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horner1980

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  1. Bei mir neu auf Platte und auf CD die großartige Folk-Musik von Ray Cooper, welche ich durch die Promos, die wir von Radio Zoom bekommen, entdeckt habe und es mir klar war: ich muss die Musik hören. Es sind ein paar instrumentale Stücke drauf, aber meist welche mit der tollen Stimme von Ray Cooper, die mich schon leicht an Johnny Cash erinnert. Das Gute bei der Vinyl ist auch, dass die CD und das Booklet dabei waren. Somit zwei Medien zum Preis von einem.

    No photo description available.

    Hier für euch ein paar Songs aus dem Album. Zuerst mein persönlich liebster Song "Brave Wolfe".

     

     

    und hier eins der instrumentalen..

     


  2. Heute bei uns:
    18:00 EINFACH NUR FILMMUSIK
    (Inkl. Geheimtipp des Monats: Jeg Er Dina (I Am Dina))
    20:00 KINOKISTE
    (Neuheiten, Zeitreisen und Geburtstagskinder) 
     
    ENF Heute.jpg
     
    In EINFACH NUR FILMMUSIK gibt es zuerst den faulen Anfangsblock, in dem es nur Musik von Komponisten gibt, deren Vornamen mit einem E beginnen. Diese E-Komponisten sind Edwin, Ennio, Egon, Enjott, Edward, Ernest, Erich und Elliot. Ein weiterer Block betrifft die Filmmusik-News und dann gibt es noch zwei weitere, kleinere Blöcke: Geheimtipp des Monats "I am Dina" von Marco Beltrami feat. Jorane und den CW-Favoriten-Block, der den Horner- und Goldsmith der Woche beinhaltet.
     
    KinokisteForum2019.jpg
     
    Wenn man eine kleine Kiste packt, sollte man darauf achten, nur das Nötigste zu verstauen. Das Nötigste im Fall der KINOKISTE bedeutet: das Beste. Das Beste an brandaktueller Filmmusik, an Klassikern und Score-Ohrwürmern, Geheimtipps und persönlichen Lieblingen... kurz: das Beste an Filmmusik, das euch Score-Gourmets da draußen gefallen könnte. 🙂 Tja, was nun in TomToms rappelvoll gepackter KINOKISTE drin ist? Schaltet heute ab 20 Uhr ein und findet es heraus.
     
    Stream und Chat findet ihr wie gewohnt unter www.radio-zoom.de.

  3. Zitat

     

     

     

    http://store.intrada.com/core/media/media.nl/id.35713/c.ACCT67745/.f?h=g8b-836D2NMp5AiJvdyFWNi4A_rVMaK2SFSLwGzLPiflnE9s

     

    Completely remastered presentation of our celebrated 1989 Excalibur series recording with Jerry Goldsmith conducting the London Symphony Orchestra! In a spectacular recording event, Intrada commissioned Jerry Goldsmith to take a look backward and newly record his dramatic and aggressive 1964 western score Rio Conchos, which featured an early example of his scoring for full orchestra augmented by an array of banjos, guitars and accordion, soon-to-be trademarks of his western scoring vernacular. Everything was captured in powerful, brilliant digital audio by his veteran engineer Bruce Botnick and played by the world class London Symphony Orchestra. Richard Boone, Stuart Whitman, Jim Brown, Anthony Franciosa led the cast, Gordon Douglas helmed the action, 20th Century Fox released the picture. Rio Conchos launches with a simple minor-key tune on accordion, accompanied by light percussion. It builds slightly through strings and French horns in the opening, then quickly recedes. But in what is surely one of the most powerful and spectacular finales of the composer’s entire career, that simple tune ultimately finishes the score with a resounding fortissimo in the entire orchestra, strings crying out with the melody, dissonant upper-register trumpets pealing, dynamic percussion thundering, everything but the proverbial kitchen sink. It is an explosive powerhouse finish rarely posited by the composer. Not just fortissimo, think triple forte! Wow! And in between, Goldsmith treats listeners to exciting action throughout. While locating and preparing the manuscripts for performance, Intrada suggested Goldsmith also record the majestic and soaring 12-minute “Prologue” he scored for the 1965 film The Agony And The Ecstasy with Charlton Heston as Michelangelo. Sub-titled The Artist Who Did Not Want To Paint, the unusually emotional piece, written in five distinct sections and played as one lengthy movement appeared in front of select “roadshow” screenings of the Carol Reed-directed film (which was otherwise scored by Alex North). At times evoking the rich harmonic vocabulary of Vaughan Williams, at other times offering the soaring majesty of his own The Blue Max score (written the following year), Goldsmith fashioned this masterful prologue for an orchestra of expanded strings, harps, woodwinds and the unparalleled power of eight French horns, at times heard antiphonally and often in unison. The resulting sound is Jerry Goldsmith at his most personal! The fully-remastered CD will be available only until June 21 2021 or while supplies last. After this period ends, the album will live on in the hi-res 24bit 96kHz digital format. Performed at Abbey Road, Bruce Botnick records, Jerry Goldsmith conducts the London Symphony Orchestra. A masterpiece!

