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  1. C6045 Caldera Records is proud to present Zbigniew Preisner’s score for the motion picture “Man of God” from 2021, directed by Yelena Popovic. Popovic’s biopic chronicles the most turbulent years in the life of a man who had made it his mission to serve others and improve the conditions of those in need: Saint Nektarios. Popovic’s film shows how Nektarios helps the poor and destitute, provoking three objectors within the church turn to the bishop’s patriarch Sophronios. No longer wiling to hide their anger at Nektario’s servitude towards sinners and harlots, his enemies claim he will bankrupt the church and usurp the patriarchy. Without trial, Nektarios is convicted and exiled from Egypt in 1891. Particularly because of his deep love for Greece, its culture and people, Zbigniew Preisner was delighted to score “Man of God” – and agreed to do so without having read the script. From the beginning, it was clear to Preisner he wanted to use a choir – a Byzantine one. After some searching, he collaborated with the Choir of Chanters, “The Maestros of the Psaltic Art” (?? ?a?st??e? t?? ?a?t???? ??????), one of the most famous Byzantine Choirs. Following their collaboration of “Valley of Shadows”, Zbigniew Preisner and Lisa Gerrard worked together again. The latter recorded her sung parts – written by her – in Australia. Furthermore, Preisner felt it the right choice to use Greek instruments. It was obvious and necessary for a film about a Greek saint. The local color is provided by a qanun, a string instrument not dissimilar to the zither and often associated with Greece and its culture. “Man of God” is also notable for its mix of symphonic and electronic music, used to achieve spiritual metaphysics. “Man of God” is one of Zbigniew Preisner’s richest scores, a unique exploration of symphonic music infused with local, Greek, colour, electronics and Byzantine elements, particularly in the employment of Lisa Gerrard’s special talent, used to powerful effect. The 45th CD-release of Caldera Records features a detailed booklet-text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Leszek Kaminski and produced by Stephan Eicke and John Elborg. Music Composed by Zbigniew Preisner Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke 1. Man of God – The Beginning of a Story (0:45) 2. Searching for Values (1:14) 3. Conversation (1:46) 4. Evia (1:11) 5. In the Darkness (2:15) 6. Serenity (2:14) 7. Kyrie Eleison (1:42) 8. Aegina (1:15) 9. New Life (2:16) 10. Conversation of God (2:02) 11. Kyrie Eleison (Byzantine Version) (1:27) 12. Beauty of Aegina (2:01) 13. Deceptive Calm (1:43) 14. Kyrie Eleison (Prayer) (2:01) 15. Misery (1:33)* 16. Serenity (Orchestral Version) (1:54) 17. Humiliation of the Priest (0:51) 18. Loss (1:55)* 19. Final Breath (2:04) 20. Song for Saint Nectarios (0:52) 21. Man of God – End Credits (4:53) *Music Composed by Zbigniew Preisner and Lisa Gerrard For more information, and to listen to sound clips, please visit our homepage: http://caldera-records.com/portfolio/man-of-god/
  2. C6044 Caldera Records is proud to present Dwight Gustafson’s scores for the motion pictures “The Printing” and “Beyond the Night”, directed by Tim Rogers and Katherine Stenholm respectively. “Beyond the Night”, from 1983, tells the story of John and Bettie Dreisbach, passionate missionaries who first worked in Nigeria tending to leprosy patients and spreading the word of Christ in an area that was nearly exclusively Muslim. For close to ten years, the Dreisbachs served as ministers in the Sahara, before the government forced them to leave. “Beyond the Night” describes the couple’s time in the Sahara Desert. Dwight Gustafson’s themes are infused with discreet elements from African music such as the rhythmic drumming in the “Titles”, specific tone sequences particularly popular in Northern African music (“Trip to the Village”) and a heavy use of grace notes in the woodwinds (“Clinic Day”). What binds the score together is Gustafson’s strong main theme, first heard in the “Titles” and later through diverse variations heard in the course of the movie/score. In its sweeping nature, the theme has a folkloric Americana quality that echoes the works of Aaron Copland and even the spiritual compositions of Alan Hovhaness. “The Printing” tells the story of hardship experienced by Christians in the cause of their faith. This time, the story is set in the Soviet Union and celebrates Christian believes who, despite being threatened by the communist government which had made it its mission to stifle Christian belief, dared to openly worship the Lord. Not only do the heroes of this film refuse to abandon Christ, but they continue to secretly print Bibles, convinced that God will protect them from the evil schemes of the communists. Gustafson’s music here is as moody and gray as the architecture of communist-era Russia – where incidentally, the composer can also be seen in the film, playing a pastor. Unusually for him, he utilizes a synthesizer and subtle suspensions to introduce his main theme, a downbeat yet still lyrical melody in a minor key that later blossoms through variations that the composer develops during the course of the score. His delicate, sophisticated orchestration remains evident throughout. The 44th CD-release of Caldera Records – a world premiere – features a detailed booklet-text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Richard Moore and produced by Stephan Eicke and John Elborg. Music Composed and Conducted by Dwight Gustafson Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Beyond the Night 1. Titles – A Real Emergency (2:01) 2. Clinic Day (1:38) 3. A Government Threat (2:05) 4. Trip to the Village (1:51) 5. Witness to a Friend (1:24) 6. Sunday Preaching (0:35) 7. The Clinic is Closed (4:07) 8. The Word Continues (1:09) 9. The Word Received (0:48) 10. The Word Believed (1:15) The Printing 11. Title Music (4:39) 12. Discovered (1:37) 13. Psychiatric Ward (1:36) 14. Torture (2:02) 15. The Search (0:59) 16. Betrayal (1:33) 17. The Market (2:27) 18. Delivery (2:11) 19. The Printer (1:13) 20. Confrontation (2:26) 21. Baptism (4:28) 22. Accident (1:30) 23. To the Printing House (2:04) 24. Aleksandr’s Decision (1:39) 25. The Chase (1:39) 26. The Sledders (2:06) 27. Escape (1:32) 28. Finale (2:15) 29. Closing Credits (2:00) For more information and sound clips, please visit our homepage: www.caldera-records.com/portfolio/the-printingbeyond-the-night/
