from Vladimir Kraus-Rajteric's score from BATTLE OF NERETVA are presented on this release from the best possible elements. The booklet includes liner notes written by author David Hirsch. BATTLE OF NERETVA is a limited edition release of BATTLE OF NERETVA will begin shipping the week of May 19th, 2025. 01. Prelude (2:33) 02. The Retreat (3:42) 03. Separation (4:02) 04. From Italy (3:18) 05. Chetniks’ March (1:49) 06. Farewell (1:51) 07. Partisan March (1:31) 08. Pastorale (2:00) 09. The Turning Point (5:18) 10. The Death of Danica (2:14) 11. Victory (2:35) BONUS TRACKS 12. Danica’s Theme (3:26) The Roland Shaw Orchestra BATTLE OF NERETVA EUROPEAN SUITE Music Composed by Vladimir Kraus-Rajteric 13. Part 1 (4:27) 14. Part 2 (3:11) 15. Part 3 (3:23) Total Time: 46:01 Dragon’s Domain Records presents RETURN FROM THE RIVER KWAI, featuring music composed by the legendary Lalo Schifrin (MISSION: IMPOSSIBLE, BULLITT, DIRTY HARRY, ENTER THE DRAGON) for the 1989 war drama directed by Andrew V. McLaglen (THE DEVIL’S BRIGADE, THE UNDEFEATED, THE WILD GEESE), written by Joan Blair, Clay Blair, Jr. And Sargon Tamimi, starring Timothy Bottoms, Nick Tate, George Takei, Edward Fox, Denholm Elliott, Richard Graham, Chris Penn and Tatsuya Nakadai. Released theatrically in 1989 everywhere except the United States, RETURN FROM THE RIVER KWAI was based upon the book of the same name published by Simon & Shuster in 1989 and written by Clay Blair, Jr. with the assistance of his wife, Joan. It was a re-account of one of the last untold stories of World War II. Considered a work of non-fiction, the book tells the factual account of what happened to the 2,218 Australian and British POWs, and a lone American soldier, who survived what came to be known as ‘the Death Railway’. Father and son producers Kurt and Daniel Unger engaged composer Lalo Schifrin to compose the score for RETURN FROM THE RIVER KWAI. As an addition to the Schifrin score, a further theme was commissioned for the film from Japanese New Age composer Kitarô. Recording of the Lalo Schifrin score took place in July, 1988 at the Studio Palais de Congrès in Paris. The ‘Japanese Theme’ by Kitarô was recorded by the composer at his home in Tokyo. A few years later, Kitarô would be hired by Oliver Stone to score his film HEAVEN AND EARTH. As a young man in his native Argentina, Lalo Schifrin received classical training in music and also studied law. He came from a musical family, and his father, Luis Schifrin, was the concertmaster of the Philharmonic Orchestra of Buenos Aires at the Teatro Colon. Schifrin continued his formal music education at the Paris Conservatory during the early 1950’s, studying with numerous teachers including famed composer Olivier Messiaen. Simultaneously, he became a professional jazz pianist, composer and arranger, playing and recording in Europe. When Schifrin returned to Buenos Aires in the mid 1950s, he formed his own big concert band. It was during a performance of this band that Dizzy Gillespie heard Schifrin play and asked him to become his pianist and arranger. In 1958, Schifrin moved to the United States and thus began a remarkable career. Lalo Schifrin has written more than 100 scores for films and television. Among the classic scores are MISSION: IMPOSSIBLE, MANNIX, THE FOX, COOL HAND LUKE, BULLITT, DIRTY HARRY, THE CINCINNATI KID, THE AMITYVILLE HORROR. Recent scores include TANGO, BRINGING DOWN THE HOUSE, THE BRIDGE OF SAN LUIS REY, AFTER THE SUNSET, the RUSH HOUR films and ABOMINABLE. Originally released on compact disc in 2008 and very scarce, Dragon’s Domain Records brings RETURN FROM THE RIVER KWAI back to the marketplace, featuring music composed by Lalo Schifrin, including the Japanese Theme composed by Kitarô, performed by the Paris Philharmonic Orchestra. The music has been newly mastered by James Nelson at Digital Outland and the liner notes written for the previous release by Darren Allison have been reprised. RETURN FROM THE RIVER KWAI is a limited edition release of and is expected to begin shipping the week of May 19th, 2025 . 