     

    The Agony and the Ecstasy
    Prologue: “The Artist Who Did Not Want to Paint”
    01. Rome/Florence/The Crucifix/
          The Stone Giants/The Agony Of Creation (12:37)

    Rio Conchos
    02. Rio Conchos (2:26)
    03. Where’s The Water (1:55)
    04. Bandits Ho (6:58)
    05. The River (2:04)
    06. River Crossing (4:22)
    07. The Aftermath (2:06)
    08. Wall Of Fire (2:21)
    09. Lonely Indian (3:24)
    10. Chief Bloodshirt (2:27)
    11. The Corral (2:45)
    12. Free Men / The Intruder (6:00)

    13. Special Delivery (6:12)
    14. End Cast (0:22)

    THE EXTRAS
    15. Wall Of Fire (Alternate take) (2:19)
    16. End Cast (Take 1) (0:58)
          (With voices of composer and engineer)

     

     

     


  4. Hier was aus Dougs Corner zum Release.

     

    Zitat

     

    Our spectacular re-recording of Rio Conchos has been in the film music market since 1989. The so-called target audience is most likely familiar with it by this point. Perhaps there are other listeners not yet on board and maybe this new presentation will bring them under the fold. I refer to it as spectacular because at the time, the concept of recreating earlier film scores was still a relatively new concept. Engaging the composer of the score at hand was new, as was the locating of original scores and parts to work with. Hiring the composer’s primary engineer was another luxury, recording everything in the famous Abbey Road Studios in London was an unusually lavish decision… and most spectacular of all, employing the full resources of the world-famous London Symphony Orchestra, augmented by more unique orchestral colors including banjos, guitars and accordion, brought everything to vibrant life. All of this before film score re-recordings became much more routine.

     

    Jerry Goldsmith was, at this point in his legendary career, not particularly interested in looking back on his early career. In fact, it was Intrada that managed to convince him in 1986 that there was merit in doing just that when we commissioned a brand new recording of his 1977 score for Islands In The Stream, his own personal favorite work at that time. While not requiring the more ambitious research and orchestral accoutrements of Rio Conchos, it was still an extraordinary achievement to coax Goldsmith into making this happen. As far as accomplishments with this incredible composer go, we are pretty happy about having achieved such an important landmark in the preservation of film music.

     

    Rio Conchos was the score we elected to focus the lavish attention on simply because it was my own favorite of Goldsmith’s numerous western scores. At that time, almost none of these earlier film scores were yet available in any format, with high licensing costs and missing master recordings all contributing factors. There just wasn’t yet the economic practicality of bringing old film scores into the commercial marketplace. In fact, it was Intrada, formed in 1985, that actually played a significant role in changing that situation. What had always drawn me to Rio Conchos was the incredible architecture that Goldsmith fashioned into his music. The score literally started with the main theme played as a single line on solo accordion without harmony, accompanied only by light percussion to establish a tempo. But by the (literally) explosive finish, unusually nihilistic for westerns of that day, Goldsmith had developed that gentle opening tune into the most powerful, dynamic and climactic piece of ending music of his then-growing career. And few scores following it ever achieved such a spectacular finish, replete with crashing percussion and piercing military-style trumpet figures ornamenting over and above a broadened and now triple-forte declamatory statement of that once-simple tune.