  3. C6043 Caldera Records is proud to present Zbigniew Preisner’s score for the motion picture “Forgotten We’ll Be” from 2020, directed by Fernando Trueba. Trueba’s acclaimed film is inspired by Héctor Abad Faciolince’s memoir “Oblivion: A Memoir” in which he describes with great tenderness the life and work of his father, the revered Colombian scientist and activist Hector Abad Gómez who was killed by mercenaries in 1987. Adapted by Trueba’s brother David, the film focuses on two major time periods: the 70s and mid-80s. While the latter part – shot in black and white – mainly deals with Gómez’ political agenda and achievements, the scenes set in the 70s – shot in color – paint Gómez as a devoted family man. They also describe the turmoil experienced by him and his family through the hands of his young son Hector who runs over a woman in his car and throws stones through the window of a Jewish family’s home. After their collaboration on “The Queen of Spain”, “Forgotten We’ll Be” marked a new collaboration between the revered director and renowned composer Zbigniew Preisner. “Forgotten We’ll Be” is similar to other Preisner scores released by us at Caldera Records – namely “Valley of Shadows” and “Lost and Love” in that childhood and the loss of childhood innocence play a pivotal role. “Valley of Shadows” and “Forgotten We’ll Be” are even partly told from a child’s point of view. Hence there was no question that Preisner’s score for Fernando Trueba’s most recent film should capture themes of childhood musically. Hence, the composer devised gentle and yet poignant themes for orchestra, choir and solo instruments such as the harp which features prominently in one of Zbigniew Preisner’s most haunting and touching scores. The 43rd CD-release of Caldera Records – a world premiere – features a detailed booklet-text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Leszek Kaminski and produced by Stephan Eicke and John Elborg. Music Composed by Zbigniew Preisner Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Forgotten We’ll Be 1. Return to Medellín (3:22) 2. Child’s Play (0:51) 3. Children’s Hospital (1:06) 4. Letter To The Father (4:00) 5. Letter From The Father (1:59) 6. In Cartagena (1:31) 7. The Morgue (1:18) 8. Van den Budenmayer: Farewell Part I (0:41) 9. Marta’s Disease (0:24) 10. Van den Budenmayer: Farewell Part II (1:03) 11. Torino (1:44) 12. Flashback (0:46) 13. The End of Happiness (1:49) 14. Return To The University (1:16) 15. The Crime (2:35) 16. Letter From The Father (Harp Version) (1:57) 17. The Pain (5:12) 18. Deep Sorrow (1:34) 19. Van den Budenmayer: Farewell (2:18) 20. Héctor Abad Gómez’s Funeral – End Credits (2:43) 21. Van den Budenmayer: Farewell (Coro Transcription) (2:21) For more information and sound clips, please visit: http://caldera-records.com/portfolio/forgotten-well-be/
  4. Da habe ich andere Sachen gehört. Marco Beltrami im Interview 2017 mit mir - teilweise in meinem Buch 'The Struggle Behind the Soundtrack' publiziert, Teile davon (bis jetzt) unveröffentlicht: "People that know me call me Darco instead of Marco so I guess I wouldn't fall in the jolly fellow category. The way I deal with an issue is by trying not to be mired in it, not to take it that seriously. I would say 30 percent of the job is enjoyable. That is the creative part, coming up with ideas and writing the music. But so much of it is not creative. It's dealing with budgets and contracts and problems, dealing with too many producers. It's the normal bullshit. It just saps your energy. By learning to remove myself a little bit from that and by saying, 'Whatever happens happens', I find that I am able to deal with it a lot better and have a more healthy relationship with my job. I feel bad for the young composer who are up and coming. They have to deal with these problems. I don't know how much longer I will do this anyway. I have other interests as well."
  5. C6042 Caldera Records is proud to present "Chronicle", a celebration of the creative relationship between director Werner Herzog and composer Ernst Reijseger. For 15 years, Herzog has worked with cellist and composer Ernst Reijseger. It was he who penned the music for films as colorful as “The White Diamond”, “My Son My Son What Have Ye Done”, “Cave of Forgotten Dreams” and, most recently, “Fireball.” Ernst Reijseger is an internationally celebrated cellist. His music knows no boundaries and is therefore hard to categorize. Reijseger rejects labels such as world music despite the fact that he has worked for over a decade with Senegalese singer and poet Mola Sylla and Dutch pianist Harmen Fraanje, with Indonesian and Sardinian ensembles, accompanying their traditional folk music with skillful improvisations on his instrument that at times sounds like a didgeridoo, percussion, but rarely like a cello, so inventive his playing is. It’s unlike anything you have ever heard. "Chronicle" is a Best-of compilation that features the most remarkable recordings of Reijseger and his ensemble for some of Herzog's most acclaimed films. The 42nd CD-release of Caldera Records, released in collaboration with Spring Music Productions, features a detailed booklet-text by Stephan Eicke, an interview with Werner Herzog as a bonus track, and elegant artwork by Luis Miguel Rojas. The CD was mastered by Niels Brouwer and produced by Ernst Reijseger, Stephan Eicke and John Elborg. For more information and sound clips, please visit our homepage: http://caldera-records.com/portfolio/chronicle-ernst-reijseger-and-werner-herzog-film-scores/
  6. Juhu, ich lad' euch auf ein Eis ein. Die Auflage kommt immer auf das jeweilige Projekt an. Ich weiß gar nicht, wie viel John hier hat pressen lassen. 400, glaube ich.