01. Main Title (2:24) 02. Destroyed Bridge / Meo Tribesmen (1:46) 03. Firing Squad / Time and Change (2:07) 04. Headman / Crawford (2:39) 05. No Glory In Dying (3:47) 06. Miller’s Head / Final Mission (2:12) 07. Cambodia (1:47) 08. Brasil Maru (2:55) 09. Rickshaw / Runaway (3:04) 10. Crash Position / Gangplank / Japanese Theme** (3:10) (** - Kitarô) 11. Stretcher (1:19) 12. Dive / Like A Shark (2:55) 13. The Take (3:03) 14. Sit Tight / Anchor Chain (3:25) 15. Escort Hit / Abandon Ship / Sinking (6:17) 16. End Titles / Pack Up Your Troubles In Your Old Kit Bag and Smile, Smile, Smile*** (2:46) (*** - Felix Powell, George Asaf) 17. Japanese Theme** (6:34) Performed by Kitarô 18. Rule, Britannia* (0:45) (Thomas Augustine Arne) Total Time: 53:42 Dragon’s Domain Records presents THE INQUIRER – THE FILM MUSIC OF BERNARD HERRMANN, featuring music composed by Bernard Herrmann and including music from the films CITIZEN KANE, THE MAGNIFICENT AMBERSONS, THE DAY THE EARTH STOOD STILL, THE KENTUCKIAN, THE NIGHT DIGGER, SISTERS, BATTLE OF NERETVA and more. THE INQUIRER – THE FILM MUSIC OF BERNARD HERRMANN consists of new recordings (from the late 1980s and early 1990s) performed by the Australian Philharmonic Orchestra, conducted by Tony Bremner, the National Philharmonic Orchestra, conducted by Fred Steiner, in addition to the original soundtrack recordings performed by the Sessions Of London Orchestra, conducted by the composer, the London Studio Orchestra, conducted by the composer and the London Philharmonic Orchestra, also conducted by the composer. Bernard Herrmann is one of the greatest composers of motion picture music in the twentieth century. He is considered the man behind some of the most original and distinctive film scores. He was a master at evoking psychological and dramatic tension in his music to suit the dramatic needs of a film. He won his only Oscar in 1947 for writing the score for THE DEVIL AND DANIEL WEBSTER. Herrmann made a powerful mark in radio and in 1934 he began a 25-year career as a conductor and composer in radio, working for the CBS. In 1938, he scored the infamous presentation of Orson Welles’ Halloween production of H. G. Wells’ THE WAR OF THE WORLDS broadcast. He is best remembered for his collaborations with some of Hollywood’s most celebrated film directors like Alfred Hitchcock, Orson Welles, Martin Scorsese and Brian DePalma. Described as a perfectionist, he believed that most directors didn't have a clue about music so he would blithely ignore their instructions. His filmography includes CITIZEN KANE, THE MAGNIFICENT AMBERSONS, NORTH BY NORTHWEST, PSYCHO, VERTIGO, MYSTERIOUS ISLAND, CAPE FEAR, FAHRENHEIT 451, OBSESSION, TAXI and many hours of episodic television including THE TWILIGHT ZONE and HAVE GUN, WILL TRAVEL, among others. Originally released on compact disc in 1992, Dragon’s Domain Records is excited to bring THE INQUIRER – THE FILM MUSIC OF BERNARD HERRMANN back to the marketplace, newly remastered by James Nelson at Digital Outland. THE INQUIRER – THE FILM MUSIC OF BERNARD HERRMANN also includes a specially reconstructed presentation from THE NIGHT DIGGER, assembled from the available elements of the music. The booklet includes the original extensive liner notes written by John Steven Lasher for the album. Many decades later, THE INQUIRER – THE FILM MUSIC OF BERNARD HERRMANN is an important compilation and an excellent introduction to the music of one of the greatest film composers of them all. THE INQUIRER – THE FILM MUSIC OF BERNARD HERRMANN is a limited edition release. THE INQUIRER – THE FILM MUSIC OF BERNARD HERRMANN will begin shipping the week of April 9th, 2025 1. CELLULOID FANFARE #1: BERNARD HERRMANN 0:48 Composed by John Steven Lasher CITIZEN KANE 2. Suite: The Inquirer 6:54 3. Theme and Variations (Breakfast Montage) 3:20 4. Salaambô’s Aria 4:23 Soprano - Rosamond Illing THE MAGNIFICENT AMBERSONS 5. Theme and Variations / George’s Homecoming 6:24 6. First Nocturne 4:04 Soloist, Violin - Neville Tawell 7. Second Nocturne 3:18 Soloist, Cello [Violincello] - Henry Wenig THE DAY THE EARTH STOOD STILL 8. Lincoln Memorial / Arlington 3:00 THE KENTUCKIAN 9. Prelude / The Steamboat / The Stagecoach / Victory / The Forest 6:49 10. Nocturne / Night Sounds 5:11 11. Scherzo / Miss Susie 4:01 12. The Rope / Finale 3:23 WILLIAMSBURG: THE STORY OF A PATRIOT 13. Overture / Exit Music 2:37 THE NIGHT DIGGER 14. Portrait of the Road Builder 7:32 15. A New Beginning and Ending 4:05 Harmonica - Tommy Reilly Viola D’Amore - Rosemary Greene SISTERS 16. Cake