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Weiß jemand, warum davon nicht die Originalaufnahmen erscheinen können?

Neu von Quartet: Quartet Records and El Deseo present the soundtrack album for the eagerly anticipated new collaboration between acclaimed director Pedro Almodóvar and renowned four-time Academy Award–nominated composer Alberto Iglesias (THE CONSTANT GARDENER, THE KITE RUNNER, TINKER TAILOR SOLDIER SPY, PARALLEL MOTHERS). AMARGA NAVIDAD marks their fifteenth film together, following more than thirty years of intense collaboration and worldwide success with such films as ALL ABOUT MY MOTHER, TALK TO HER, VOLVER and PAIN AND GLORY. The film explores cinema within cinema and the limits of creativity, as a successful director writes a screenplay based on the personal experiences of those around him—without considering the emotional consequences of his actions. Alberto Iglesias has composed one of his most intense, emotional, dynamic, and vibrant large-scale orchestral scores—perhaps his finest to date—with echoes of Stravinsky, Ravel, and Debussy. The album also includes a version of the classic song “Las pequeñas cosas” by Chavela Vargas, performed by Amaia. La ventana y la tormenta 1:01 Espera en urgencias 2:36 La playa negra 2:24 Sordo enfrentamiento 1:55 Un niño le sonríe 3:26 Inspiración 0:48 Despertar de Natalia 2:56 Transición 1:12 Tensa despedida a la luz del día 1:55 Elsa yacente 1:37 Llamada a deshoras 1:24 Middlesex 2:41 ¿Cuánto dura un duelo? 1:59 Un lugar ideal para morir 1:35 Ansiedad Lispector 2:15 La tormenta soñada 2:05 Las simples cosas (Interpretada por Amaia) 2:58 El cursor impaciente 2:06 Elena y Natalia 2:41 Búsqueda de ansiolíticos 1:23 Compás de espera 1:34 Cruzando un mar de lava 0:32 Madrid amanece desierto 0:49 La crueldad 1 1:29 Mónica cordial 1:28 La crueldad 2 2:03 Mónica amenazante 2:32 La inspiración arrolladora 4:10 Dedos como patas de elefante 8:52 Créditos finales, comienza la aventura 2:34 Neu von BSX/Dragon's Domain: Dragon’s Domain Records presents GAUGUIN AND GERALD FRIED, featuring music composed by Gerald Fried (THE MAN FROM U.N.C.L.E., STAR TREK,ROOTS) for two very different television programs that focused on the French Impressionist painter Eugene Henri Paul Gauguin. GAUGUIN THE SAVAGE was a feature-length docudrama that premiered on the CBS television network in the spring of 1980. David Carradine starred as the artist with Lynn Redgrave playing his long-suffering wife, Mette-Sophie Gad. The film begins with Gauguin as a Parisian stockbroker struggling to support his growing family. He is frustrated at having no free time to focus on the one thing he truly loves — his art. This obsession propels him to walk out on his family and eventually share quarters with Vincent Van Gogh (Barrie Houghton). Gauguin’s self-centered attitude alienates him from many colleagues and patrons until he sees the only road to limitless creativity is to escape “civilization”. He flees to a land he believes is full of wild and primitive beauty — Tahiti. Yet, after a long sea voyage, he discovers to his dismay that it is a very modern community with all the comforts other French settlers have brought. Gauguin flees into the jungle, where he lives among the unspoiled natives and marries a local girl, Teha’amana, despite not being divorced from Mette-Sophie. It is here that Gauguin begins to develop his unique style, one marked by bold colors inspired by the landscape and native lifestyle, with Teha’amana as his main model. Fried composed a lush orchestral score to convey Gauguin’s passionate, often self-destructive, drive as he seeks to render his view of the world within his art. Thirteen years earlier, Gerald Fried was engaged to score a 1967 CBS documentary GAUGUIN IN TAHITI: THE SEARCH FOR PARADISE. Narrated by Charles Kuralt, the one-hour presentation centered on the artist’s time in the islands painting, sculpting, and creating ceramic works. In another unusual coincidence, Lynn Redgrave’s father, Michael, was cast as the voice of Gauguin, reading the artist’s own words from his many diaries and letters. 