  7. Caldera Records is proud to present Gerald Fried’s music for Stanley Kubrick’s films “Fear and Desire” and “Day of the Fight”. Gerald Fried and Stanley Kubrick became friends as teenagers. The musician enabled the latter to join a baseball team while the future director served as the conduit for Fried to join intellectual circles. They would first collaborate professionally in 1951, when Kubrick needed music for his short film, “Day of the Fight.” A year previously, the photographer had portrayed boxer Walter Cartier for Look magazine, and henceforth decided to make him the subject of a moving picture. “Day of the Fight” follows Cartier during the hours preceding a seminal fight, with the tightly focused 12-minute documentary including trivia from the boxer’s life, as narrated by Douglas Edwards. Then in 1952 Kubrick started to develop his first feature film, a drama he saw as a poetic allegory about a man lost in a hostile world. “Fear and Desire” – describing the two dominant human passions – is not to be taken literally, as it depicts the struggle of four soldiers who find themselves behind enemy lines. As opposed to opening the film with a boisterous main title fanfare (as he had done in “Day of the Fight”), he used only a solo bassoon to introduce the theme, reminiscent of Stravinsky’s famous opening of “Le Sacre du Printemps.” Kubrick loved this approach and showered his friend with compliments during the recording. Fried set out to write a profound, meaningful, touching, despairing and yet triumphant score – which he duly achieved and with which he paid tribute to the film’s qualities. Incidentally, and although he had ended their working-relationship in 1957, Kubrick was very much inspired by a film Fried worked on in 1964: “To the Moon and Beyond” was produced for the World Fair in 1964/65 in New York. The short film, narrated by “Twilight Zone” creator Rod Serling, depicted a voyage “to the moon and beyond,” showing the earth continually shrinking while the camera zooms further and further out. Because of its Kubrick connection, we included the score for “To the Moon and Beyond” here. The 41st CD-release of Caldera Records – a world premiere – features a detailed booklet-text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Richard Moore and produced by Stephan Eicke and John Elborg. Music Composed and Conducted by Gerald Fried Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Fear and Desire 1. Opening Credits (1:37) 2. Heading for the River (1:36) 3. All Clear (0:15) 4. Approaching the Cabin (1:12) 5. Madness (3:04) 6. “Girls Always Love Stories” (1:04) 7. Sidney and the Girl (2:48) 8. The House Down the River (0:13) 9. Mac’s Departure (3:43) 10. Waiting to Kill (5:04) 11. Drifting Through the Night (0:51) 12. End Credits (0:50) Day of the Fight 13. March of the Gloved Gladiators (2:48) 14. Examination and Preparation (3:53) 15. Waiting for the Big Fight (2:52) 16. Victory (0:39) 17.-27. To the Moon and Beyond (9:13) Listen to a 5 min clip here: For more information please visit: http://caldera-records.com/portfolio/fear-and-desire/
  8. C6040 Caldera Records is proud to present Ennio Morricone’s music for Roberto Faenza’s film “Sostiene Pereira”. When Antonio Tabucchi’s novel “Sostiene Pereira – Pereira Maintains” in the English language – was published in 1994, it became an immediate literary sensation. The novel’s leading character is the titular Pereira, a newspaper editor who is responsible for compiling the paper’s cultural pages. However, Pereira is not interested in publishing his political views. If all of Portugal was out on the streets demonstrating against the government, Pereira would quietly sit at home and read a good book. He is not a supporter but an enabler. His political reluctance is challenged when he meets a young man named Rossi. Pereira’s life soon changes radically. Screenwriter and director Roberto Faenza was a perfect choice to turn the novel into a feature film. The Italian film maker had for decades depicted revolts against tyrannical governments. Here, he cast Marcello Mastroianni as the overweight editor who suffers from a heart problem. Popular French actor Daniel Auteil played Pereira’s doctor, Nicoletta Braschi (“Life is Beautiful”) and Marthe Keller (“Marathon Man”) were splendidly cast in minor roles. The director had tasked Ennio Morricone with writing music for his feature debut “Escalation” in 1967, and they had worked together ever since. By 1995, their collaboration spanned seven films, eight including “Sostiene Pereira.” The latter is one of Morricone’s most ingenious works for a Faenza film. It is intricate and subversive, subtle and stimulating. For the first time, the composer worked with Portugese singer Dulce Pontes when they recorded the song “A brisa do coração” which makes its appearance several times in the film and is presented here both in its original form and in a shorter, edited version. His score subtly features Fado, a Portugese style of music in which a woman as the singer is accompanied by one or two guitars. Morricone’s score consists of several themes and motifs the composer cleverly weaves together. “Sostiene Pereira” starts with a rhythmic pattern for wood blocks, one that recurs throughout the score and serves as its backbone before several instrumental groups consecutively join in with various motifs. The score is intricately developed in that Morricone uses all these various separate elements in other cues but in different arrangements and constellations. Ennio Morricone’s rich and vibrant score was released on CD in 1995. In collaboration with Sony Music Germany, we are proud to re-release it with detailed liner notes by Stephan Eicke, featuring Christopher Slaski’s precise transcription of the film’s main theme for study purposes. The 40th CD-release of Caldera Records also features elegant artwork by Luis Miguel Rojas. The CD was produced by Stephan Eicke and John Elborg. Music Composed and Conducted by Ennio Morricone Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke 1. A brisa do coração (La Brezza Del Cuore) (6:51)* 2. Il Simbolo (6:31) 3. Vendetta (1:18) 4. Chitarre (4:52) 5. Sostiene Pereira (3:35) 6. Valori Ritrovati (3:55) 7. Assassinato (2:49) 8. Manifestazioni (1:57) 9. Sostiene Pereira (Edit Version) (3:25) 10. Rotativa (4:12) 11. A brisa do coração (Edit Version) (6:27)* *sung by Dulce Pontes For more information and sound clips please visit: www.caldera-records.com/portfolio/sostiene-pereira/