Death 3:37 BATTLE OF NERETVA 17. Prelude 2:33 18. Chetnik’s March 1:47 19. Partisan March 1:31 20. Victory! (Finale) 2:34 Total Time: 78:55 Dragon’s Domain Records presents TOO LATE THE HERO, featuring music composed by Gerald Fried (THE MAN FROM U.N.C.L.E., STAR TREK, ROOTS) for the 1970 war film directed by Robert Aldrich (THE DIRTY DOZEN, EMPEROR OF THE NORTH, THE FLIGHT OF THE PHOENIX), written by Aldrich, Robert Sherman and Lukas Heller, starring Michael Caine, Cliff Robertson, Ian Bannen, Harry Andrews, Ronald Fraser, Denholm Elliott, Percy Herbert, Patrick Jordan, Harvey Jason and Henry Fonda. TOO LATE THE HERO takes place in 1942, in the Pacific Theatre of World War II and follows Lieutenant Junior Grade Sam Lawson (Robertson), a Japanese-language interpreter who, so far, has been able to avoid combat. Captain Nolan (Fonda), his commanding officer, unexpectedly cancels his leave and informs Lawson that he is being assigned to a British infantry commando unit in the New Hebrides Islands for a combat mission... The British base at this location is located in the middle of a large open field, several hundred yards from the edge of the jungle. On the other side of the jungle is a Japanese observation post. The commando group is led by Captain Hornsby (Elliott). Hornsby’s commando group is instructed to destroy the Japanese radio transmitter at the observation post before they can sound the alarm on an American naval convoy that is scheduled to appear on the horizon in just a few days. During the course of executing their mission, they discover the existence of a secret Japanese airfield and planes ready for action... The music for TOO LATE THE HERO was composed by Gerald Fried. This was a continuation of his collaboration with director Robert Aldrich, which also included THE KILLING OF SISTER GEORGE, WHATEVER HAPPENED TO AUNT ALICE? and THE GRISSOM GANG. The score for TOO LATE THE HERO is one of Fried’s most exciting and impressive orchestral works, constructed for large orchestra (including an expanded percussion section) and implemented with synthesizers and numerous exotic instruments. TOO LATE THE HERO offers a splendid example of Fried’s unique ability to derive fascinating motives from unusual rhythm patterns. Born February, 1928 in the Bronx, Gerald Fried’s interest in music found its first fruition at the High School of Music & Art in New York City. He attended The Juilliard School of Music as an oboe major, graduating in 1945. Among his earliest friends was a bright kid named Stanley Kubrick. The two of them used to hang around Greenwich Village and talk about their budding interests, Fried’s in classical music and Kubrick’s in filmmaking. Their interests merged when Kubrick began filming DAY OF THE FIGHT, an 18-minute short about boxing. Knowing Fried was a music major, Kubrick asked him if he could write the score for his boxing picture. Fried agreed, then spent months going to the movies to learn how film scores worked, there being no schools or courses on film music in those days. Fried wrote an effective score, and Kubrick sold the film to RKO Pathé. Fried rejoined Kubrick to score four more of his films, including THE KILLING and PATHS TO GLORY, where the young filmmaker first gained his reputation. After the success of THE KILLING in 1956, Kubrick moved to Los Angeles, shortly followed by Fried, who was immediately hired to compose and arrange music for several films, including THE VAMPIRE, THE RETURN OF DRACULA, MACHINE GUN KELLY and I, MOBSTER, I BURY THE LIVING, and TIMBUKTU (1959). By the 1960s, Fried moved into television, scoring episodes of such seminal shows of the decade as GILLIGAN’S ISLAND, THE MAN FROM U.N.C.L.E., MISSION: IMPOSSIBLE and STAR TREK. By the 1970s Fried was composing music for numerous made-for-TV movies. His best-known score of the decade was for the 1977 miniseries ROOTS, which he took over scoring when Quincy Jones fell behind and was unable to meet the broadcast deadline for the eight-hour miniseries. Both Jones and Fried won Emmy Awards for their musical efforts on the series. During the ‘80s, Fried continued to compose music for television series, movies, and documentaries, and an occasional feature film. These are just two of the many magnificent scores Fried wrote throughout his career. The