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 the1977 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. Dragon’s Domain Records presents GAUGUIN AND GERALD FRIED, featuring the world premiere release of GAUGUIN THE SAVAGE and GAUGUIN IN TAHITI: THE SEARCH FOR PARADISE, featuring music composed by Gerald Fried. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by author David Hirsch. GAUGUIN AND GERALD FRIED is a limited edition release. GAUGUIN AND GERALD FRIED is expected to begin shipping the week of March 23rd, 2026 GAUGUIN THE SAVAGE 01. Main Title-Tahiti / Diagnosis & Paris Flashback (3:38) 02. I Hated That Hat And Coat (2:19) 03. Tahitian Hospital Recovery / Sex Is The Best Medicine (5:24) 04. Father & Daughter Talk / Painting In A Frozen Danish Attic (1:22) 05. Aline, I Can’t Work Here (3:02) 06. Painting With Van Gogh / A Disturbing Portrait / Vincent’s Girl / Mutilation (3:33) 07. Leaving Vincent / To Your Voyage / Sailing To Tahiti (2:07) 08. Rejecting ‘Civilization’ / A Letter To Aline (2:35) 09. Every Man Needs Wahini (2:29) 10. In Search Of A Wife (1:48) 11. “Gogi, Will You Be Good To My Daughter?” (2:19) 12. Forty-Four Canvases (1:42) 13. Ruffians Abduct Annah / Papa’s Home / Papa Put Out (2:59) 14. Before I Can Paint It, I Must First Find It (2:50) 15. The Doctor Has Given Me Mercury (1:04) 16. Aline Has Died / Painting The Great Vision (6:08) 17. Arsenic By The Sea / Gauguin’s End (1:56) 18. You Have To Believe In Me / End Credits (2:48) 19. “Get Big Drunk” (Bonus Music & Effects) (1:04)= 20. Journey To Tahiti (Bonus Music & Effects) (1:50) GAUGUIN IN TAHITI: THE SEARCH FOR PARADISE 21. Prologue & Main Credits (1:56) 22. A Simple Brittany Life / Abandoning Family & Civilization For Paradise (8:16) 23. Alienating The European Settlers / Teha’amana’s Theme / Fired By His Patron (4:29) 24. Broke & Forced To Work / Syphilis / His Epic Work / Paradise Dead (3:43) 25. Pagan Gods & Myths / Paradise Lost & Found In Art (6:23) 26. Ready To Return / Deathbed / End Credits (1:59) Total Time: 77:31 Dragon’s Domain Records presents THE ARTHUR B. RUBINSTEIN COLLECTION, VOLUME 1, featuring music from two original scores from the composer’s extensive filmography, THE PRINCE OF CENTRAL PARK and RIVKIN: BOUNTY HUNTER. Airing on television in 1977, THE PRINCE OF CENTRAL PARK was directed by Harvey Hart, written by Jeb Rosebrook, based on the novel by Evan Rhodes, starring T.J. Hargrave, Lisa Richards, Ruth Gordon, alongside a young Brooke Shields in a supporting role. At its heart, the story unfolds as a modern fairy tale that tells the poignant story of a teenage boy and his younger sister as they flee from an abusive foster mother. They find sanctuary within a tree house in Central Park. There they encounter a young hoodlum and form an unlikely friendship with a lonely elderly woman. The score for THE PRINCE OF CENTRAL PARK is a gentle and emotive composition written for a chamber ensemble, perfectly encapsulating the whimsical elements of the tale while mirroring the children's enchantment with tales of knights and chivalry. Airing on television in 1981, RIVKIN: BOUNTY HUNTER was directed by Harry Harris, written by Peter Lefcourt, starring Ron Leibman, Harry Morgan, Harold Gary, Verna Bloom, George Dicenzo, John Getz and Glenn Scarpelli. An unsold pilot for a series, RIVKIN follows a modern bounty hunter (Leibman), making his living apprehending bail jumpers who finds himself in a high-stakes confrontation with a heavily armed drug dealer. The score for RIVKIN: BOUNTY HUNTER is composed for an ensemble of approximately 35 musicians, incorporating a variety of keyboards and a dynamic rhythm section to capture the essence of New York in 1981. Both scores are presented complete in film order, showcasing Arthur B. Rubinstein's incredible talent and revealing him as an underrated gem in the world of film composition. Arthur