Alexander Grodzinski

Das ist auch immer so ein bisschen der Blick durch die rosarote Brille der Filmmusik-Fans. Dabei wird völlig ignoriert, dass sich die Filmmusik in den letzten 20, 30 Jahren stark verändert hat. Und dass sich auch die Komponisten teilweise entsprechend angepasst haben. Ich erinnere mich da an die Fortsetzung von INDEPENDENCE DAY, wo es hieß, dass Emmerich doch wieder David Arnold hätte nehmen können. Natürlich in der Hoffnung, dass auch nur annährend sowas wie sein Score zum ersten Film dabei rauskommt. Auch da wurde völlig ignoriert, dass Filmmusik schon lange nicht mehr so wie 1996 geschrieben wird. Selbst David Arnold schreibt nicht mehr so wie 1996. Dann wäre die Enttäuschung wohl noch größer gewesen, aber es war nicht nur erwartbar, sondern eigentlich völlig klar, dass die Musik nicht mehr so wie vor 30 Jahren sein wird. Und das könnte nun auch hier bei JNH und Shyamalan passieren. Alles unter der Qualität von SIGNS, UNBREAKABLE oder THE HAPPENING wäre bei der Erwartungshaltung schon schlecht. Aber auch hier: Wann hat JNH zuletzt sowas in der Art noch geschrieben?

Das war seine andere Tochter. Saleka Night Shyamalan singt und spielt in TRAP, Ishana Shyamalan führte Regie und schrieb das Drehbuch bei THE WATCHERS. Aber auch hier sieht man, dass Shyamalan doch gerne auf interessante Komponisten setzt. Bei dem von ihm produzierten und geschriebenen (aber ebenfalls nicht selbst inszenierten) DEVIL durfte Fernando Velázquez ran. Auf der einen Seite ist es ja nicht verkehrt, dass er nach JNH auf junge Komponisten für seine Filme gesetzt hat. Auf der anderen Seite ist es schade, dass dabei dann so gesichtslose und als Hörerlebnis eher uninteressante Scores dabei rausgekommen sind. Daher bin ich auf die erneute Zusammenarbeit mit JNH auch gespannt. Im schlimmsten Fall passt sich JNH an die Musiken von Shyamalans letzten Filmen an.

JNH war dann einfach zu teuer Außerdem gab es scheinbar Reibereien zwischen den beiden bei AFTER EARTH, nachdem JNH wohl große Teile seines Scores neu- oder umschreiben musste. Nachdem Shyamalan mit THE LAST AIRBENDER und AFTER EARTH zwei veritable Flops hingelegt hatte, war man bei den Studios wohl vorsichtig geworden, ihm nochmal so viel Geld für einen Film zu geben. THE VISIT finanzierte Shyamalan dann selbst mit dem Geld, das er für AFTER EARTH bekommen hattte. Der Film kostete um die fünf Millionen Dollar und Shyamalan tat sich ja auch mit Jason Blum von Blumhouse zusammen. Der hat sein Geschäftsmodell ja auf günstig produzierten Horrorfilmen aufgebaut, die an den Kinokassen aber große Erfolge waren (INSIDIOUS oder THE CONJURING). THE VISIT ist außerdem ein Found-Footage-Film und hat gar keinen Score. Und so produzierte Shyamalan dann wesentlich günstigere Filme wie SPLIT oder GLASS, die aber kommerziell wieder erfolgreich waren. Aber bei den geringeren Budgets war wohl kein Geld für einen Orchesterscore übrig. Zum Vergleich: SIGNS hatte ein Budget von über 70 Millionen Dollar. Für das gleiche Geld hat Shyamalan dann THE VISIT, SPLIT, GLASS, OLD und KNOCK AT THE CABIN gedreht. Jeder dieser Filme kostete zwischen fünf und 20 Millionen Dollar.

THE HAPPENING ist ja eigentlich eine verkannte Satire. Shyamalan spielt hier auch deutlich mit den Erwartungen des Publikums beziehungsweise diesem Korsett, welches ihm die Studios auferlegt haben. Ein Shyamalan-Film muss immer Mystery sein und muss immer zwingend einen Twist am Ende haben, der alles auf den Kopf stellt. Bei THE HAPPENING torpediert Shyamalan das ja selbst, indem eine seiner Figuren bereits im ersten Drittel den Twist verrät. Als wolle Shyamalan sagen, dass es nicht um den Twist geht, sondern um die Geschichte. Die Inszenierung wirkt fast schon dokumentarisch und in Verbindung mit der Musik erzeugt er eine Stimmung, die 70er-Jahre-Katastrophenfilmen nicht unähnlich ist. Damit meine ich jetzt keine großen Effekt-Spektakel, sondern eher Filme wie THE CRAZIES (1973), dem THE HAPPENING auch thematisch nahe ist. Shyamalan baut zunächst durchaus eine unheimliche und verstörende Atmosphäre auf: Die Anfangsszene im Central Park, die Art, wie die Menschen sich von den Dächern stürzen, die Ungewissheit, was vor sich geht. In Verbindung mit JNHs Musik finde ich das schon ein sehr gelungenes Setup. Danach wird der Film allerdings eher eine groteske Satire. Das zeigt sich in den teils bescheuerten Dialogen, den überzeichneten Figuren oder eben dem chargierenden Spiel eigentlich aller Beteiligten. THE HAPPENING war Shyamalans erster Film nach seinem Karriereknick mit LADY IN THE WATER. Vorher steigerten sich seine Filme von Mal zu Mal, was das Einspielergebnis betrifft. Mit LADY IN THE WATER brach er dann auch an den Kinokassen ein. Ich finde den Film allerdings auch sehr prätentiös und selbstverliebt. Neben THE LAST AIRBENDER und AFTER EARTH ist LADY IN THE WATER für mich auch einer seiner schlechtesten Filme. TRAP ist nicht weit davon entfernt. Der Film wirkte eher wie ein Werbeprojekt für seine Tochter, die nicht nur einige Songs performen darf, sondern am Ende auch noch die Heldin der Geschichte wird.

Laut MV sind einige Titel immer noch in der Abnahmephase. Auf Facebook schrieb er dazu: „Then, on November 3 2026, we have 4 new titles dropping. After that...who knows? Maybe Black Friday...maybe not. Maybe, just maybe, Bond...maybe not. Yeah, and maybe I'm a Chinese Jet Pilot."

Es ist eben Williams. Da gibt es sicherlich eine Fanbase, die alles kauft, was da von ihm expandiert veröffentlicht wird. Und es ist ein Spielberg-Film, das kommt für viele noch dazu. Aber ja, gefühlt sind diese Expandierungen, die die Musik nur um ein paar Minuten erweitern, nur für die knallharten Sammler gedacht. Und ein dickes Booklet gibt es ja auch noch dazu. Aber ob das noch so viele Allessammler sind? Eine Limitierung auf 3.000 Exemplare ist schon eine Ansage für so einen Titel. Vielleicht war der Titel auch relativ günstig zu machen und weil es Williams ist, rechnet LLL eben schon mal von vornherein mit so und so viel verkauften Exemplaren. Der Williams finanziert den Waxman sozusagen. Williams läuft bei LLL ja eigentlich immer gut. Einige ihrer letzten Expandierungen von Williams, MINORITY REPORT, ALWAYS, SABRINA, SCHINDLER'S LIST, AMISTAD, werden auf ihrer Seite mittlerweile als „Ausverkauft" gelistet. Und das waren teilweise sogar 4.000er und 5.000er Auflagen. Wer hätte gedacht, dass sich eine Doppel-CD von SABRINA in einer 3.000er Auflage ausverkauft? Wobei natürlich die Frage ist, ob tatsächlich alle Exemplare gepresst und verkauft wurden oder ob bei einer 5.000er Auflage nach 2.000 CDs Schluss war, weil die Lizenz abgelaufen ist. Ich kann mich erinnern, dass LLL beispielsweise auf ROSEWOOD wohl ziemlich sitzen geblieben ist. Der tauchte zumindest ein- oder zweimal in ihren Sales auf.

LLLCD 1694 Music Composed and Conducted By John Williams Limited edition of 3000 units La-La Land Records, Paramount Pictures, DreamWorks Pictures, Amblin Entertainment and Decca Records present an expanded and remastered limited edition CD reissue of Academy Award-Winning composer John Williams’ original motion picture score to the 2004 big-screen comedy/drama THE TERMINAL, starring Tom Hanks and Catherine Zeta-Jones, and directed by Steven Spielberg. Renowned composer John Williams’ (JAWS, SCHINDLER’S LIST, DISCLOSURE DAY) collaborations with Steven Spielberg have resulted in decades of legendary film scores and THE TERMINAL, a jazz-infused wonder chronicling the heartwarming and thoughtful tale of Eastern European, Viktor Navorski, who undergoes the American Immigrant experience while stranded for months at JFK airport, is no exception. Joy, drama, love and heartbreak abound as the Maestro once again puts nothing less than the human experience to music in beautiful thematic fashion. Expanded and remastered, with 14 minutes of previously unreleased material, this deluxe CD presentation allows the score to shine in its brilliance. Produced, edited and mastered by Mike Matessino, and approved by the composer, this limited-edition re-issue of 3000 units features the Expanded Score Presentation in chronological order, as well as a selection of Additional Music tracks. The exclusive, in-depth liner notes are by writer John Takis and the sharp art design is by Jim Titus. This release marks La-La Land’s fourteenth Spielberg/Williams collaborative soundtrack title! TRACK LISTING: SCORE PRESENTATION 1. Krakozhia National Anthem :51 2. War In Krakozhia * 3:50 3. Introducing Viktor * 1:06 4. Refusing To Escape 3:05 5. Finding Coins 2:41 6. Learning To Read ** 1:40 7. A Stallion 4:25 8. Viktor To Dixon’s Office * :47 9. Looking For Work 3:20 10. Napoleon And A Lunch Offer ** 1:56 11. Medicine For Goat * 1:08 12. A Legend Is Born / Viktor Buys Clothes ** 3:32 13. Dinner With Amelia 8:07 14. Engagement And Wedding ** 2:53 15. The Fountain Scene 5:37 16. The Old Boyfriend * 1:10 17. Gupta And The Plane ** 1:28 18. Viktor And His Friends 4:47 19. Jazz Autographs 3:49 20. Destiny 1:38 21. The Tale Of Viktor Navorski 4:14 22. End Credits (“The Terminal”) 1:35 Total Score Time: 63:38 ADDITIONAL MUSIC 23. Dinner With Amelia (Alternate Segment) ** 2:40 24. The Old Boyfriend (Alternate) * 1:11 25. Viktor And His Friends (Film Version) ** 4:49 26. The Fountain Scene (Film Version) ** 5:42 Total Additional Music: 14:25 Total Album Time: 78:04 * Previously unreleased ** Contains previously unreleased material

Music by Franz Waxman Limited edition of 1000 units La-La Land Records and Paramount Pictures present a 75th Anniversary remastered and expanded limited edition CD re-issue of legendary composer Franz Waxman’s Academy Award-winning original motion picture score to the 1951 big-screen drama A PLACE IN THE SUN, starring Montgomery Clift, Elizabeth Taylor and Shelley Winters and directed by George Stevens. Renowned composer Franz Waxman (SORRY, WRONG NUMBER, THE FURIES, SUNSET BOULEVARD) unleashes a magnificent score that powers this classic and tragic story of a man irreversibly corrupted in his struggle to trade his working-class existence for one among the wealthy elite, complicated further by his relationships with two women, one from each of his separate worlds. Anchored by its towering love theme, Waxman’s orchestral score surges with emotion, weaving the romantic and the optimistic while countering with the sinister and tragic. Marking the 75th anniversary of the film and its score, La-La Land has been able to expand the previously existing soundtrack presentation with newly restored material, including music salvaged from a lacquer disc housed in the Waxman Collection at Syracuse University. The label then worked in consultation with the composer’s son, John Waxman, to create an assembly that showcases the original vision for the score to the fullest extent possible, with dramatically improved sound quality. Listeners can now hear Waxman’s musical vision with unprecedented clarity and impact. Produced by Dan Goldwasser, restored by Chris Malone, and mastered by Doug Schwartz, this limited edition CD of 1000 units features The Franz Waxman Score tracks, along with additional music and source music. The exclusive, in-depth liner notes are by writer John Takis, and the sharp art design by Dan Goldwasser includes rare behind-the-scenes images. TRACK LISTING: THE FRANZ WAXMAN SCORE 1. Prelude And First Scene (Stem Restoration) 2:50 2. The First Mile 3:00 3. Dance And Angela 3:15 4. Not Married (Stem Restoration) 1:28 5. Evil Plans 3:29 6. Loon Lake – Part 1 (Stem Restoration) 2:40 7. Loon Lake – Part 2 2:03 8. Buildup To Murder 3:22 9. The Drowning – Part 1 3:14 10. The Drowning – Part 2 3:13 11. Despair – Part 2 (Stem Restoration) 0:58 12. Exhaustion (Stem Restoration) 1:06 13. Farewell And Frenzy (Stem Restoration) 3:05 14. Angela Collapses 1:15 15. Witness Montage 1:44 16. The Last Mile (Finale Soft Ending) 1:47 TOTAL WAXMAN SCORE TIME: 38:29 ADDITIONAL MUSIC 17. Theme From A Place In The Sun 3:57 18. The President’s Office (Stem Restoration) 0:35 19. Love’s Meeting 2:16 20. Dance And Angela (Rescored Version) 3:07 21. Dance And Angela (Alternate Version) 3:07 22. Ophelia (Stem Restoration) 2:11 23. To The Lake 1:43 24. Farewell And Frenzy (Rescored Version) 2:15 25. Anguish (Stem Restoration) 0:29 26. Finale (Rescored Version) 0:49 TOTAL ADDITIONAL MUSIC TIME: 20:29 SOURCE MUSIC 27. Movie End Title / Paramount On Parade 0:26 28. Rhumba (Unused) 2:07 29. Out Of Nowhere (Rhumba) 2:34 30. Alice’s Radio 1:16 31. Why Fight The Feeling? (Stem Restoration) 0:56 32. Girl’s School – Alma Mater 1:05 TOTAL SOURCE MUSIC TIME: 8:24 TOTAL ALBUM TIME: 67:22