composer passed away on February 17, 2023 at the age of 95. His work remains a testament to his talent and dedication to the art of composition and he is remembered as a key figure in the evolution of music for film and television. Originally appearing on compact disc nearly three decades ago and very scarce, Dragon’s Domain Records brings TOO LATE THE HERO back to the marketplace, featuring music composed and conducted by Gerald Fried. The music has been remastered by James Nelson at Digital Outland and reprising the liner notes written by D.L. Fuller for the original release. TOO LATE THE HERO is a limited edition release. TOO LATE THE HERO is expected to begin shipping the week of May 19th, 2025 01. Overture (3:15) 02. Opening Titles (4:03) 03. British Flag (1:03) 04. Trevor's Return / The Crossing / Five Of Them (3:41) 05. Not Going That Way / Other Casualties / Jungle March (3:32) 06. Lap Officer / Death Scream (2:17) 07. Lawson's Trick (2:51) 08. Scavenger / Jungle Trek (2:16) 09. Old Army Boots / Shrine (1:58) 10. Move Out / Good Luck (3:47) 11. Radio Shack (2:07) 12. The Approach / Scott Shot / Light On / Firefight (5:42) 13. Quick Exit / Post Grenade (2:21) 14. Overture Act II (2:53) 15. Air Strip / Camouflage Caper / Smokey Japs / River Journey (3:50) 16. The Speakers (3:17) 17. Thornton's Ambush / Thornton's Free Ride / Another Shrine (3:53) 18. How To Help A Buddy (3:59) 19. Ring Job / Revolver / Jungle Pursuit (3:54) 20. Camp / Getting The Gooch (4:18) 21. You Zig, I'll Zag / Final Run (4:44) 22. Finale (1:42) 23. Exit Music (2:42) Total Time: 75:02 Dragon’s Domain Records presents THE RISE AND FALL OF THE THIRD REICH, a dramatic cantata composed by the legendary Lalo Schifrin (MISSION: IMPOSSIBLE, BULLITT, DIRTY HARRY, ENTER THE DRAGON) based on the Emmy-nominated 1968 television documentary” instead of “for the 1968 directed by Jack Kaufman, produced by David L. Wolper, featuring the narration of Richard Basehart. David L. Wolper was one of television’s most respected and honored producers. The winner of three Emmys (nominated for eight more), the Oscars’ Jean Hersholt Humanitarian Award and a member of the Television Hall of Fame, Wolper gave us ROOTS, THE THORN BIRDS, NORTH AND SOUTH, the NATIONAL GEOGRAPHIC Specials, WILLY WONKA AND THE CHOCOLATE FACTORY and dozens of other projects over a 40-year career in films and television. Among his landmark television documentaries was THE RISE AND FALL OF THE THIRD REICH, which aired on ABC over three nights in March 1968. Based on journalist William L. Shirer’s best-selling, award-winning 1960 chronicle of the history of Nazi Germany, it was the result of two years of research and examining more than five million feet of film to tell the story of Adolf Hitler’s rise to power and his eventual downfall at the end of World War II. Lalo Schifrin had already scored his NATIONAL GEOGRAPHIC “The Hidden World of Insects” and earned an Emmy nomination for the music for THE MAKING OF THE PRESIDENT in 1964. Schifrin’s imagination was sparked by the subject and what followed was unprecedented in the history of music for television: a major concert work performed by a leading American orchestra, debuting eight months before the program that inspired it. THE RISE AND FALL OF THE THIRD REICH cantata debuted at the Hollywood Bowl on Thursday, August 3, 1967. As a young man in his native Argentina, Lalo Schifrin received classical training in music and also studied law. He came from a musical family, and his father, Luis Schifrin, was the concertmaster of the Philharmonic Orchestra of Buenos Aires at the Teatro Colon. Schifrin continued his formal music education at the Paris Conservatory during the early 1950’s, studying with numerous teachers including famed composer Olivier Messiaen. Simultaneously, he became a professional jazz pianist, composer and arranger, playing and recording in Europe. When Schifrin returned to Buenos Aires in the mid 1950s, he formed his own big concert band. It was during a performance of this band that Dizzy Gillespie heard Schifrin play and asked him to become his pianist and arranger. In 1958, Schifrin moved to the United States and thus began a remarkable career. Lalo Schifrin has written more than 100 scores for films and television. Among the classic scores are MISSION: IMPOSSIBLE, MANNIX, THE FOX, COOL HAND LUKE, BULLITT, DIRTY HARRY, THE CINCINNATI KID, THE AMITYVILLE HORROR. Later scores include TANGO, BRINGING DOWN THE HOUSE, THE BRIDGE OF SAN LUIS REY, AFTER THE SUNSET, the RUSH HOUR films and ABOMINABLE. Originally released on vinyl by MGM Records in 1967 with the addition of Laurence Harvey's narration, Dragon’s Domain Records brings THE RISE AND FALL OF THE THIRD REICH to compact disc for the first time, featuring music composed by Lalo Schifrin, performed by members of the Los Angeles Philharmonic, the Gregg Smith Singers and conducted by Lawrence Foster. The music for THE RISE AND FALL OF THE THIRD REICH Cantata appears here minus the narration, music newly mastered by James Nelson at Digital Outland and featuring liner notes written by noted author Jon Burlingame. THE RISE AND FALL OF THE THIRD REICH is a limited edition release and is expected to begin shipping the week of May 19th, 2025. 01. Prologue (3:33) 02. The Teutonic Gods (3:08) 03. A Pact with Satan (3:24) 04. The Devil's Spawn (4:31) 05. Nazis March (1:29) 06. Mother Earth Mourns (5:15) 07. Bonfires (2:02) 08. The War Begins (1:29) 09. Destruction and Sorrow (2:37) 10. Madness and Murder (2:32) 11. Innocent Victims (3:45) 12. The Allies Rally (1:14) 13. The Tide Turns (2:06) 14. Seventy Million Dead (3:40) 15. Epilogue (4:56) Total Time: 45:49 BSXDG0185 Includes Digital Booklet BSX DIGITAL presents the original soundtrack for THE PASSAGE, featuring music composed by Michael J. Lewis (JULIUS CAESAR, THEATRE OF BLOOD, SPHINX, FFOLKES), for the British action film directed by J. Lee Thompson (THE GUNS OF NAVARONE), written by Bruce Nicolaysen and Stephen Oliver, starring Anthony Quinn, James Mason, Patricia Neal, Kay Lenz, Paul Clemens, Christopher Lee, Michael Lonsdale and Marcel Bozzuffi. Released in 1979, THE PASSAGE is set against the backdrop of World War II as a resilient Basque farmer (Quinn) is called upon by the French resistance to help facilitate the escape of John Bergson (Mason), a brilliant scientist, and his family across the treacherous Pyrenees mountains to the safety of neutral Spain. In pursuit is Captain Von Berkow (McDowell), a ruthless SS officer who perhaps enjoys his work a little too much... THE PASSAGE is accompanied by a sweeping symphonic score that propels its narrative forward and heightens the palpable sense of danger throughout its key moments. Lewis’ compositions are expansive and lush, beautifully reflecting the breathtaking snowy landscapes where the film takes place. At the 70th Annual Academy Awards, the evocative ‘Apassionata’ from this score was used during the ‘In Memoriam’ segment, conducted by the great Jerry Goldsmith. Michael J. Lewis is an Emmy award-winning composer of film, television, Broadway and choral works. Born in Aberystwyth, Ceredigion, Wales, he studied harmony, counterpoint, and composition at the Guildhall School of Music and Drama. After a brief teaching career in North London, he became a full-time composer at the age of 24. Lewis was incredibly prolific in the late 1970s and early 1980s. His filmography includes THEATRE OF BLOOD, THE MEDUSA TOUCH, THE LION, THE WITCH AND THE WARDROBE, for which he earned an Emmy, JULIUS CAESAR, THE MAN WHO HAUNTED HIMSELF, 11 HARROWHOUSE, THE MADWOMAN OF CHAILLOT, NORTH SEA HIJACK also known as FFOLKES, THE ROSE AND THE JACKAL and YES, GIORGIO, a shared music credit with composer John Williams. In addition, Lewis began writing music for British TV commercials for British Rail, Tesco, 7 Up, Ford, and Audi and after relocating to the United States, he scored national TV campaigns for IBM, Lipton, Kentucky Fried Chicken, 3M, and Connecticut National Bank. Following the passing of his daughter in 1994, the composer shifted his interest from film to the writing and adapting of music and vocals, both sacred and secular, from his native homeland. Michael J. Lewis currently resides and composes amidst the pines of Mississippi, the birthplace of American music, and continues to record in New Orleans, home of the Blues. BSX Digital presents THE PASSAGE, featuring music composed and conducted by Michael J. Lewis, meticulously remastered by James Nelson at Digital Outland, honoring the composer’s original vision by following the intended order of the music.