B. Rubinstein was an American composer and conductor renowned for his scores in film, television and theater, as well as his leadership of the Symphony in the Glen Orchestra. Born in Brooklyn, New York,Rubinstein attended the High School of Music & Art and earned a Bachelor of Music degree from Yale University. After beginning his career as a pianist and arranger in New York, he relocated to Los Angeles, where he established himself as a prolific composer for over 200 film and television projects spanning more than 40 years. Rubinstein's most notable film scores include collaborations with director John Badham on BLUE THUNDER, WARGAMES, SHORT CIRCUIT, STAKEOUT,THE HARD WAY, ANOTHER STAKEOUT and NICK OF TIME, as well as LOST IN AMERICA and WHOSE LIFE IS IT ANYWAY?. In television, he composed for series such as SCARECROW AND MRS. KING, THE TWILIGHT ZONE (1985), AMAZING STORIES, WISEGUY, THE LOVE BOAT, SLEDGE HAMMER! and THE SIMPSONS, along with the ABC documentary SHOOTING WAR, directed by Steven Spielberg and narrated by Tom Hanks. Dragon’s Domain Records presents THE ARTHUR B. RUBINSTEIN COLLECTION, VOLUME 1, featuring the music from the original scores to THE PRINCE OF CENTRAL PARK and RIVKIN: BOUNTY HUNTER, with liner notes written by G.B. Kemner and Scott Davis. The music has been mastered by James Nelson at Digital Outland. THE ARTHUR B. RUBINSTEIN COLLECTION, VOLUME 1 is a limited edition release. THE ARTHUR B. RUBINSTEIN COLLECTION, VOLUME 1 is expected to begin shipping the week of March 23rd, 2026. THE PRINCE OF CENTRAL PARK 01. Opening Titles (2:23) 02. Central Park (2:51) 03. Finding The Treehouse And Nightfall (2:37) 04. Life In The Park (3:55) 05. Treehouse Montage And Knighted (4:00) 06. Mrs. Miller’s Messages (3:13) 07. Different Berries (1:18) 08. Mrs. Miller And The Kids (4:12) 09. Elmo Watches And Park Music (2:42) 10. Mrs. Miller And The Cops (2:26) 11. The Carousel And Elmo Falls (4:19) 12. We Can’t Stay Here Forever (2:32) 13. Mrs. Miller’s Offer (2:20) 14. A New Family (3:06) RIVKIN: BOUNTY HUNTER 15. Main Titles / First Bust (2:31) 16. Father’s Music (1:20) 17. Rivkin On Sleaze Street (2:37) 18. Hospital Visitors (2:26) 19. Blind Man’s Bluff (1:29) 20. Vito’s Restaurant (2:34) 21. Rivkin And His Girl (2:22) 22. Rivkin Talks To Son (2:49) 23. The Ceremony (2:02) 24. Slow Dancing (2:10) 25. Remembering His Wife (1:38) 26. Rivkin’s Anger (2:11) 27. Rivkin Vows To Get St. Clair (2:57) 28. Rivkin Catches St. Clair (3:43) 29. Finale (1:25) 30. Disco Dancing (0:27) Total Time - 76:50 Dragon’s Domain Records proudly presents the first volume in a new ongoing series of music from classic crime dramas from the Golden Age,featuring two world premiere releases of music from UNDERWORLD, U.S.A. and CROSSROADS TO CRIME. Released in 1961, UNDERWORLD, U.S.A. was written and directed by the legendary Samuel Fuller (THE BIG RED ONE), starring Cliff Robertson, Dolores Dorn, Beatrice Kay, Paul Dubov, Robert Emhardt, Larry Gates,Richard Rust and Gerald Milton. Inspiration for UNDERWORLD U.S.A. came from a series of articles by Joseph F. Dinneen for The Saturday Evening Post, as well as Riley Cooper’s book HERE IS TO CRIME. Fuller chose to frame his exploration of organized crime around a tale of vengeance as Tolly Devlin (Robertson) vows to find the men who beat his father to death when he was a child. Devlin succeeds in working his way into the organization where the killers have now become powerful lieutenants and manages to sow distrust within their ranks. The score for UNDERWORLD, U.S.A. was composed by Harry Sukman, an American composer, conductor and pianist. Among his many credits include GOG, SCREAMING EAGLES, FORTY GUNS, THE HANGMAN, FANNY, THE SINGING NUN and SALEM’S LOT, and dozens of episodes from various television series including LARAMIE, DR. KILDARE, PEYTON PLACE, THE HIGH CHAPARRAL and BONANZA. Released in 1960, CROSSROADS TO CRIME was directed by Gerry Anderson (THUNDERBIRDS, SPACE: 1999), written by Alun