Music by Jared Michael Fry Limited edition of 2000 units ORDER NOW and get your CD booklet autographed by composer Jared Michael Fry at no additional charge. Autographs are available only while supplies last and are NOT guaranteed. La-La Land Records, Paramount Pictures, Lakeshore Records and Cutting Edge Group present a limited edition CD release of acclaimed composer Jared Michael Fry’s original motion picture score to the big-screen survival drama HEART OF THE BEAST, starring Brad Pitt and J.K. Simmons, and directed by David Ayer. Composer Jared Michael Fry (THE BEEKEEPER, A WORKING MAN) unleashes a bold orchestral score that expertly drives the action while mining the emotional core of this remarkable tale of a military veteran and his dog pitted against the wild in all its majesty and peril. Majestic and wondrous, dangerous and suspenseful, yet also joyful and uplifting, Fry’s powerhouse score is as emotionally resonant as it is thrilling. Produced by Brian McNelis, Tara Finegan and Philip Moross, and mastered by Reuben Cohen, this limited edition CD release of 2000 units features art direction by Dan Goldwasser and includes a note from the composer. TRACK LISTING: 1. Ella 2:03 2. Two Weeks Earlier 4:19 3. Just A Bad Dream 0:58 4. Ak’a Tamaani 2:48 5. A Storm Is Coming 9:09 6. Saving Odin (Edited Version) 7:00 7. Losing Daylight 2:09 8. Fifty-Eight Miles 4:24 9. Ayagluni (The Journey) 2:33 10. Walking The Broken Spine 2:08 11. The River 5:35 12. Against The Current 5:27 13. We’re Being Stalked 3:07 14. Blood And Water 6:40 15. Final Ascent 3:19 16. The Final Mission 2:08 17. Because You Gave Everything 2:49 18. The Letter 3:53 19. Heart Of The Beast 3:44 20. From Here, Forward 3:00 TOTAL ALBUM TIME: 77:17

Music by Joe Kraemer Limited edition of 2000 units ORDER NOW and get your CD booklet autographed by composer Joe Kraemer at no additional charge. Autographs are available only while supplies last and are NOT guaranteed. La-La Land Records presents a limited-edition CD release of acclaimed composer Joe Kraemer’s (THE WAY OF THE GUN, JACK REACHER, MISSION: IMPOSSIBLE ROGUE NATION) original motion picture score to big-screen theatrical event, THE SIXTY-YEAR MISSION: HOW STAR TREK CHANGED TELEVISION AND THE WORLD, written and directed by Mark A. Altman (Pandora, Free Enterprise) and Executive Produced by William Shatner. THE SIXTY-YEAR MISSION charts the original STAR TREK’s remarkable voyage of a cultural phenomenon that transformed popular culture and the world at large. Through rare archival material and intimate conversations with the people who shaped its universe, including all three living members of the original cast; William Shatner, George Takei and Walter Koenig, this critically acclaimed film explores how Star Trek challenged the conventions of television—and gave millions of viewers a new vocabulary for talking about humanity, technology, and what comes next. Composer Joe Kraemer unleashes an all-new musical universe worthy of this comprehensive, emotional and historical voyage, expertly paying thoughtful homage to the franchise’s classic past while teeming with original thematic material that soars with hope, drama and wonder. Produced by Joe Kraemer and mastered by Doug Schwartz, this limited-edition CD release of 2000 units includes brief notes from the composer and director, with art direction by Dan Goldwasser. TRACK LISTING: 1. Main Title 2:10 2. Vision of the Future 2:13 3. A Wagon Train to the Stars 1:53 4. To Serve and Protect 2:00 5. That’s Showbiz… 1:54 6. Writing for Television 2:07 7. The Swinging Sixties 2:26 8. Sky Force 1:55 9. No War 4:29 10. To Boldy Go 3:29 11. A Modern Myth 2:05 12. Triumph and Turmoil 2:10 13. A Commander’s Duty 2:23 14. An Imperfect World 3:42 15. A Second Chance 2:58 16. Vietnam and the Nuclear Age 3:29 17. Casting 2:14 18. Captain and Cassanova 2:43 19. The Great Bird 2:28 20. Thematic Menagerie 3:04 21. Live Long 1:58 22. Finale 4:40 23. End Credits 1:32 TOTAL ALBUM TIME: 60:45

Es gibt eine Doku über die Scores zu HALLOWEEN (1978) und HALLOWEEN (2018). Die komplette Doku kann man hier sehen, allerdings nicht kostenlos.

Quartet Records, in collaboration with GDM and EMI Music Publishing, proudly presents a remastered 50th-anniversary edition of Ennio Morricone’s magnificent score for NOVECENTO, Bernardo Bertolucci’s monumental 1976 historical epic, starring Robert De Niro, Gérard Depardieu, Dominique Sanda, Donald Sutherland and Burt Lancaster. NOVECENTO chronicles half a century of Italian history through the intertwined lives of two men born on the same day but into opposing social classes. Against a sweeping backdrop of political upheaval, class struggle and the rise of fascism, Bertolucci creates an unforgettable portrait of friendship, betrayal and the changing face of twentieth-century Italy. Morricone’s extraordinary score is one of the most accomplished and deeply moving works of his career. Richly symphonic, intensely lyrical and profoundly evocative, the music perfectly captures the epic scale and emotional complexity of Bertolucci’s vision. From the unforgettable main theme to the delicate, nostalgic melodies and powerful dramatic passages, Morricone weaves a magnificent musical tapestry that reflects both the intimacy of the characters’ lives and the grandeur of the historical events surrounding them. For this special 50th-anniversary release, the original soundtrack album has been entirely restored and remastered by Chris Malone, bringing renewed clarity, warmth and detail to Morricone’s beautiful orchestral writing. The 20-page lavishly designed package includes detailed liner notes by film music writer Miguel Ángel Ordóñez. Romanzo 4:05 Estate – 1908 5:01 Autunno – 1922 4:43 Regalo di Nozze 2:45 Testamento 2:25 La polenta 1:07 Il Primo Sciopero 2:48 Padre e Figlia 1:27 Tema di Ada 4:50 Apertura della Caccia 5:44 Verdi e’ Morto 2:30 Nuovi Crociati 3:32 Il Quarto Stato 1:33 Inverno – 1935 2:45 Primavera – 1945 2:06 Olmo e Alfredo 2:18 Total Disc Time: 50:59 Quartet Records, in collaboration with MoviScore Media, presents a limited-edition CD featuring two exciting sci-fi action and horror scores by Christopher L. Stone: GALAXIS (1995) and DNA (1996), both directed by William Mesa. GALAXIS, starring Brigitte Nielsen, Richard Moll and Cindy Morgan, is a science fiction adventure about a sacred crystal believed to be the source of all life, and a warrior who travels to Earth to prevent it from falling into evil hands. DNA, starring Jürgen Prochnow, Mark Dacascos and Robin McKee, follows a terrifying genetic experiment that brings a deadly jungle creature to life. Both films offered Stone the opportunity to unleash his energetic, rhythmically driven orchestral writing, combining relentless action, suspense and spectacular musical set pieces. Working with relatively small orchestras, the composer achieved remarkable clarity and precision in the intricate, lightning-fast passages that characterize his exciting action music. Stone particularly enjoyed the creative freedom afforded by these projects, recalling: “I love fast cars and fast music. It’s all Rock ‘ n’ Roll!” Christopher L. Stone is an accomplished composer for film, television and video games whose credits include PHANTASM II, TICKS, TREASURE ISLAND, THE STUPIDS, WALKER: TEXAS RANGER and TALESPIN, as well as the groundbreaking orchestral score for the video game DRAGON’S LAIR. Bringing together two entertaining examples of mid-1990s genre film scoring, GALAXIS / DNA is a thrilling showcase of Stone’s exuberant orchestral style, now available together on one limited-edition CD. GALAXIS 1 Main Title from Galaxis 2:33 2 Gylon Captures the Crystal 3:03 3 Plotting Galactic Salvation 2:39 4 The Evil of Gylon 2:06 5 Trouble Arrives on Earth 2:17 6 Ladera Arrives to Ssave Earth 3:30 7 Fight Against Evil 2:22 8 Bad Street 2:56 9 Ladera Fights Gylon 2:26 10 More Than They Bargained For 3:30 11 The Final Battle 7:27 12 End Title 2:04 DNA 13 Main Title from DNA 1:41 14 Down the Amazon Into Danger 1:28 15 The Alien Stalks 0:51 16 The Curse 2:27 17 Hunting the Alien 4:14 18 Secret of the Amazon 7:03 19 It’s Out There! 3:00 20 Fighting For Their Lives 0:55 21 On the Hunt Down the Mysterious Amazon 6:29 22 Boy Becomes a Man and Final Battle 7:25 23 The Battle is Finally Won 2:32 Total Disc Time: 75:07 Digital von BSX: BSX DIGITAL presents a premiere release of music written by the great Gerald Fried (STAR TREK, THE MAN FROM U.NC.L.E., ROOTS), a jazz/baroque cantata composed at the height of his composing career in 1966. At a time when he was at his most prolific, he began putting increasing energy into his own creative work, which would include this cantata and other concert works based on themes he had written for popular television shows. OMNIA AD DEI GLORIAM, also known as LES THE LEAST STRAIGHTENS THE LORD brings the legend of the wise fool to life as never before in the form of a jazzy comic oratorio originally conceived for the Los Angeles Music Festival in 1966. OMNIA AD DEI GLORIAM follows Les the Least, considered the least of the lesser angels, who can’t seem to do anything properly, not even the simple heavenly task of greasing the Lord’s lightning bolts. But when the Lord gets fed up with humanity and turns Earth over to Satan, it’s up to Les to save the day. Horrified, Les goes down to earth to prove to the Lord that there truly is value down there. Of course, he totally messes up but somehow his innocence gets the better of Satan and he earns the respect of the Lord. Structured like Bach's perennial favorite, the St. Matthew Passion, OMNIA AD DEI GLORIAM is a comic, musically inventive alternative to the traditional holiday oratorio repertoire. 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. BSX Digital presents the premiere release of OMNIA AD DEI GLORIAM, featuring music and text by Gerald Fried. The music has been mastered by James Nelson at Digital Outland. Part One: Heaven and Earth / Part Two: The Cafe Total time: 59:21 Special Note: This release features the original LP and CD mixes of these recordings. These differ from the remixes released by Quartet Records in 2025. For those interested in the remixed edition, please visit Quartet Records. BSX DIGITAL presents ORSON WELLES AT THE MOVIES: THE FILM MUSIC OF BERNARD HERRMANN, featuring music written by legendary composer Bernard Herrmann for the first two feature films of the equally legendary director, Orson Welles, performed by the Australian Philharmonic Orchestra, conducted by Tony Bremner. Orson Welles and Bernard Herrmann shared a legendary creative partnership that revolutionized radio and film sound design. Herrmann and Orson Welles collaborated on several very famous radio broadcasts, including THE WAR OF THE WORLDS and series such THE MERCURY THEATRE ON THE AIR. Welles brought Herrmann to Hollywood to score CITIZEN KANE, his debut feature film, and they collaborated again on THE MAGNIFICENT AMBERSONS, although much of Herrmann’s music was not used because of the extensive re-editing done on the film by RKO. 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 Symphony Orchestra. 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, 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. These recordings performed by the Australian Philharmonic Orchestra, conducted by Tony Bremner and produced by John Steven Lasher originally debuted on compact disc in the early 1990s on Preamble Records. BSX Digital brings CITIZEN KANE and THE MAGNIFICENT AMBERSONS together for ORSON WELLES AT THE MOVIES: THE FILM MUSIC OF BERNARD HERRMANN, featuring music composed by Bernard Herrmann. These recordings have been newly mastered by James Nelson at Digital Outland and reprise original liner notes written by Tony Bremner, John Steven Lasher and Christopher Husted for the respective recordings. CITIZEN KANE 01. Prelude (2:20) 02. Susan In Night Club (Rain Sequence) (0:53) 03. Thatcher Library (Litany) (3:23) 04. Galop (0:58) 05. Dissolve To Thatcher / Second Ms. / Bernstein's Narration (1:41) 06. Kane’s News Office / Carter's Exit / Chronicle Scherzo (2:58) 07. Bernstein's Presto (0:40) 08. Kane’s Return / Valse Presentation (1:40) 09. Sunset Narrative (2:19) 10. Theme And Variations (Breakfast Montage) (3:20) 11. Kane Meets Susan / Susan’s Room / Mother Memory (3:04) 12. The Trip To Susan’s / Getty’s Departure / Kane Marries (2:09) 13. Salaambo's Aria (4:23) Rosamund llling, Soprano 14. Leland’s Dismissal (0:58) 15. Susan In Night Club (New Dawn Sequence) (0:52) 16. Opera Montage (0:47) Rosamund llling, Soprano 17. Xanadu / Jigsaw Puzzles (Perpetual Motion) / Second Xanadu (3:50) 18. Kane’s Picnic / Susan Leaves (1:59) 19. El Rancho (Second Dawn Sequence) (0:38) 20. The Glass Ball (1:23) 21. Finale (2:26) 22. Opera Montage Etendu (1:28) Rosamund llling, Soprano THE MAGNIFICENT AMBERSONS 23 Theme And Variations / George’s Homecoming (7:13) 24. Snow Ride (3:01) 25. The Door / Death And Youth (0:51) 26. Tocatta (1:07) 27. Pleasure Trip (1:01) 28. Prelude (1:25) 29. First Nocturne (4:04) 30. Garden Scene (1:10) 31. Fantasia (2:06) 32. Scene Pathetique (2:16) 33. Waiting 1 And 2 (1:27) 34. Ostinato (1:48) 35. First Letter Scene (3:22) 36. Second Letter Scene / Romanza (2:08) 37. Second Nocturne (3:18) 38. Departure / Isabel’s Death (1:44) 39. First And Second Reverie (2:35) 40. The Walk Home (2:46) 41. Garden Music (2:56) 42. Elegy (1:19) 43. End Title (2:21) Total Time: 95:52

Snow Files of the Week: "Jack O' Lantern/Battery/790 Days" aus "MillenniuM", Episode "The Curse of Frank Black" (1997). Was wäre Halloween ohne "The Curse of Frank Black"? Diese sehr beliebte Folge unter "MillenniuM"-Fans hat alles, was man für diese Nacht braucht: Seltsame Ereignisse, Dämonen, schwarze Katzen, Hexen, Geister und eine insgesamt düstere und unheimliche Atmosphäre. Mark verstärkt diese noch mit seiner düsteren und spukigen Musik. Am Ende der Episode baut Mark sogar ein klassisches Stück in seine Musik ein, die "Sarabande" von Georg Friedrich Händel. Die Musik wurde auf dem ersten Volume von LLL veröffentlicht, welches ausverkauft war und 2015 neu aufgelegt wurde. Auch die Zweitauflage ist mittlerweile ausverkauft. Happy Halloween!

Zum bevorstehenden 30. Geburtstag von MillenniuM. Snow Files of the Week: "Big Yellow House/Exterminated" aus "MillenniuM", Episode "Pilot" (1996). Als die X-Akten in die vierte Staffel gingen, startete Chris Carters zweite Serie "MillenniuM". Die erste Folge erreichte die höchste Einschaltquote, die der Sender FOX je bei einer Pilot-Folge einer Serie verzeichnen konnte. Die Folge wurde sogar in ausgewählten Kinos gezeigt. Das Zuhause der Familie Black, das große gelbe Haus, ist ein Ort der Sicherheit für Frank Black. Hier kann er seiner Familie ein normales Leben bieten, abgeschirmt von der düsteren Welt da draußen, zumindest glaubt er das. Wenn man die Serie genau verfolgt, wird man feststellen, dass alle Szenen, die in oder um das gelbe Haus herum spielen, einen goldenen Schimmer haben, während der Rest in der "echten" Welt eher in ausgewaschene, düstere Farben getaucht ist. Mark benutzt eine Variation des Hauptthemas, um die Einführung des gelben Hauses zu untermalen. Seine sanften Streicher, kombiniert mit der Solo-Violine, erzeugen einen Ort des Friedens, aber spiegeln auch die Schrecken, die außerhalb warten, wieder. Die Stücke stammen vom ersten Set von LLL. Dieses wurde 2008 veröffentlicht und war zwei Jahre später ausverkauft. 2015 veröffentlichte LLL das Set noch einmal, limitiert auf 1.000 Stück. Viel Spaß beim Hören!

Music by Lorne Balfe Limited edition of 1000 units ORDER NOW and get your CD booklet autographed by composer Lorne Balfe at no additional charge. Autographs are available only while supplies last and are NOT guaranteed. La-La Land Records and Paramount Pictures present an expanded and remastered 2-CD set of acclaimed composer Lorne Balfe’s (MISSION: IMPOSSIBLE FALLOUT, BEVERLY HILLS COP AXEL F), original motion picture score to the 2015 sci-fi/action thriller TERMINATOR GENISYS, starring Arnold Schwarzenegger, Jason Clarke and Emilia Clarke, and directed by Alan Taylor. The anticipated fifth installment of the famed TERMINATOR franchise called for a powerhouse score and composer Lorne Balfe charges forward with an expert, propulsive mix of electronics and orchestra, paying homage to Brad Fiedel’s original themes where it counts, while bringing in all-new thematic material that is notably emotional and optimistic. This expanded, remastered presentation allows Balfe’s work to shine in full, showcasing the composer’s versatility and unique voice. Produced by Stéphane Humez and mastered by Maxime Marion, this special CD release, limited to 1000 units, features the film score presentation over Two Discs, with an additional selection of “Suites and Themes” on the Second Disc. The exclusive, in-depth liner notes by writer Kaya Savas, with new comments from the composer. The art design is by Dan Goldwasser, featuring a reversible front cover. TRACK LISTING: DISC 1 SCORE PRESENTATION 1. Better Days* 3:06 2. Meet John Connor 4:02 3. Work Camp 3:38 4. I Volunteer* 2:06 5. Reese Going Back 3:50 6. Griffith Park* 2:56 7. Alley Confrontation (Extended Version) 3:52 8. Meet Sarah Connor & Pops* 1:40 9. T-1000 On The Prowl* 3:59 10. Still After Us (Extended Version) 5:08 11. 1997 Or 2017* 3:53 12. Alcove 2:18 13. Sarah & Reese Into TDD 2:04 14. Sarah’s Story 2:58 15. Time Travelers 1:23 16. John & Guardian Show Up 2:13 17. It’s Really Me* 2:37 18. Family (Extended Version) 2:22 19. I Am More (Extended Version) 4:29 TOTAL DISC ONE TIME 58:32 DISC 2 SCORE PRESENTATION CONTINUED 1. Cyberdyne 3:41 2. If You Love Me You Die (Extended Version) 6:31 3. Bus Ride (Extended Version) 4:03 4. Interrogation 2:03 5. Judgment Day (Extended Version)* 3:28 6. Cyberdyne Lobby 1:52 7. Come With Me 3:43 8. Fight (Extended Version) 3:29 9. Sacrifice (Extended Version)* 4:25 10. What If I Can’t? (Extended Version) 4:36 11. Terminated* 2:00 12. System Online 0:48 SUITES AND THEMES 13. John Connor 2:56 14. Sarah & Kyle 4:36 15. Guardianship 3:26 16. Sarah Kicks Ass 1:54 17. Fate And Hope 3:57 TOTAL DISC TWO TIME 57:29 TOTAL ALBUM TIME 116:04 * Contains an Interpolation of “The Terminator Theme” (From the Motion Picture The Terminator) Written by Brad Fiedel.