Und wenn der Film dann auch noch maximal 2 h geht, gerne auch etwas weinger, wird das auch kein Nachteil sein. Der beste Craig Bond ist für mich Ein Quantum Trost, auch wegen seiner knackigen ca. 100 Minuten Laufzeit.

Sehe ich genauso. Mir würde es deutlich besser gefallen, wenn man das Konzept komplett neu denkt - eher in Richtung Teil1. Also den reinen Spionage Aspekt deutlich stärker in den Vordergrund stellt. Diese Weltrettungsszenarien brauche ich nicht ..

Aber es reicht dann auch, dass zumindest in dieser Weise nach Teil 8 Schluss ist. Es kann gerne ein neuer Film kommen, aber dann wieder eher vom Konzept von Teil 3-4.

Verdammt, was für geile Musik. Wahnsinnig atmosphärische Kompositionen und dabei auch so schön Dark-Symphonisch und auch irgendwie intim klingend. Film und Musik sind bis dato voll an mir vorbeigegangen, aber CD ist bestellt. Mag Christopher Young so oder so gerne hören; Urban Legends, Hard Rain und auch The Core, den ich ganz besonders von ihm mag. The Piper ist aber nochmal was ganz besonderes, wie ich finde.

Da hast du Recht. Wobei sich das bisher gar nicht sooo serienmäßig angefühlt hat, wie es nun Teil 8 versucht zusammenzubringen. Und die Sache mit Julia war wirklich sinnvoll gesetzt in Teil 4 und 6. Auch wenn bis Teil 5 die Herangehensweise mit einem immer wieder neuen Regisseur durchaus reizvoll war, aber möchte Teil 6 eigentlich nicht missen in der Form und verzeihe daher, dass man von diesem Konzept dann abgewichen ist.

Ich mag die Reihe insgesamt auch sehr gerne. Gut gemacht sind die Teile alle. Ich bin nur kein Freund von Plotübergreifenden Filmen. Teil 5-8 hängen ja storymäßig und figurenmäßig irgendwie durchaus zusammen. Das gefiel mir an den Craig Bonds ja auch nicht. Was mir aber als emotionaler Aspekt bei den M:I Teilen seit Nr. 3 gefällt ist die Julia Storyline.