  9. Bruce Kimmels Unterstellungen waren so vorhersehbar wie das Amen in der Kirche. Kimmel hatte mir nämlich kurz nach Veröffentlichung von Fried's THE BABY eine recht unhöfliche Mail geschrieben, dass man den Fried-Veröffentlichungskalender doch miteinander abstimmen sollte. Meine Antwort war, dass das aufgrund der Lizenznahme ja nicht notwendig sei. Darauf kam dann auch nichts mehr. Kimmel wollte ganz offensichtlich mehrere Frieds ohne Lizenznahmen veröffentlichen. Was Stefan sagt, ist sehr richtig. Kimmel veröffentlicht seit einigen Jahren mehr und mehr Bootlegs, weil ihm die Türen der Studios versperrt sind. Einigen schuldet er Geld, bei anderen hat er es sich mit seinem Benehmen verscherzt. Der leider viel zu früh verstorbene Nick Redman war in den letzten Jahren Kimmels einziger Fürsprecher. Selbst davor hatte Kimmel schon Bootlegs auf den Markt geworfen. Beispielsweise waren weder THE BRIDE WORE BLACK/TWISTED NERVE noch Herrmann's CHRISTMAS CAROL lizenziert laut des Herrmann Estate. Für erstere CD gabs dann (laut des Herrmann Estate) auch ein Schreiben vom Anwalt. Sowohl die Copyright-Angaben auf dem Backcover als auch die Auswahl des Bildmaterials geben schon immer gute Hinweise, ob es sich bei einer Kritzerland- oder Dragon's Domain-Veröffentlichung um ein Bootleg handelt (Bsp BRIDE WORE BLACK/TWISTED NERVE, FRIED SAMPLER, etc). Thaxton und Kimmel verwenden mit Absicht eigenes Artwork ohne film stills (beim Fried Sampler scheint ein (1) "film still" im Booklet-Inneren versteckt zu sein, wenn ich das richtig erkenne. Der Rest sind stock images.) Bzgl David Schecter: Ich habe mich in den letzten Tagen mit ihm unterhalten. Ihm wird nicht nur beim Skiles gedankt, sondern auch beim Fried Sampler: "I sometimes get thanked in CDs that I had nothing to do with, and seldom get thanked in CDs when I do help out a little (LOL!). So all I know is that I have no information about the releases you mentioned, as I had nothing whatsoever to do with them. I was asked by the label in question if I had any photos of Gerry, and I sent them some that Gerry had given me years ago. So if my name's mentioned in that Fried CD, which I don't have, that would be why. I know nothing about that score." Aus dem Soundtrackgeschäft hat David sich herausgezogen, unter anderem aufgrund der Schwemme an Bootlegs (und wegen illegaler Downloads).
  10. Der Gerald Fried Sampler ist ein unlizensiertes Bootleg - wie die meisten Veröffentlichungen aus der Dragon's Domain Composer Collection-Reihe. Hier meine Anmerkungen dazu aus dem FSM Board: How does Ford A. Thaxton co-ordinate with Stephan Eicke on which Gerald Fried titles will get released ... and on whose labels? Usually that is not necessary since the right owners will tell us immediately if a score has already been licensed and is "in the works" from another label. It is, however, a pity when a label decides to put out an unlicensed score. "Survive" - which we were working on - is, of course, not owned by "Gerald Fried Productions" as the back cover claims - a company which doesn't even exist as the company registers of the different states show - but by Paramount which assigned Gerald to write a new score for the film, with publishing owned by Warner Chappell: https://www.ascap.com/repertory#ace/search/title/survive/writer/gerald%20fried Just a few days ago I had gotten in touch with the responsible licensing manager who indubitably will be surprised by this release. Unfortunately, this happened before multiple times before, e.g. with the release of Howard Blake's AMITYVILLE 3-D. Again, this is not owned by the (non-existent) Howard Blake Productions. Howard Blake's company is called Howard Blake Entertainments Limited as per the UK company register: https://find-and-update.company-information.service.gov.uk/company/08829393 But the rights to AMITYVILLE are with de Laurentiis - hence the absence of stills from the movie. (That's the reason Howard Blake had released the score previously as a promo only as is mentioned on the back cover of that CD along with Flash Gordon.) (Amusing side note: When I had lunches with Howard a few years ago, we mulled over some potential releases but the rights were always an issue. When I mentioned such-and-such was owned by such-and-such, Howard would just shrug and say, 'Who cares? Just put it out.') It's sad that these unlicensed releases kill properly licensed, official releases. So, no "Survive" from us, then.
  11. Da wir umziehen und so wenig Zeugs wie möglich transportieren möchten, haben wir uns entschlossen, noch einige unserer Caldera CDs zu deutlich reduzierten Preisen anzubieten. Eingeschlossen sind unter anderem CDs von Joe Kraemer, Gabriel Yared, Zbigniew Preisner und Gerald Fried. Ran an den Speck - von den jeweiligen Titeln sind nur eine sehr begrenzte Anzahl Exemplare verfügbar - selten mehr als 4 pro Titel. In unserem eBay Shop wird man glücklich: https://www.ebay.co.uk/sch/soundtrackfreak89/m.html?_nkw=&_armrs=1&_ipg=&_from=
  12. C6039 Caldera Records is proud to present Andrew Dickson’s music for Mike Leigh’s films “Vera Drake” and “All or Nothing”. “All or Nothing” tells the story of a family whose members spend their days working at essential and yet low-paid jobs. Penny, played by Lesley Manville, is the main breadwinner as a cashier in a supermarket. Her partner Phil, played by Timothy Spall, drives a cab around town after years of unemployment due to his crippling depression. Living in a council flat with their two children Rachel (Alison Garland) and Rory (a young James Corden), Penny and Phil have resigned themselves to their life on the treadmill. With his music, written for violin, viola, double bass, flute, bass flute and two guitars, Dickson chose to enhance the somewhat desolate nature of some of the characters. Although “All or Nothing” was well-received critically, it is Mike Leigh’s most underappreciated film as it stands in the shadow of the director’s next work, “Vera Drake”. Vera Drake (Imelda Staunton) is a cleaner in post-war Britain, while her husband Stan (Phil Davis) works in a garage. Although they don’t have much money, they are optimistic. Having survived – and won – the Second World War, things were looking up for the United Kingdom. The worst seemed to be behind it. However, Vera keeps a secret from their family that eventually threatens to destroy their bond. At the Venice Film Festival, “Vera Drake” won the prize for Best Film before it was nominated for eleven BAFTAs, one Golden Globe and three Oscars. While it is hailed as one of Leigh’s major works, it is also the crowning opus of Andrew Dickson’s film career. By then, he and the director had already worked together for more than 20 years. For the first time in their films, Dickson and Leigh decided to use a choir. For the folk-like main theme of the film, Dickson used the germ of a sinister song about a fairground he had written previously and which had been performed by a 15-year old P.J. Harvey, a Mercury Prize-winning singer with whom Dickson performed in his local band in Bridport. Also included on this CD are selection from Andrew Dickson’s scores for “Someone Else’s America’ and “Oublie-Moi”. The 39th CD-release of Caldera Records – a world premiere – features a detailed booklet-text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Richard Moore and produced by Stephan Eicke and John Elborg. Music Composed by Andrew Dickson Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke All or Nothing 1. Opening (4:31) 2. Alone Again (1:00) 3. Emergency (1:42) 4. Phil is on His Way (0:23) 5. The Long Day’s Journey Into Night (2:56) 6. End Credits (3:52) Vera Drake 7. Opening (1:54) 8. On a Cold Morning (0:43) 9. Cleaning (0:53) 10. It Will Come Away (0:59) 11. Ethel and Reg (0:47) 12. Tea is Brewing (0:31) 13. Happy Family (0:38) 14. A New Day at Work (0:41) 15. The Walls Are Closing in (0:33) 16. Vera is Being Taken Away (0:43) 17. A Night in the Cell (0:48) 18. Sentencing (0:52) 19. End Credits (3:07) 20.-27. Someone Else’s America (14:37) 28.-31. Oublie-Moi (7:47) Bonus: 32. Audio Commentary by Andrew Dickson (8:05) Listen to a 5 min clip here: https://soundcloud.com/alderaecords/vera-drake-andrew-dickson For more information, please visit: http://caldera-records.com/portfolio/vera-drake/
  13. Sehr richtig, die Differenzierung zwischen europäischer Musik und US-amerikanischer (beziehungsweise US-amerikanischer Musik und jener aus allen anderen Ländern) muss natürlich gemacht werden. Die USA waren schon immer sehr selbstbezogen ;) Music Box macht die Erfahrung aktuell wieder wie von dir beschrieben, wir machen sie zum Beispiel mit Zbigniew Preisner. Threads bei FSM über ihn und seine Musik werden kaum geklickt und nicht kommentiert (sieht man aktuell an dem BBC-Interview, das er kürzlich gegeben hat und das ein Mensch bei FSM gepostet hat), allerdings wird Preisner in Polen fast wie ein Nationalheld verehrt. Unsere vier Preisner-CDs sind unsere Bestseller, um die sich das Publikum in Europa reißt. In den USA: Totenstille. Da wird dann eben die 569. Neuauflage von 'Robin Hood' bejubelt, als gäbe es kein Morgen mehr.
  14. Tatsächlich sagt das FSM Board aber auch nichts aus und ist für Labels grundsätzlich so überflüssig geworden wie ein Sandkasten in der Sahara. Das war früher noch anders, aber mittlerweile tummeln sich da ohnehin nur noch immer dieselben Nasen. Wir dachten zu unserem Beginn noch, das FSM sei unabdingbar für Marketing und Publicity. Das hat sich aber sehr schnell als Trugschluss herausgestellt. Es sagt nichts aus. Wir hatten Titel, um die sich beim FSM Board niemand geschert hat und die vielleicht einen Kommentar als Reaktion hervorgerufen haben. Diese Titel haben sich wie geschnitten Brot verkauft. Dann hatten wir Titel, über die sich die Nutzer tagelang rege ausgetauscht haben, die aber wie Blei bei uns im Regal liegen. Ich habe immer den Eindruck, dass die Nutzer dort sich für den Mittelpunkt der Welt halten, in Wahrheit aber für die Labels nichts (mehr) bewegen und von uns tatsächlich ignoriert werden könn(t)en.
  15. Caldera Records is proud to present Zbigniew Preisner's score for the motion picture "Angelica" from 2015, directed by Mitchell Lichtenstein. “Angelica” also tells a story of female empowerment. It is based on Arthur Phillips’ book of the same name, published in 2007, and adapted for the screen by Lichtenstein. Set in the Victorian age in England, Phillips and Lichtenstein describe the trials and tribulations of Constance (played by Jena Malone), a young woman who falls in love with a successful scientist. Their romance blossoms and leads to marriage. Eventually, a child is born, a girl they name Angelica. The birth is grueling, and Constance nearly loses her life. For her, everything changes in an instant: she is told in no uncertain terms by her doctor that she is to refrain from engaging in vaginal sex (and therefore become a “hortus conclusus”) – otherwise she will risk her health and quite possibly leave her daughter motherless. From this moment Constance goes into a downward-spiral. Zbigniew Preisner’s music pays tribute to the elegant romanticism of the 19th century, while at the same time weaving more experimental elements into it. The composer decided against creating specific leitmotifs for the individual characters. Instead, his music follows the story as it progresses. Hence, Preisner developed variations on the themes as demanded by the story. For example, there is no theme for Constance per se. Preisner follows her journey with various motifs and themes, divided into what the composer calls the “courtly” and the “modern.” The 38th CD-release of Caldera Records – a world premiere – features a detailed booklet-text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Leszek Kaminski and produced by Stephan Eicke and John Elborg. Music Composed by Zbigniew Preisner Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke 1. Main Titles (2:32) 2. Time Transitions (0:32) 3. Spirit Photo (0:46) 4. Microscope (0:54) 5. Home From Honeymoon (1:43) 6. Photo Montage (2:09) 7. Breakfast (1:42) 8. Hairbrush and Bedtime (1:30) 9. Monkey (0:53) 10. To Lab (1:48) 11. Exit Lab (1:49) 12. Ghost Cue I (0:41) 13. Constance Finds Goop (1:32) 14. Ghost Cue II (1:06) 15. Angelica Saw a Man (0:39) 16. Nora Goes to Anne’s (1:02) 17. Consoles Constance at the Wardrobe (1:00) 18. Night Passes Peacefully (0:31) 19. Constance in Bed (1:19) 20. Ghost Cue III (1:05) 21. Piano Lesson (1:08) 22. The Snake (1:20) 23. Escape to Anne (1:03) 24. Constance Wakes Up at Anne’s (0:39) 25. Dr. Miles Arrives (1:44) 26. Dr. Miles Part II (1:55) 27. Dr. Miles Leaves (2:20) 28. Constance Stabs Joseph (1:26) 29. Flashback (0:59) 30. The End Part I (1:14) 31. The End Part II (3:40) 32. End Credits Part I (0:56) 33. End Credits Part II (3:42) Listen to a 5 min clip here: For more information, please visit: http://caldera-records.com/portfolio/angelica/
  16. Caldera Records is proud to present the original score for the motion picture “Man at the Top” from 1973, directed by Mike Vardy, featuring music by Roy Budd. Writer John Braine established Joe Lampton as a ruthless force to be reckoned with when he published his novel “Room at the Top” in 1957. The film rights were snatched up immediately, and only two years later, Jack Clayton’s adaptation premiered in theaters. Following another outing in the cinema and a television series, Anglo-EMI, in collaboration with Hammer Films, decided to let Joe Lampton (now played by Kenneth Haigh) loose on the big screen once more. In 1973, “Man at the Top” premiered. Here, Joe Lampton is appointed Managing Director of ChemExport, a company overseen by Lord Ackerman, played by Harry Andrews. All is not well: six months later, it emerges that Lampton’s predecessor committed suicide. Slowly it becomes clear to Lampton that he might have been appointed to take the blame for a massive marketing blunder that could crush not only him but the whole company. Kenneth Haigh was delighted when he heard that Roy Budd had been contracted to write the music for “Man at the Top” since the actor had admired Budd’s music for a long time, especially “Get Carter”. His score for “Man at the Top” is quite similar to his most beloved composition in that it is equally sparse. The composer devised a simple motif for the titular character which is introduced on a cimbalom and which recurs throughout the whole score. Apart from the Hungarian instrument, Budd employs strings, flute, piano, harp and percussion to create a tense atmosphere fitting for the film. His leitmotif is particularly clever since, in its coldness and restraint, it doesn’t try to make Joe Lampton likeable, and yet manages to underscore the more tender moments in the film with a slight tension that the images lack. Moreover, “Man at the Top” gave Budd the opportunity to provide two memorable jazz pieces as source cues for dinner parties. The 37th CD-release of Caldera Records features a detailed booklet-text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was produced by Stephan Eicke and John Elborg. Music Composed and Conducted by Roy Budd Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Man at the Top 1. Opening (1:21) 2. Main Titles (1:18) 3. End Credits (1:45) 4. The Journey Continues (0:54) 5. Man at the Top (2:26) 6. Night is Falling (2:44) 7. Bedtime (3:58) 8. In the Woods (2:48) 9. Peeping Robin (0:28) 10. Change of Plan (1:12) 11. Bossa Nova (3:26) 12. In the Office (0:22) 13. Joe is Being Followed (1:06) 14. Swept Up in Memories (1:31) 15. In the Woods (alt.) (1:37) 16. Mingle With Me (5:55) Bonus: 17. Demo Jingle (2:20) 18. You Can Never Trust a Friend (2:49) 19. Pipe Tobacco (0:32) Listen to a 5 min clip here: https://soundcloud.com/alderaecords/man-at-the-top-roy-budd For more information please visit: http://caldera-records.com/portfolio/man-at-the-top/
  17. Caldera Records is proud to present the original score for the motion picture “One Potato, Two Potato” from 1964, directed by Larry Peerce, featuring music by Gerald Fried. Peerce’s film, one of the first to discuss an interracial relationship openly in cinema, tells the story of a young single-mother named Julie (played by Barbara Barrie) who cares for her daughter all by herself after her husband abandoned her. Struggling with everyday life, she strikes up a friendship with Frank (Bernie Hamilton) who seems supportive and kind, giving Julie a respite from the nastiness she’s had to endure. It doesn’t take long for the two of them to fall in love. Although Julie and Frank are aware of the problems they are likely going to face as an interracial couple in the 60s, they decide to marry. Society, however, does not wish to grant them their happiness. Surprising for an independent film without any major studio backing, “One Potato, Two Potato” scored an Oscar nomination for its screenplay. As beloved as his music for both “Star Trek” and “The Man from U.N.C.L.E.” is, composer Gerald Fried considers “One Potato, Two Potato” one of his best works. It is a score which is dear to his heart, not least because the film tackles a subject that the composer felt strongly about. The memorable main theme makes several appearances throughout the album, at times playful and jaunty, at other times tense and introspective. As a contrast, Fried developed a sorrowful and yet warm lament as accompaniment for both Julie and Frank who try to overcome the various prejudices and other hurdles society presents them with. While there are several other motifs and themes in the score, the nursery rhyme serves as the backbone of the whole composition. The 36th CD-release of Caldera Records features a detailed booklet-text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was produced by Stephan Eicke and John Elborg. Music Composed and Conducted by Gerald Fried Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke One Potato Two Potato 1. One Potato, Two Potato (2:52) 2. Spotlight/How Many Times (2:05) 3. Love’s Old Sweet Song/How Many Times (2:17) 4. Hopscotch (1:53) 5. One Potato, Two Potato/How Many Times (2:16) 6. Outcasts (1:19) 7. We’re the Same (1:25) 8. The Marriage (1:00) 9. Cold Reception (1:11) 10. Not for Fools/One Potato, Two Potato (1:46) 11. Shooting Games (1:56) 12. Show-Down Hoe-Down (1:01) 13. Turmoil (1:41) 14. Help (1:08) 15. Attempted Rape (1:45) 16. Frustration (1:44) 17. Honor and Protect (1:15) 18. How Many Times/Alone With a Memory (2:43) 19. The Judge (3:01) 20. The Decision/Sorrow (3:22) 21. Departure (1:35) 22. One Potato, Two Potato (2:11) 23. One Potato, Two Potato (Vocal) (2:14) (Performed by Alan Arkin with The Frieds, Daniel, Debbie, Jonathon & Josh) Bonus: 24. Audio Commentary by Gerald Fried (6:53) Listen to a 5 min clip here: https://soundcloud.com/alderaecords/one-potato-two-potato-gerald-fried For more information please visit: http://caldera-records.com/portfolio/one-potato-two-potato/
  18. Caldera Records is proud to present the original scores for the motion pictures “Flame in the Wind” and “Sheffey” from 1971 and 1977 respectively. Both films were produced by Unusual Film, a division of Bob Jones University in Greenville, South Carolina. “Flame in the Wind” is set during the time of the Spanish Inquisition and follows a young man named Carlos who is faced with a conflict throughout the course of the motion picture: should he, horrified by the Inquisition, follow the Bible, or adhere to religious tradition? “Sheffey” was an even bigger undertaking, a lavish and expensive production: Born in 1820, Robert Sheffey was a Methodist evangelist who spent his lifetime taking care of those in need, traveling through Virginia and Tennessee and preaching the word of God. The music for both films was composed by Dwight Gustafson. Born in 1930, Gustafson was named acting dean of the School of Fine Arts at BJU at 24. He served as administrator, taught, composed, conducted and preached until his retirement in 1997. The music for “Flame in the Wind” is based around three themes which recur throughout the score, which was issued on an LP by Unusual Films in 1971. Gustafson wrote a leitmotif for the film’s hero Carlos which is supposed to reveal the pathos and heroism of the young man as he tries to find his way. The second theme, a rather eerie, instrumental melody for the Inquisition expresses the repression and terror for which the inquisitors are responsible, while a triumphant chorale seeks to honor the true believers who have lost their lives due to their faith in Jesus Christ during the Spanish Inquisition. “Sheffey” follows a different musical conception, although Gustafon’s style is unmistakable. Since the film, through the life of Robert Sheffey, tells the story of folk religion, Gustafson decided to employ various folk tunes as seemed appropriate to backbone for his score. Both “Flame in the Wind” and “Sheffey” were composed, orchestrated and conducted by Dwight Gustafson and recorded with the Bob Jones University Symphony Orchestra, composed of students and faculty. LPs of both scores were made available by Unusual Films/BJU to coincide with the film releases. The 35th Caldera CD features a detailed booklet-text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Richard Moore and produced by Stephan Eicke and John Elborg. Music Composed by Dwight Gustafson Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Flame in the Wind 1. Title Music (4:25) 2. The Journey of the Inquisitors (1:59) 3. The Birth of Carlos (2:38) 4. The Monks Escape (2:57) 5. The Dungeon (2:15) 6. The Capture of Carlos (2:38) 7. Processional for the Auto-Da-Fe (3:44) 8. The Tribunal Hall (1:59) 9. The Torture (3:43) 10. The Penitent Returns to Christ (2:47) 11. The Burning of the Martyrs (3:07) Sheffey 12. Title Music (2:03) 13. Disturbance at Revival (1:26) 14. Salvation Hymn (1:35) 15. Young Sheffey in Hills (2:15) 16. Sheffey and Children (0:54) 17. Sheepskin (3:26) 18. Wabash (3:24) 19. Journey in Snow (1:45) 20. Engagement (1:16) 21. The Campground Returns (2:27) 22. Farewell to Gideon (3:54) 23. Tragedy in the Wilderness (2:18) 24. The Campground Burns (3:47) 25. Death of Elizah (2:05) 26. End of the Journey (3:42) Listen to a 5 min clip here: https://soundcloud.com/alderaecords/flame-in-the-wind-dwight-gustafson For more information please visit: http://caldera-records.com/portfolio/flame-in-the-windsheffey/gallery/soundtracks/
  19. C6034 Caldera Records is proud to present a selection of Andrew Dickson’s music for Mike Leigh’s films, most notably “Naked” from 1993. Mike Leigh is one of the most revered film-makers in British cinema. Over a span of nearly 50 years, he has garnered 7 Oscar nominations, 14 BAFTA nominations (winning four), a Palme d’Or, a Golden Lion, and countless other prestigious awards. He had already shot “Bleak Moments” and several BBC productions when, in 1981, he met Andrew Dickson. Their collaboration would become one of the most fruitful ones between composers and directors: For “Meantime,” broadcast in 1983, Dickson chose to use a tack piano and a saxophone. The composer has always liked the idea of different instruments representing different people, and piano and saxophone somehow seemed perfect for a film about two brothers in a housing project. His music for “High Hopes” with its prominent use of blues harmonica, recorder, viola and bass won Dickson the European Film Award in 1989 – and deservedly so. But, undoubtedly, their most well-known film is “Naked”, a raw and painful portrait of a young man (played by David Thewlis in a career-defining performance) wandering through London’s night life. “Naked” is a relentless score, driven by a recurring ostinato played on harp. The music is as relentless as the character of Johnny, driving him forward, onward, downward. Like “Naked,” “Secrets & Lies” is in an incredibly rich film, giving Dickson a lot to draw on. His music, composed for strings and brass, is heart-rending and yet far from being sentimental. Andrew Dickson’s music for Mike Leigh’ films has never been released commercially in any format, despite several attempts by various labels. Thanks to the support of both Mike Leigh and Andrew Dickson, we were able to finally license selected cues for this unique compilation, the 34th CD-release of Caldera Records. This world premiere features a detailed booklet-text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Richard Moore and produced by Stephan Eicke and John Elborg. Music Composed by Andrew Dickson Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Meantime 1. End Credits (3:20) High Hopes 2. Suite (11:15) Naked 3. Opening Titles (3:56) 4. Tribal Initiation (0:30) 5. On a Cold, Grim Night (1:49) 6. The Mysteries of His Trade (1:22) 7. The Party’s Over (2:40) 8. Jeremy is Angry (0:44) 9. Friendly Visit (0:44) 10. Brian in the Window (1:31) 11. Sneaking Out (0:56) 12. Taking a Bath (0:39) 13. Blank It All Out (2:38) 14. Johnny Returns Home (0:43) 15. Bad Quartet (1:24) 16. Sandra (0:45) 17. More Heartbreak (0:47) 18. Escape to Nowhere (2:08) 19. End Credits (1:36) Secrets & Lies 20. Opening Credits (0:31) 21. Burial/Wedding Photos (1:52) 22. Office of Population Censuses and Surveys (1:46) 23. Maurice and Monica (1:22) 24. I’ll Be Thinking Of You (1:42) 25. A Night Out (1:12) 26. End Credits (2:21) Bonus: 27. Interview with Mike Leigh (6:07) Listen to a 5 min clip here: https://soundcloud.com/alderaecords/naked-andrew-dickson For more information, please visit: http://caldera-records.com/portfolio/naked/gallery/soundtracks/
  20. Caldera Records is proud to present Zbigniew Preisner’s score for the motion picture “Lost and Love” from 2015, directed by Sanyuan Peng. “Lost and Love” tells a harrowing (and apparently true) story of loves lost. The love described in the film is the love between parents and their children. Andy Lau plays against type by portraying Lei, a poor fruit-grower. For 15 years, he has been searching for his child, traveling through the vast country in the hope of being united with his offspring. On his way from one end of China to the other, he meets up with a young mechanic who goes by the name of Zeng Shuai as played by Jing Boran. The latter is also searching, although not for his child but for his parents. For her feature film debut, Sanyuan Peng chose Zbigniew Preisner as composer who wrote one of his very best works, a delicate and yet passionate score which is rich in themes and variations. Its most prominent theme is – fittingly – a lullaby which opens the album. It is a melody which recurs throughout the score in different metamorphoses. Not only did it fit the images on screen, it also captured the overall topic of the film. The main theme, as already briefly laid out in the prominent lullaby, can be heard most prominently in “Lost and Love – Main Theme”, carried by strings, while echoes of it feature in “Retrospective”. It is reincarnated in a variation for flute, guitar, harp and orchestra in the “End Credits”, which offer a glimpse of hope to the characters in the film and therefore the audience when it is given a passionate coda. The 33rd CD-release of Caldera Records – a world premiere – features a detailed booklet-text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Leszek Kaminski and produced by Stephan Eicke and John Elborg. Music Composed by Zbigniew Preisner Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Lost and Love 1. Lullaby (1:44) 2. The Beginning of the Story (1:07) 3. Missing (0:55) 4. On the Journey (2:02) 5. Friendship (2:55) 6. Memories from Youth (3:23) 7. Woman in the Rain (1:11) 8. Retrospective (0:55) 9. False Hope (2:01) 10. Lost and Love – Main Theme (1:04) 11. Last Hope (1:39) 12. Dinner (0:51) 13. First Bridge (0:48) 14. Swathe I (0:34) 15. Village (1:40) 16. Dreams (1:01) 17. Swathe II (1:00) 18. Night (2:27) 19. Bus Stop (3:09) 20. Flashback (5:47) 21. Lost and Love – Main Theme II (0:59) 22. Lady’s Death (3:51) 23. Lullaby II (1:41) 24. In the Car (2:31) 25. Lost and Love – Main Theme III (2:40) 26. End Credits (2:49) Listen to a 5 min clip here: https://soundcloud.com/alderaecords/lost-and-love-zbigniew-preisner For more information, please visit our homepage: http://caldera-records.com/portfolio/lost-and-love/gallery/soundtracks/
  21. Caldera Records is proud to present Gerald Fried’s Oscar-nominated score for the motion picture “Birds Do It, Bees Do It” from 1974, directed by Nicolas Noxon and Irwin Rosten. Narrated by Lee Bergere, a beloved actor who had guest roles in every major television series in the 60s (including “Star Trek”), “Birds Do It, Bees Do It” examines the reproductive habits of bacteria, frogs, lions, kangaroos, elephants, monkeys, birds, rhinos, and others by showing in graphic detail how animals behave before, during and after sexual intercourse. The documentary did not shy away from its sensitive topic. Instead, it discussed sex as a natural part of life and aimed to educate its viewers. In fact, several college campuses decided to show the film to its students in the mid-70s, using the moving images of copulating animals as an educational tool. Fried had already worked on a number of Wolper productions when he was offered to score the documentary. It would be one of the most satisfying experiences of his career. Not only was he not subjected to a hair-rising deadline, he also had sufficient funds to execute his creative vision. When he saw the rough cut for the first time, the germ of an idea evolved – human beings portrayed in the film would musically be treated with tonal themes (Man Intrudes), while animals would get less organized, less thematic, but nonetheless tonal music (Kangaroos). Insects would be portrayed with electronic music and/or percussion instruments (Talking Insects), amoebas only with noises produced by synthesizers (Primal Ooze). In 1976, “Birds Do It, Bees Do It” received an Oscar nomination for Best Dramatic Score. It failed to win, but Gerald Fried’s glorious music for Birds Do It, Bees Do It stands the test of time and is not only one of Fried’s very best scores but also one of the best scores ever written for a documentary. The 32nd CD-release of Caldera Records – a world premiere – features a detailed booklet-text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Richard Moore and produced by Stephan Eicke and John Elborg. Music Composed and Conducted by Gerald Fried Album Produced by Stephan Eicke, Jim Lochner Executive Producers for Caldera Records: John Elborg, Stephan Eicke Birds Do It, Bees Do It 1. Flowers Opening (0:58) 2. Flowers Growing (1:27) 3. Lizards (3:04) 4. Rattlesnake (1:02) 5. Buffalo Birth (3:09) 6. Maggots Eating Mouse (2:10) 7. Elephants and Lions (3:49) 8. Fight Aftermath/Growth of Pepsis/Wasp Embryo (1:53) 9. Frog Mating (1:13) 10. Talking Insects (3:08) 11. Chimp Lullaby (1:19) 12. Aphids (1:02) 13. Kangaroos (4:47) 14. Man Intrudes (1:43) 15. Trout (0:52) 16. Flirting Trout (1:37) 17. Trout Eggs (1:05) 18. Snails (2:34) 19. Cheetah Chase (0:54) 20. Artificial Insemination (1:03) 21. Primal Ooze (2:16) 22. Tarantula/Pepsis Wasp Fight (1:23) 23. Wasps (0:56) 24. Assorted Pickups (3:17) 25. Waltz of the Grebes (2:43) Listen to a 5 min clip here: https://soundcloud.com/alderaecords/birds-do-it-bees-do-it-gerald-fried
  22. Doch, ein eBook wird mit der Print-Ausgabe angeboten: eISBN: 978-1-4766-3700-6 Das eBook ist nicht auf der Verlagsseite direkt erhältlich, aber zeitgleich zur Buchversion auf den gängigen eBook-Seiten.
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