     

    Our 1989 recreation of the score, courtesy Bruce Botnick’s perfect engineering, the magnificent musicians of the London Symphony and, in particular, Jerry Goldsmith’s enthusiasm for bringing it all to life remains a grand accomplishment. He really “got into it” all, became excited about the score itself and frequently conferred with me in between takes as to tempos and dynamics of the various cues. We shared lunches together and had fascinating talks about his music. He was enthusiastic for sure! As the album producer, upon first arriving at Abbey Road, I initially asked Bruce Botnick if we could just ensure everything sounded clean and crisp and he said he’d set up his array of microphones exactly as he would were this a brand new feature film recording - at that time certainly not the standard audio technique of recording orchestral music for listening purposes and marketed to the so-called “classical” music enthusiast. And the results were exactly what I had hoped for. Rather than a broad, reverb-heavy concert hall sound, we got clarity and extreme detail. You can hear where every instrument is positioned within the orchestra! And you can hear and feel that architecture of the score and how it goes from simple to massive with stunning detail.

     

    Recording The Artist Who Did Not Want To Paint was also a major undertaking and premiere achievement. The idea of adding it to the sessions became part of a bigger discussion about having Goldsmith lead the LSO in his first live concert with the musicians, performing the entire five-movement work in front of a huge audience in London’s famed Barbican Centre, renowned for its various performing arts events. I was honored to sit next to Goldsmith’s father for this concert. We rehearsed and recorded the work the day after completing Rio Conchos. This “Prologue” is scored for a massive string section with additional harps plus the brilliant addition of a large section of eight French horns, recorded antiphonally and often playing in unison in high registers - an extremely challenging performance task. In fact, it was preparing this piece for recording that required the most rehearsal time - not because it was necessarily busy or intense music but rather because it required incredible nuances in performance. It was full of delicate solo work and ultimately went from delicate musical statements into massive, soaring figures designed to accompany on-screen visuals of the triumphant sculpted creations of Michelangelo. Being there in the studio as Goldsmith brought forth those artistic works to musical life with the score’s towering fourth movement, “The Stone Giants”, is a memory no one could forget. Goosebumps galore!

     

    By the way, a few listeners have asked me about the alternate take of “Wall Of Fire” from Rio Conchos, and what it was about. When we made the first take of the cue, I was particularly enthused at the energy the brass brought to the music and I liked the aggressive tempo and style of everything. The performance wasn’t yet polished but it did showcase what Bruce Broughton once explained to me as being desirable: “Sometimes you want the take where they just go for it, rather than the more nuanced and rehearsed one.” With that in mind, for this one striking action cue, I embraced that philosophy. And since we obviously had the take on our session masters, it just seemed like a cool idea to include it on the album.

     

    The sessions were recorded digitally back in 1989 and all the mixing and editing stayed in that domain. Modern high-resolution sampling standards such as 24bits and 96kHz were, of course, not yet available. For this current new presentation, we transferred everything into the higher resolutions and performed all of the editorial and mastering work in the hi-res format, enabling a modest degree of improvement in the lower end of the recording and a more significant enhancement of the dynamic levels themselves. This is the version to own, whether on the limited availability CD or in the hi-res digital format, where it will continue to live on.
    Quelle:
    http://store.intrada.com/s.nl/sc.13/category.60330/.f?fbclid=IwAR2s5ooWHim4VtrcVFyeD-xH22ltoXLYZI3BDTBm8b0T0Edfao-t0BDSxj0

     

     


  5. Der Soundtrack wurde nie veröffentlicht, daher ist eine Suche erfolglos. Das einzige, was es von Soufian Zoghlami gibt, ist das hier und das ist schon 11 Jahre alt.

    https://www.amazon.de/Soufian-Zoghlami/dp/B003KKELBG

    und die Single "The Village" vom letzten Jahr.

    https://www.amazon.de/Village-Soufian-Zoghlami-AHORN/dp/B088PKQMW6/ref=sr_1_1?dchild=1&keywords=Soufian+Zoghlami&qid=1619860265&s=dmusic&search-type=ss&sr=1-1


  6. Zitat

     

    Composer Howard Shore (The Lord of the Rings, The Silence of the Lambs, The Aviator, Hugo, The Hobbit) is set to reteam with David Cronenberg on the upcoming sci-fi thriller Crimes of the Future. The film is written and directed by Cronenberg and will star Viggo Mortensen, Léa Seydoux, Kristen Stewart, Scott Speedman, Welket Bungué, Don McKellar and Lihi Kornowski. The movie is set in the not-so-distant future where humankind is learning to adapt to its synthetic surroundings and follows a performance artist who has embraced “Accelerated Evolution Syndrome”, sprouting new and unexpected organs in his body and has turned the removal of these organs into a spectacle for his loyal followers. Robert Lantos (Being Julia, The Song of Names) is producing the Serendipity Point Films and Argonauts production. Shore has previously collaborated with Cronenberg on numerous films over the last four decades, including Videodrome, The Fly, Dead Ringers, Naked Lunch, A History of Violence and Eastern Promises. Crimes of the Future is set to start production this summer and will be distributed in the U.S. by Neon. A release in 2022 is expected. (Deadline)

     

     


  7. Zitat

     

    Academy Award nominee George Fenton ((Dangerous Liaisons, Groundhog Day, Anna and the King, The Blue Planet, Hitch, Ever After) has composed the original music for the new documentary The United Way. The film is directed by Mat Hodgson (I Am Durán, The Four Year Plan) and co-written by Eric Cantona who shares his unique insights into the history and evolution of the iconic football club and the social and cultural environment that shaped it The movie features new interviews with several United stars and stalwarts, including David Beckham, Ryan Giggs, Brian Kidd, Bryan Robson, Ole Gunnar Solskjaer, Teddy Sheringham, the late Tommy Docherty, among others. Matthew Lorenzo (Bobby), Daniel Glynn, Andrew Baker and Patrick Nathanson are producing the project. The United Way will open in Australian and New Zealand theaters on May 10 and will premiere in the UK on Sky Documentaries and streaming service NOW on May 24.

     

    Fenton’s recent projects also include Roger Michell’s The Duke, which premiered at last year’s Venice Film Festival and has been picked up by Sony Pictures Classics for a domestic release later this year.

     

     


  8. Heute bei uns:
     
    18:00 EINFACH NUR FILMMUSIK
    (Inkl. Geheimtipp des Monats: 🦈)
    20:00 CINEMA WORLD
    (Inkl. Album des Monats: 🕷️🛫🏝️)

    ENF Heute.jpg
     
    "Fáilte go hÉireann" ist Gällisch und bedeutet "Willkommen in Irland" und genau das ist das Thema des heutigen Anfangsblock. Hier gibt es heute nur Filmmusik, die irische bzw. keltische Elemente enthält. Darunter so namhafte Komponisten wie u. a. James Horner, Shaun Davey, Hans Zimmer & the Jigs, Patrick Doyle und das heutige Geburtstagskind Christopher Young. Außerdem im Programm: Das filmmusikalische Archivroulette, der CW-Favoritenblock (Horner/Goldsmith der Woche), der Newsblock und der Geheimtipp des Monats (John Williams - 🦈). Um 18 Uhr bei EINFACH NUR FILMMUSIK.
     
    cw2019 Forum.jpg
     
    Um 20 Uhr findet die vorerst letzte CINEMA WORLD statt, denn Anne braucht eine Pause. Damit diese Ausgabe wirklich besonders wird, hat sie sich einen Ko-Moderator eingeladen, nämlich unseren "Spots Timewarp"-Kollegen Thilo. Er mag auch Filmmusik und hat ein paar seiner Favoriten mitgebracht. Darunter so Komponisten wie Thomas Newman, John Williams, Marc Shaiman oder auch W.G. Snuffy Walden, dem Komponisten seiner Lieblingsserie "The West Wing".
    Dazu gibt es die bekannten Programmpunkte wie den Deutschlandblock (dieses Mal mit der Musik von Marius Ruhland, Marius Felix Lange und Christoph Zirngibl), natürlich das filmmusikalische Archivroulette, den CW-Favoritenblock (Goldsmith/Horner/Beltrami der Woche) und das Album des Monats: 🕷️🛫🏝️ von Michael Giacchino.
     
    Stream und Chat findet ihr wie gewohnt unter www.radio-zoom.de.

  9. vor 3 Stunden schrieb Baton:

    Gibt es schon Informationen zum Erscheinungszeitpunkt der nächsten Ausgabe?

    Ist gerade in der Endphase. Alle Artikel sind da, aber ein paar müssen noch lektoriert werden. Außerdem warten wir noch auf ein paar Anzeigen.
    Genaues Datum kann ich nicht sagen, aber so spätestens Juni/Juli sollte sie rauskommen.


  10. Danke... ich hab ja geschrieben "soweit ich weiß".

    Doch dann kommt halt zwischendurch doch ein Projekt wie eben "Love and Monsters", wo das Team um Beltrami auch wieder mit viel mehr Spaß bei der Arbeit ist. Das war dann tatsächlich ein sehr schönes Projekt, nicht nur in Sachen Kreativität, sondern auch im Umgang mit Regisseur und Produzenten. Besonders nach den Tumulten (Originalzitat von Marcus Trumpp) bei "Gemini Man". Sie waren auch sehr stolz auf den Score. Hier ab Minute 7... 
     

    Wie es aber bei "Chaos Walking" war, um zu dem Score zurück zu gehen, weiß ich nicht.


  11. Also soweit ich weiß, fühlen sich Beltrami und Co derzeit sehr wohl in ihrer Tätigkeit als Komponisten. Zuletzt waren das keine katastrophalen Bedingungen wie "Quiet Place" oder damals "World War Z" und "The Fantastic Four". Zum Beispiel erzählte Marcus Trumpp, und wenn er das erzählt, dann stimmt es auch, weil er kein Blatt vor dem Mund nimmt, dass sie sehr zufrieden mit der Arbeit an "Love and Monsters" waren. Das war ein Auftrag, der ihnen viel Freude gebracht hat.
    Ich finde ja, dass man das gerade bei "Love and Monsters" auch raushört.
    Hier die Beispiele finde ich solide. Für einen Doug Liman-Film, wo die Scores nie eine große Nummer waren, ist die Musik doch okay geworden.

    Keine Sorge.. soweit ich mitbekommen habe, arbeitet Proyas derzeit an einem neuen Film. ;)

     


  12. Gestern hat mich der Postbote es irgendwie nicht geschafft, mich aus meiner Wohnung zu bekommen. Daher durfte ich heute dank der wunderbaren Busverbindung insgesamt 8 km gehen, um mir das Päckchen abzuholen. Dazu auch das erste Mal, dass ich bewusst Zollgebühren gezahlt habe. Es war eine Bestellung vom Varese-Shop in UK.
    Ja, aber es hat sich gelohnt, denn es war mir schon wichtig, von Jerry Goldsmiths letzten so großartigen Score soviel Musik zu haben, wie es nur geht. Dazu schließt sich auch ein Kreis, denn Carl Stalling, der legendäre Toons-Komponist, war immer präsent in den Arbeiten von Goldsmith für die Joe Dante-Filme, wie ich dem Booklet entnommen habe. Übrigens großartige Liner Notes von Daniel Schweiger, der hier auch auf die Zusammenarbeit von Dante und Goldsmith eingegangen ist. Das muss ich mir eh noch mal in Ruhe durchlesen. So oder so.. ich bin glücklich.
     
    IMG_20210422_120334_DRO.jpg.2d1c12aa31f97e7baa3dd9044e4a4675.jpg
     
    Jerry Goldsmith - Looney Tunes (The Deluxe Edition)

  13. Zitat

     

    vca-48-300x225.png

    Thomas Newman (American Beauty, The Shawshank Redemption, Finding Nemo, 1917, Skyfall, Road to Perdition) has recently been scoring the upcoming road-trip comedy Dog. The film marks the directorial debut of actor Channing Tatum and writer/producer Reid Carolin (Magic Mike, Logan Lucky) and stars Tatum himself, alongside Q’Orianka Kilcher. The movie follows a hard-charging former Army Ranger and his Belgian Malinois companion as they race down the Pacific Coast in hopes of making it to a fellow soldier’s funeral on time. Carolin also wrote the screenplay based on a story by himself and Brett Rodriguez who is producing the Metro-Goldwyn-Mayer (MGM) production with Gregory Jacobs (Edge of Tomorrow, The Knick) and Peter Kiernan (Fatherhood, 6 Balloons). Newman has previously scored the Jacobs-produced features The Good German, Side Effects and Let Them All Talk. Dog is currently scheduled to be released in theaters on February 18, 2022 by United Artists.

     

     


  14. vor 2 Stunden schrieb badbu:

    Da ich "erst" 30 bin, wird es bei mir noch einige Zeit dauern bis ich einen Termin bekomme. Werde mich aber direkt impfen lassen. Auch wenn ich etwas "Angst" bezüglich der Nebenwirkungen habe.

    Angst ist normal und diese Nebenwirkungen gibt es bei jeder Impfung.
    Ich hab von Haus aus große Angst vor Impfungen. Ich war mehr als ein Jahrzehnt nciht geimpft und hab erst vor 2-3 Jahren mir die normalen Sachen reinspritzen lassen. Auch jetzt hab ich wieder etwas Angst, aber wie meine Therapeutin sagt, wenn ich solche Gedanken habe: Das ist normal. Dieser Satz sich im Kopf klar zu machen, kann dabei helfen.
    Also obwohl ich Angst habe, wenn ich dran bin, dann lasse ich mich auch impfen.

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