Dann muss ich hier nochmal eine Lanze für Teil 6 brechen. Für Film wie Score. Mit leichtem Abstand der beste M:I-Film für mich. Da stimmt in puncto Action, Spannung und Emotionen einfach alles und dazu trägt auch Lorne Balfes Musik wie einem Stück wie „We Are Never Free“. Mag die Reihe aber generell sehr und mag da auch alle Teile, muss nur leider Teil 8, den ich am Sonntag gesehen habe, im Ranking den letzten Platz geben. Auch wenn er kein schlechter Film ist. Auf keinen Fall.

Interessant! Wir beide scheinen einen recht ähnlichen Geschmack zu haben - denn ich schließe mich deiner Meinung gerne an. Hätte es nicht besser ausdrücken können 🙂

Nach Sichtung der Filme und auch dem Genuss der Scores kürzlich ist Teil 3 für mich der beste von diesen 4.Tolle klassische abwechslungsreiche Orchesteraction mit typischem Giacchino Stempel. Dann kommt Teil 5. Der Score hat zwar nicht unbedingt eine eigene Handschrift des Komponisten, aber er ist abwechslungsreich und die Orchesteraction rockt ebenfalls. Teil 6 und 7 haben zwar eindeutig die Balfe Handschrift, sie sind im Film sehr effektiv, unterscheiden sich auch durchaus von den anderen Teilen, aber insgesamt sind sie doch recht stumpf und eintönig. Wobei mir Teil 7 Dank der Venedig Sequenz besser gefällt als Teil 6. Die wurde zwar mit dem emotionalen Vorschlaghammer vertont, aber der ist äußerst effektiv und dramatisch. Bezogen auf die Reihe finde ich Teil 2 am prägnantesten, auch wenn er insgesamt stupide sein mag. Am besten gefallen mir aber tatsächlich die Giacchino Scores.

Interessante Einschätzung der Filme - die ich weitestgehend teile. Was sagst du denn jeweils zu den Scores?

Vielen Dank. Ja, die hatte ich auch schon mal auf dem Schirm. Und ja, man muss wirklich aufpassen, denn besonders in der Bucht sind viele CD-R unterwegs. Jetzt allgemein, bei Behind Enemy Lines weiß ich nicht. Da schaue ich erst mal in Ruhe. Zum Thema sei noch gesagt, dass Deep Blue Sea von Trevor Rabin auch eine zumindest Erweiterung verdient hätte. Mehr Action-Kompositionen. Das reguläre und bis dato offizielle Score-Album finde ich aber auch schon gut. Mir gestern im Zustand wie neu noch zu einem na ja halbwegs moderatem Preis besorgen können.

Ich habe am Wochende nochmal die Teile 3, 5, 6 und 7 angeschaut und muss sagen, Teil 6 und 7 als Film sind im Nachhinein viel zu lang und viel zu überladen, vor allem Teil 7. Teil 3 ist handlungsmäßig und bezogen auf die Essenz der Serie der klassischeste. Teil 4 auch noch, aber der hat leider seinen sehr schwachen Bösewicht. Teil 8 werde ich noch schauen, weil unterhaltsam sind die Filme alle und den Abschluss will ich auch sehen. Aber das Christopher McQuarrie nach Teil 5 auch die anderen Filme in mehreren Funktionen übernahm tat dem Franchise meiner Meinung nicht gut. Teil 8 geht fast 3 Stunden. Dann hat man für diese Handlung insgesamt ca. 5,5 h aufgewendet. Gibt die Handlung und die Gegenspieler einfach nicht her.

Du musst nach dieser CD schauen. (Nur die farbig bedruckte CD ist aus dem Presswerk (die habe ich selber in der Sammlung und kann es bestätigen). CDs mit silberner Oberfläche sind meines Wissens nur CD-Rs). https://www.discogs.com/de/release/23206937-Don-Davis-Behind-Enemy-Lines-Original-Motion-Picture-Soundtrack

Ich habe den Film eben bereits im Kino sehen können (bin derzeit in Wien - da läuft er bereits in den Kinos). Zum Film möchte ich hier nichts sagen, da es um die Musik gehen soll: Der Score war meines Erachtens eine Zumutung! Mir hat der Vorgänger von Lorne Balfe recht gut gefallen (es war zwar stumpfes Action Scoring, aber effektiv und spaßig) - aber was die beiden Nobodys hier verzapft haben ist um ein Vielfaches seelenloser und redundanter. Es würde mich nicht wundern, wenn die Musik wirklich von einer KI stammen würde (passt ja dann zum Film).