Falconer, based on a story by Edgar Wallace, starring Miriam Karlin, George Murcell, David Graham and Victor Maddern. CROSSROADS TO CRIME was the first live-action feature from the fledgling AP Films prior to achieving international success with SUPERCAR (1961-62). While patrolling his beat, Police Constable Don Ross (Oliver) suspects a criminal gang is operating out of an English truck stop. Defying the orders of his commanding officer, he is determined to stop the local crime boss (Ferdy Mayne) and his two thugs (SUPERCAR voice artists George Murcell and David Graham) from hijacking a load of nickel ingots. The score for CROSSROADS TO CRIME was composed by Barry Gray, who had just finished working with Gerry Anderson on a puppet series they co-created, FOUR FEATHER FALLS. Gray would continue to be an invaluable member of the AP Films team (later Century 21), creating the musical identity for such Gerry and Sylvia Anderson TV series as THUNDERBIRDS, UFO and SPACE: 1999. This first volume in Dragon’s Domain Records series of classic crime dramas has been mastered by James Nelson at Digital Outland, featuring exclusive liner notes by Starlog Magazine’s David Hirsch on the music featured on the album. THE GOLDEN AGE OF CRIME DRAMAS, VOLUME 1 is a limited edition release and is expected to begin shipping the week of March 23rd, 2026. SPECIAL NOTE: These recordings were originally taken from analog masters and music & effects tracks and therefore certain limitations from the source tapes may be evident. We have tried to preserve as closely as possible, the quality of the original recordings UNDERWORLD, U.S.A. (1961 - Harry Sukman) 01. Underworld U.S.A. Main Title / Alley Fight / Tolly Witnesses / Alley Murder (2:30) 02. Tolly's Father Is Dead (Interpolates Auld Lang Syne) / Arrested / Flashback / Arrested Again (2:45) 03. Prison Hospital Job / Wait For Farrar / Alone With Farrar / Hunt For Gela Begins / Break-In (4:06) 04. Meet Cuddles / Tolly Rescues Cuddles / Escape / To The Bait Shop / Tolly Takes The Drugs (3:53) 05. Tolly and Gus Meet In Alley / Sandy Tells Cuddles The Truth / Police Station Transition A (1:37) 06. Fowler's Suicide / Gus Kills Mankin's Daughter (2:08) 07. Tolly and Cuddles Make Love (1:47) 08. Smith Arrested / Headline Montage / Police Station Transition B / Gunther Arrives / Double Cross / Gus Kills Gunther (2:20) 09. Cuddles Proposes Marriage To Tolly / Thinking of Cuddles (3:10) 10. Tailing Gela Parts A & B / Seeing Gela With Driscoll / Gus Calls Tolly (1:33) 11. Tolly Beats Gela / Gela's Death (1:58) 12. Marriage Proposal Reconsidered / Tolly Confronts Connors (1:49) 13. Tolly Is Shot / Dying In Cuddles Arms / Finale (3:03) 14. Underworld U.S.A. (1961) Theatrical Trailer (2:26) CROSSROADS TO CRIME (1960 - Barry Gray) 15. Crossroads to Crime Main Title (1:43) 16. Presumed Kidnapping / Copper Hurt (1:01) 17. Lying to the Constable at Home (2:33) 18. Mr. Miles Warns Mrs. Williams and Mr. Diamond (1:24) 19. The Job at the Cafe / Sargeant Discovers Bribe (3:46) 20. Lorry Taken / Ross Plots with Mrs. Williams / Final Job (2:53) 21. We Need the Copper / The Heist (4:44) 22. Shootout With Diamond / End Titles (2:49) 23. Crossroads to Crime (1960) Theatrical Trailer (2:04) Total Time 58:13 Citadel Records, a division of BSX Records, presents THE WESTERN FILM WORLD OF DIMITRI TIOMKIN, which includes music from several Western themed movies from the legendary composer’s rich filmography, including GIANT, RED RIVER, DUEL IN THE SUN, HIGH NOON, NIGHT PASSAGE and RIO BRAVO. THE WESTERN FILM WORLD WORLD OF DIMITRI TIOMKIN was produced by composer Laurie Johnson and Christopher Palmer and included music selected by and original scores adapted by Palmer, performed by the London Studio Symphony Orchestra, including the John McCarthy Singers with baritone Bob Saker. The music was recorded utilizing a Calrec Soundfield Microphone into a Sony 1600 Digital Recorder in London in March 1980. A bonus track is included, the composer’s own suite entitled ‘A President’s Country’, performed by the Royal College Of Music Orchestra,conducted by Sir David Willcocks, recorded in the mid 1980s. Tiomkin assembled the suite himself, including themes from RED RIVER, DUEL IN THE SUN, GIANT, RAWHIDE, HIGH NOON and THE ALAMO and was originally used to underscore a documentary spotlighting the southwest of Texas, the homeland of President Lyndon Johnson and included narration by Gregory Peck. Dimitri Tiomkin was a Russian Jewish composer who emigrated to America and became one of the most distinguished and best-loved music writers in Hollywood. He won a hallowed place in the pantheon of the most successful and productive composers in American film history, earning himself four Oscars and sixteen Academy Awards nominations. Classically trained in Saint Petersburg before the Bolshevik Revolution, he moved to Berlin and then to New York City after the Russian Revolution. In 1929, after the stock market crash, he moved to Hollywood, where he became best known for his scores for Western films, including DUEL IN THE SUN, RED RIVER, HIGH NOON, THE BIG SKY, 55 DAYS AT PEKING, GUNFIGHT AT THE O.K. CORRAL, RIO BRAVO, and LAST TRAIN FROM GUNHILL. Originally released on vinyl in the early 1980s by Unicorn-Kanchana and later an early compact disc in the late 1980s, Citadel Records, a division of BSX Records, is proud to bring these recordings back into the marketplace, under license from Unicorn Records Limited, with the music newly remastered by James Nelson at Digital Outland and retaining the original liner notes written by Christopher Palmer. THE WESTERN FILM WORLD OF DIMITRI TIOMKIN is a limited edition release. THE WESTERN FILM WORLD OF DIMITRI TIOMKIN is expected to begin shipping the week of March 23rd, 2026. 01. Prelude (from "Giant") (2:18) 02. Prelude And Wagon Train (from "Red River") (4:02) 03. Red River Crossing (from "Red River") (2:32) 04. The Challenge And Finale (from "Red River") (3:20) 05. Prelude And Legend (from "Duel In The Sun") (3:06) 06. The Buggy Ride (from "Duel In The Sun") (2:35) 07. Trek To The Sun, Love-Death And Finale (from "Duel In The Sun") (5:03) 08. Main Titles (from "High Noon") (2:56) 09. The Clock And Showdown (from "High Noon") (8:46) 10. End Titles (from "High Noon") (1:11) 11. Follow The River (from "Night Passage") (3:01) 12. De Guella (from "Rio Bravo") (3:35) 13. Love Theme (from "Rio Bravo") (2:31) 14. End Titles (from "Rio Bravo") (1:59) The John McCarthy Singers with Bob Saker, baritone. The London Studio Symphony Orchestra, Leader, Hugh Bean. Conducted by Laurie Johnson BONUS TRACK 15. A President's Country - Suite (11:44) The Royal College of Music Orchestra. David King, Organ. Conducted by Sir David Willcocks Total Time: 58:44 Disc-On-Demand (CDR) Includes Digital Download / Digital Booklet BSX Digital presents music from the original motion picture to the 1984 film SPLASH directed by Ron Howard, starring Tom Hanks, Daryl Hannah, John Candy and Eugene Levy, featuring music composed and conducted by Lee Holdridge (THE BEASTMASTER, OLD GRINGO, THE MISTS OF AVALON). Following the release of the film, the composer produced a rerecording of the score performed by the Royal Philharmonic Orchestra. Also included are three bonus tracks performed by Kira McClelland, Dan Redfeld and the London Symphony Orchestra conducted by Charles Gerhardt. 1. Love Came For Me (Love Theme) (2:37) 2. Madison In Bloomingdale's (1:39) 3. Mermaid On The Beach (2:30) 4. Underwater (2:18) 5. Reflection (1:06) 6. Rainy Night (2:43) 7. Face To Face (1:38) 8. Escape And Chase (2:55) 9. Madison And Allen (3:08) 10. Moonlit Night (2:57) 11. Daydream (0:55) 12. Raid On A Museum (0:41) 13. The Leap To Freedom (3:36) 14. Return Home (1:30) BONUS TRACKS 15. Love Came For Me (Solo Piano) (1:46) Pianist: Dan Redfeld 16. Love Came For Me (Vocal) (3:20) Vocalist: Kira McClelland 17. Love Came For Me (3:32) Performed by the London Symphony Orchestra Conducted by Charles Gerhardt Total Time: 38:43

VÖ 24. Juli „Sony Music“: https://www.amazon.de/Project-Hail-Mary-Astronaut-Score/dp/B0GRSPP73R/ref=mp_s_a_1_1?crid=2A7O0HHTXT97L&dib=eyJ2IjoiMSJ9.N9zBjLT_BnS0CgZEAHbxvlPOQke8t7tpqtcGL3V79h2zjruSXMBiwWbGdhnWRH0J4wWvuCEHpC3CZucnX4AG80OVEK_Xqgpo9Y9aq_5Y3O95OybgBUtCvuWW9visCsmLBxI7-OiKuIOzr8HUBygD4QYwirnsJ1J92cvKv0C0vVJHb9X7oc0RKfr-oQdrF1d-8BDHLMlZgrHi_o2Z3I9IVA.W2GUTGSHvqKSvJdDF5lN49KMFcOyBu8FcIjNX87BnyU&dib_tag=se&keywords=hail+mary+cd&qid=1774106446&sprefix=hail+mary+cd%2Caps%2C171&sr=8-1

Ja, man darf bei ihm immer gespannt sein. Mitte Juli erst? Auch von Mutant?

Mitte Juli erscheint das CD-Album. Keine Ahnung, aber seit mir Daniel Pemberton bekannt wurde, haben mir seine Musiken von Anfang an gefallen. Unter der „neuen Garde“ ist er für mich der Beste.

PROJECT HAIL MARY, Daniel Pemberton

THE KING'S WARDEN, Dalpalan

STARBRIGHT, Ludek Drizhal Der Score kam wohl schon irgendwann letztes Jahr raus, aber der Film anscheinend erst im Februar diesen Jahres. Falls es nicht zählt, bitte ignorieren.

BALANDRAU VIENTO SALVAJE, Arnau Bataller

THE MADISON, Breton Vivian

REALITY CHECK: INSIDE AMERICA'S NEXT TOP MODEL, Jasha Klebe, Benny Reiner & Empara Mi

Neues eingestellt.....

Von Mutant auch Deluxe auf Vinyl: https://madebymutant.com/products/project-hail-mary-the-complete-amazon-mgm-studios-soundtrack?mc_cid=6e5e44d825&mc_eid=2316dd8438

Gelungen!

Jup, und es liegt auch an der modernistischen Schule, die Beltrami durchlaufen hat und Tyler nicht. Dadurch lernen Komponisten einfach von Grund auf, wie sie hocheffektiv mit Klangfarben, mit Effekten, aber auch mit Stille umgehen. Die akademischen Techniken des 20. Jahrhunderts bieten halt den Pool, aus dem gute Horrorfilmmusik alles zieht, was sie braucht.

Young Sherlock - Chris Benstead Auch wieder eine Musik, wie man sie erwartet. Klingt gerne so als hätte man eine Schreibmaschine als Instrument benutzt. Nett, aber irgendwie auch 0815 Ansatz für die Thematik. Hab ich schon zu oft gehört seit Zimmers und Arnolds Arbeiten.

Am Ehesten lohnt doch der Vergleich zwischen Tylers Werken und Beltramis in der Scream Reihe. Für den 0815 Zuschauer mag da erstmal kaum ein Unterschied auffallen. Ähnlich sind die Scores ja, auch was Themen angeht. Aber Tylers Scores haben weit weniger Wumms und gekonnten Horror, und das Spotting/Ansatz an Szenen ist auch einfach nicht gleich gut. Gerade Scream 6 ist nervtötend laut und wild, in Szenen in denen das einfach zuviel ist. Ging mir in Scream 4 an ein paar Stellen allerdings auch so, was an den Music Cuts und Sample-Notlösungen gelegen haben mag (im dritten Intro zb). Tyler fehlt halt irgendwie die Erfahrung oder die Lust solche Filme zu scoren, während Beltrami, obwohl er Horrorfilme gar nicht mag, einfach gerne solche Musik schreibt.

Alles wech.....

Auch wenn ich Goldsmiths POTA nicht oft höre, gefällt er mir außerordentlich gut. Das trifft auch auf Elfmans Score zu. Bei solchen Scores kann ich super auf der Couch entspannen und abends einschlafen.

Göransson wurde aber ebenfalls von seinen Kollegen für den Oscar nominiert. Muss ja seine Gründe haben, weshalb beide unterschiedliche Scores von der Fachjury nominiert wurden. Und ob die Fachjury am Ende anders entschieden hätte als die Academy wissen wir nicht. Wie RealNeo schon sagte, Greenwoods Leistung wird je nicht geschmälert, sie wurde halt nur nicht mit einem Preis belohnt. Ich habe mir jetzt mal beide Filme bestellt. Bin schon gespannt. Auch auf die Musik und ihre Wirkung.

Und ich bleibe dabei, daß ich da in den meisten Fällen nix mit anfangen kann. Ich habe mehrere Versuche gestartet, OBAA etwas abzugewinnen; aber Fehlanzeige BTW: Bei Sinners ist es ähnlich - da hat mich eigentlich nur "Thy Kingdom come" angesprochen - wahrscheinlich wegen des Chores...haha (Und Goldsmith's POTA war auch schon lange nicht mehr in der Playlist 😉

Es ist die Konsens-Entscheidung einer größeren Gruppe (Academy). Da kann man anderer Meinung sein, klar, aber akzeptieren kann man die Entscheidung ja trotzdem und das es für manchen mit SINNERS trotzdem vielleicht der "richtige" Score bzw. mit Göransson der richtige Komponist. Das schmälert ja nicht Greenwoods Leistung.

Er ist von 2026, also sollte das passen.

DIE DREI FRAGEZEICHEN: TOTENINSEL, David Reichelt Einfach weil ich die aktuellen Verfilmungen mag und mir David Reichelts Musik dazu sehr gut gefällt. @Sebastian Schwittay: Der Film wurde jedoch bereits am 22.01.26 veröffentlicht. Wann genau der Score veröffentlicht wurde konnte ich auf die Schnelle nicht herausfinden. Falls dies den Nominierungsriegeln wiederspricht, ziehe ich die Nominierung natürlich zurück

Bislang hat jedenfalls niemand nachvollziehbar erläutert, warum ONE BATTLE AFTER ANOTHER im Film nicht wirken sollte. Greenwood wurde von seinen Kollegen (!) für den Oscar nominiert, die werden es am besten wissen, also funktioniert der Score im Film. Prove me (us) wrong, oder es gibt überhaupt keine Diskussion. (Und ich werde weiterhin dabei bleiben, dass es einfach das alte "Neutöner-Problem" ist, d.h. dass die Leute Schwierigkeiten mit Atonalität und modernistischen Idiomen haben. PLANET OF THE APES würden sich die allermeisten Fans auch niemals anhören, wenn nicht der Name Goldsmith drauf stünde.)