Ok, gut zu wissen. Werde ich mal wieder auf die Suche gehen. Hatte vor Jahren das Glück über einen US-Händler auf Ebay den Promo Score gepresst von U-571 von Richard Marvin zu bekommen. Stolz wie Oscar bin ich bis heute. Behind Enemy Lines hätte auch was, vor allem wenn auch gepresst als Promo zu bekommen.

Nur als 23 Track Promo, die preislich noch gut zu haben ist.

Für mich auch ganz klar Armageddon, wegen allen Harry-Gregson-Williams Stücken. Auf Pressung wäre sie halt was ganz besonderes nochmal - zusammen mit den großartigen Stücken von Trevor Rabin. Pearl Harbor (besonders die fehlenden Action-Kompositionen) und auch Star Wars Episode 3 würde ich auch noch gut finden. Armageddon scheint aber wirklich aussichtslos zu sein. Denke nicht, dass sich da nochmal was tun wird. Aber man soll die Hoffnung ja nicht aufgeben. Schöne Grüße an Rabin an dieser Stelle. Behind Enemy Lines von Davis wurde glaube ich niemals veröffentlich oder?

Bin ein großer Fan des Films, auch der Lovestory. Titanic gehört zu meinen absoluten Lieblingsfilmen. Allerdings bin ich bis heute mit dem Original-Soundtrack-Album aus dem Jahre 1998 sehr zufrieden. Bis auf A Building Panic und Irish Dance, welche aber Gott sei Dank auf dem zweiten Album Back to Titanic drauf sind, auch alles enthalten, was ich bis heute leidenschaftlich gerne höre. Zudem ist Klangqualität bereits auf dem Original-Album superb, wie ich finde. Klar und warm, um es kurz zu beschreiben. Da habe ich sogar Angst, dass mir diese Wärme durch ein anderes Mastering bei der Limited Edition verloren gehen könnte.

Habe die CD jetzt mehrmals durch. Megageiler Up-Beat Soundtrack von Alan Silvestri, wie ich ihn mag. Für mich ein Jahreshighlight an Veröffentlichung, die sehr überraschend kam. Danke Musicbox!

Danke, freut mich, wenn sie dir gefällt! Den abgelehnten Mandel-Score zu THE SEVEN-UPS kenne ich noch gar nicht, mal reinhören... Den Trompetensatz habe ich bewusst etwas "exzentrisch" gestaltet, dissonant und in sehr weiten Lagen - ein bisschen "modern-archaisch" à la CLEOPATRA, dessen Fanfaren wohl unterbewusst Pate standen. Ansonsten komponiere ich aber rein intuitiv und kann nur selten konkrete Vorbilder benennen. Live-Aufführung ist erstmal nicht geplant, müsste die Partitur dafür auch erstmal auf Spielbarkeit revidieren. Ein paar Stellen sind so hingebogen, dass sie mit den Samples von Notion für iPad gut klingen, aber live wohl schwierig umzusetzen sind...

Weiter ging es hiermit - steht ja immerhin in der Tradition von Bernstein Meine Einschätzung hat sich im Vergleich zum Höreindruck von vor 10 Jahren nicht groß verändert. Es ist schon gekonnt, wie Zahir seine beiden Themen - das für Otto und das Liebesthema - geschickt variiert. Es kommt natürlich trotzdem viel Stückwerk bei heraus (ist dem Film geschuldet). Aber mir kommt es so vor, als würde ich die beiden Themen noch aus einem anderen Kontext kennen. Hat jemand, der die CD hat oder sich an die Musik erinnern kann, eine Idee?

Elmer Bernstein - THE MAGNIFICENT SEVEN So macht es doch Spaß, den musikalischen Sonntag zu eröffnen! Heute mit der als "Definitive Recording" vermarkteten Neueinspielung unter Bernstein selbst. Ich bin übrigens durch die Forensuche auf diesen Thread gestoßen: