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  1. Liebwerte Buben und Mädels, Ihr müsst jetzt sehr, sehr tapfer sein! Denn Euere Geldbörse wird leer! Kritzerland is very proud to present a 2-CD set – the world premiere release of the original film tracks, along with a brand new mastering of the original LP re-recording of: THE MISSOURI BREAKS Music Composed and Conducted by John Williams Well, it seemed like a good idea: Pair two superstars coming off hugely successful films – Marlon Brando, whose last two films had been The Godfather and Last Tango in Paris, and Jack Nicholson, coming off Chinatown and One Flew Over the Cuckoo’s Nest – add in screenwriter Thomas McGuane, a well-respected novelist turned screenwriter, with Rancho Deluxe and 92 in the Shade (based on his novel) to his credit, and top it off with the great director Arthur Penn, who’d made the brilliant The Miracle Worker, Bonnie and Clyde and Little Big Man. Then hire some of the best character actors working then – Harry Dean Stanton, John McLiam, Randy Quaid, Frederic Forrest, and a fetching, strong-minded leading lady, Kathleen Lloyd and how could it fail? But fail it did, with both critics and audiences. But thanks to TV and home video, people have come to embrace the pleasures of the film. It looks great, thanks to the beautiful photography of Michael Butler, but even more importantly it has a musical score that just brings the whole thing alive, thanks to the great John Williams. Williams had already done big, brash, outdoorsy Americana before with The Reivers and The Cowboys. But The Missouri Breaks wasn’t big and brash, and so required a different kind of score – smaller in scale, but one that would capture the characters and the drama as well as the period and the feel of the film. And, of course, Williams delivered a perfect score (albeit atypical for him during this period), mostly composed for guitars, harmonica, percussion, and a handful of other instruments. Williams never wants for coming up with an instantly memorable and beautiful theme and The Missouri Breaks has a beauty in its love theme – never overused, always right. His main title music sets the mood with tense bass notes, and off-kilter harmonica and guitar – it’s wonderfully evocative and haunting. There are up-tempo infectious cues and cues for Brando that are really off-kilter. It’s Williams doing what he did (and still does) better than anyone, and it’s a score that’s completely unique to him. There was an LP release at the time of the film – that was a re-recording, and Williams, as he did frequently, arranged the music differently than the film, to work as a cohesive thirty-six minute album. That LP release was issued on CD, first by Ryko, who added three bonus tracks from the original film cues – the first time those had been heard outside the film (although, interestingly, those three cues contained no music that wasn’t in the re-recording) – and then by Varese Sarabande, which was a virtual clone of the Ryko CD. For this CD release, we are really pleased to present all of the original film tracks for the very first time – their world premiere release – from the original superb-sounding session masters. It’s leaner and meaner than the re-recording, and a completely different listening experience. A handful of cues went unused in the film itself, but we’ve included everything for this release. We also are including the original LP presentation but we’ve gone back to the original album masters so we could be at the original source for the best possible sound. So, here, at long last, is the complete original soundtrack cues for The Missouri Breaks. They’ve been a long time coming, but we hope you’ll find they’ve been worth the wait. THE MISSOURI BREAKS is limited to 1200 copies only. The 2-CD set is priced at $19.98, plus shipping. CD will ship the second week of August, but preorders placed at Kritzerland usually ship one to five weeks early (we’ve been averaging four weeks). Und der Preis ist heiß: 19.98 $ Wenn Ihr dem Link folgt, dürft Ihr auch probehören: http://www.kritzerland.com/mo_breaks.htm
  2. Am 27. September veröffentlicht Milan den Soundtrack "Filth" von Clint Mansell.
  3. Sparks & Shadows veröffentlicht am 28. Mai den Soundtrack zu Bear McCrearys "Da Vinci's Demons", mit einer Laufzeit von über 90 Minuten, digital. Eine 2-CD Collectors Edition folgt später dieses Jahr. Das Theme allein wurde bereits im April einzeln veröffentlicht und kann man sich hier probehören. Tracklist: 1. Da Vinci’s Demons Main Title Theme 2. Assassination in Milan 3. The Glider 4. Starlings 5. Sons of Mithras 6. Flight of the Columbina 7. Lucrezia Donati 8. Secret Archives 9. Ben Venga Maggio 10. Hidden Map 11. Prayer to Saint Michael 12. Story of the Shield 13. Cheval Toutes 14. Jacopo 15. Vlad the Third 16. Misereis Omnium 17. Visions of Lucrezia 18. Treasures of The Vatican 19. The Lullaby 20. Red River 21. Future Sons Mithras 22. Visions and Demons 23. The Astrolabe 24. The Lovers 25. Easter Mass 26. Da Vinci’s Demons End Credits
  4. WaterTower Records wird zu BATMAN: ARKHAM ORIGINS den Soundtrack von Christopher Drake veröffentlichen. Eine CD kann bereits bei Amazon.com bestellt werden: BATMAN: ARKHAM ORIGINS - Christopher Drake Nächste Woche werden wohl Samples veröffentlicht. Einmal mehr bin ich ein wenig mehr abgetöent von Arkham Origins, da einfach zu viele Brüche mit den alten, wirklich hervorragenden Spielen vorhanden sind: Ein neuer Komponist, der sicherlich nicht mehr das Thema von Nick Arundel und Ron Fish verwenden wird, Kevin Conroy und Mark Hamill sind nicht dabei, Rocksteady hat nicht entwickelt... Eine reine Geldmacherei wahrscheinlich.
  5. Kritzerland is proud to present a new limited edition release – two world premiere scores on one CD: HEAVEN CAN WAIT and RACING WITH THE MOON Composed and Conducted by Dave Grusin Heaven Can Wait, the 1978 remake of Here Comes Mr. Jordan, received glowing reviews and was a huge hit for Paramount. Warren Beatty, in addition to starring, co-directed (with Buck Henry), and co-wrote the screenplay (with Elaine May). An absolutely first-rate, perfect cast was assembled – in addition to Beatty and Buck Henry, the film also starred Julie Christie, Charles Grodin, Dyan Cannon, Jack Warden, Joseph Maher, and James Mason as Mr. Jordan. At Academy Awards time, Heaven Can Wait received nine Oscar nominations, including Best Picture, Best Writing, Screenplay Based on Material from Another Medium, Best Director, Best Cinematography, Best Actor (Beatty), Best Actor in a Supporting Role (Warden), Best Actress in a Supporting Role (Cannon), Best Art Direction-Set Decoration, and a Best Music, Original Score nomination for the film’s composer, Dave Grusin. One of the key elements of the film that makes it work so well is Grusin’s score. Composers and directors have to decide how much music any film should have. In the case of Heaven Can Wait, Grusin wrote a short score – Beatty clearly didn’t want the film loaded with music from start to finish. In the end, there was only about fifteen minutes of original Grusin music used, but what music it is! It’s a testament to what Grusin wrote that it seems like there’s much more music in the film than there actually is. His main theme, the jaunty and captivating “Heaven Walk,” is one of Grusin’s most memorable melodies – it’s used throughout and every time it appears it’s like having an old friend say hello. And then there is the gorgeous, simple, but hugely touching music for the romance of the Beatty and Christie characters. This is the world premiere release for Heaven Can Wait. In addition to what ended up in the film, we present the unused cues as well as some alternates as bonus tracks. This release was newly mixed from the original 16-track tapes housed in the Paramount vaults. Six years later, Paramount made Racing With the Moon, a film directed by actor Richard Benjamin, who’d had a huge critical and audience success two years earlier with his first film, My Favorite Year. The cast featured three actors who had made their screen debuts not too long before this film, and who were all on the cusp of stardom – Sean Penn, Elizabeth McGovern and Nicholas Cage, each of whom gives an incredibly appealing performance. As with Heaven Can Wait, the score was by Dave Grusin and it’s a beauty. Its tender themes glow with an incandescent beauty – one is period-flavored, while the other is more timeless in feel. Those themes alternate throughout the score, along with an infectious “Moon Boogie” and “Mendocino Station.” In addition to Grusin’s stunning work, there are several big-band 1940s source music cues that are very much a part of the fabric of the film; those cues were arranged and conducted by the amazing Billy May. This is the score’s world premiere release, and it includes the complete Grusin score, along with all the big band source music cues, all taken from the original stereo session tapes housed in the Paramount vaults. Heaven Can Wait and Racing With the Moon – two never-before-released Dave Grusin scores. Heaven indeed. Heaven Can Wait/Racing With the Moon is limited to 1000 copies only and is priced at $19.98, plus shipping. CDs will ship the last week of November, but preorders placed at Kritzerland usually ship one to five weeks early (we’ve been averaging four weeks). Quelle: http://www.kritzerland.com/heavenWait_moon.htm
  6. Hallo zusammen, da ich noch keinen eigenen Post für diese, wie ich finde, interessante und Halloweenesque Veröffentlichung gefunden habe: Quelle: http://store.intrada.com/s.nl/it.A/id.8285/.f Ich muss sagen, die Soundschnippsel klingen für das Alter wirklich klasse und viel besser als die Tonspur der alten DVD-Veröffentlichung die ich besitze. Das Ding ist direkt bestellt worden. Freue mich sehr drauf!
  7. Beim Film Music Reporter kann man lesen, dass die Musik zu ENDER'S GAME von James Horner kommen soll:
  8. Direkt bei Amazon.de kaufen: MAN OF STEEL (The Deluxe Edition) - Hans Zimmer MAN OF STEEL - Hans Zimmer Nun also doch... nachdem er erst sehr nobel abgesagt hat, weil für ihn es keine andere Superman-Musik als die von John WIlliams gibt, macht er nun doch die Musik für den neuen Superman-Film hier wirds auch gesagt.. War mir seine erste Entscheidung.. diesen Film aus Respekt gegenüber der Superman-Musik von John Williams nicht vertonen zu wollen, sehr sympathisch.. finde ich das hier nun eher fraglich... keine Ahnung, was ich davon halten soll..
  9. Demnächst von Kritzerland: POLTERGEIST II: THE OTHER SIDE (Komplett & Remastered) von Jerry Goldsmith: Quelle: FSM Forum
  10. Der Soundtrack zu Bounty Killer von Greg Edmonson, bestens bekannt für seine Uncharted Reihe und Firefly, wird am 15. Oktober digital veröffentlicht. Konnte jetzt allerdings nur Links auf amerikanischen Stores finden, vlt. kommts später dann auch bei uns an. Score klingt auf jeden Fall super und man hört auch Uncharted raus http://www.amazon.com/gp/product/B00FP1VOPO/ https://itunes.apple.com/us/album/bounty-killer-original-motion/id720916480
  11. Hell yes! Hätte nie gedacht, dass die wirklich noch ein 2. Score Album veröffentlichen... Klasse. 1. Breaking Bad “Sunset” End Credits (1:41) 2. The Bike Lock (1:50) 3. Follicles (1:25) 4. 308 Negra Arroyo Lane (1:23) 5. Eyeball in the Drawer (1:43) 6. Salud (2:58) 7. Building a Bomb (1:30) 8. Dead Freight (9:02) 9. Radiator (2:20) 10. White House Visit (2:07) 11. Almost Alaska (1:42) 12. Fumes (3:14) 13. Gas Can Rage (3:29) 14. Circling the Square (4:14) 15. To’hajiilee (3:56) 16. Hank’s Last Stand (2:27) 17. Chained Dog (3:16) 18. We’re a Family (1:39) 19. The Final Hat (2:14) 20. Dimple Pinch Neat (2:29) Auf iTunes erhältlich: https://itunes.apple.com/de/album/breaking-bad-original-score/id716944404?ls=1
  12. Hier die offiziellen Ankündigungen: BUYSOUNDTRAX Records presents the soundtrack for FIRE AND ICE, featuring music composed by William Kraft (AVALANCHE, THE CHISHOLMS) for the 1983 animated fantasy adventure directed by Ralph Bakshi (FRITZ THE CAT, WIZARDS, THE LORD OF THE RINGS), featuring characters created by artist Frank Frazetta, from a script by Roy Thomas and Gerry Conway, and featuring the voices of Randy Norton, Cynthia Leake, Steve Sandor, Sean Hannon, William Ostrander and Eileen O’Neill.. Produced during the height of the sword and sorcery craze, FIRE AND ICE takes place in a prehistoric land under siege by an evil queen, Juliana, and her son, Nekron. An ever expanding wall of glacial ice created by Nekron’s dark sorcery is their greatest weapon, smashing down the defenses of their opponents in the southern lands, which is quickly followed by their invading army of subhuman men who stomp out all resistance and capture whoever is left standing. Into this conflict is thrust the young warrior, Larn, who barely survives his first encounter with the subhumans. In a neighboring kingdom ruled by the kindly king, Jarol, a sinister plot unfolds as Nekron sends envoys to distract Jarol long enough to abduct his daughter, the beautiful princess, Teegra. Not to be underestimated, Teegra is able to escape from the subhumans on the road back to Nekron and she crosses paths with Larn. As they get to know each other and their feelings grow stronger, Teegra is recaptured by the subhumans during a crucial moment where Larn is occupied by the attentions of a giant octopus. Passing out from exhaustion. Larn awakens to find himself bound. Concerned he has been recaptured by the subhumans, Larn is relieved to discover that his captor is actually the lone warrior, Darkwolf, who only bound him to prevent him from opening up his wounds. Larn agrees to an alliance with Darkwolf, who has his own personal reasons for fighting and they form an alliance, agreeing to fight together against Nekron and Juliana and rescue Teegra. But can they reach her in time to prevent whatever cruel fate Nekron has in mind for her? Can Nekron’s dark reign be ended before the land is covered with glacial ice and there are no free men left to resist? Released in the summer of 1983, FIRE AND ICE offered the audience a unique visual experience. In his earlier features, Bakshi’s animation style had been marked by reliance on a technique called rotoscoping, in which his artists would take live action footage and trace over it, frame by frame, to create drawn images which were then animated. Unlike the use of silhouetted armies marching and battling through his previous animated films, the rotoscope process was used in FIRE AND ICE as the basis for the character movements and interactions, such as fights and chases. Presaging today’s use of motion capture in CGI-animation, Bakshi and Frazetta first spent 4-6 weeks filming live actors performing with simple props on a bare sound stage. That footage was rotoscoped and then animated one frame at a time in the manner of traditional cel animation. The end result was very fluid and lifelike movement. The effectiveness of those animated images was enhanced by the atmospheric background paintings that established the environment in which the characters lived, and it was in these paintings that Bakshi tried to replicate the look of Frank Frazetta’s artwork. The experience of watching FIRE AND ICE is greatly enhanced by its musical score, which was Bakshi’s first collaboration with William Kraft, a composer originally from the classical world. William Kraft’s music for FIRE AND ICE is a thunderous, large scale composition, developed and orchestrated not in a Hollywood fashion but in the manner of old school classicism. His previous film scores had been necessarily atmospheric and progressive but with FIRE AND ICE, the composer enjoyed the opportunity to be highly thematic. All of the main characters have their own themes, which interact constantly throughout the score. The music for FIRE AND ICE was orchestrated by Angela Morley, a noted film composer in her own right (WATERSHIP DOWN) who also orchestrated for John Williams throughout the 1990s. FIRE AND ICE was recorded at Paramount Studios with a large size orchestra, with Dan Wallin serving as music scoring mixer, which gave Kraft’s score a generously large sonic dimension. Evoking the sorceries of ages past and the unsung heroes of fable and fantasy, the score for FIRE AND ICE is a battle between beneficent heroism and dark sorcery, sculpting the film’s brutal landscape with heavy swaths of low horns, ascending trumpets, and plenty of percussion. William Kraft (b. 1923, Chicago) has had a long and active career as composer, conductor, timpanist/percussionist and teacher. He is Professor Emeritus at the University of California, Santa Barbara, where he served for 11 years (1991 - 2002) as Chairman of the Composition Department and Corwin Professor of Music Composition. From 1981 -85, Mr. Kraft was the Los Angeles Philharmonic's Composer-in-Residence. During his residency, he was appointed by executive director Ernest Fleischmann to serve as the founding director of the orchestra's performing arm for contemporary music, the Philharmonic New Music Group. Mr. Kraft had previously been a member of the Los Angeles Philharmonic for 26 years; eight years as percussionist, and eighteen years as Principal Timpanist. For three seasons, he was also assistant conductor of the orchestra, and thereafter, frequent guest conductor. Mr. Kraft has received numerous awards and commissions, including two Kennedy Center Friedheim Awards (first prize in 1990 for Veils and Variations for Horn and Orchestra, and second prize in 1984 for Concerto for Timpani and Orchestra; two Guggenheim Fellowships; two Ford Foundation commissions; fellowships from the Huntington Hartford Foundation and the National Endowment for the Arts; the American Academy and Institute of Arts and Letters Music Award; the Norlin/MacDowell Fellowship; the Club 100 Distinguished Artist of Los Angeles Award, the ASCAP Award; the NACUSA Award; the Eva Judd O'Meara Award; first place in the Contemporary Record Society competition; commissions from the Library of Congress, U.S. Air Force Band, St. Paul Chamber Orchestra, Kronos Quartet, Voices of Change, the Schoenberg Institute, consortium of Speculum Mucicae/San Francisco Contemporary Music Players' Contemporary Music Forum, The Boston Pops Orchestra, consortium of Pacific Symphony/Spokane Symphony/Tucson Symphony, the Los Angeles Philharmonic, among others. His works have been performed by the New York Philharmonic, Boston Symphony, Chicago and Philadelphia Orchestras, the Los Angeles Philharmonic, and other major American orchestras as well as in Europe, Japan, Korea, China, Australia and Israel. Recently completed recording projects are with the Czech Philharmonic, New England Conservatory and the Royal Liverpool Philharmonic. BUYSOUNDTRAX Records presents the worldwide soundtrack release of FIRE AND ICE in time for the 30th anniversary of the film’s release, featuring music composed and conducted by William Kraft. FIRE AND ICE was produced using the master elements in the composer’s archive, mastered by James Nelson of Digital Outland featuring liner notes by author Randall Larson, including new comments from the composer on the creation of this fantastic score. FIRE AND ICE is a limited edition release of 2000 units.The first 100 copies purchased directly from BUYSOUNDTRAX.COM will be autographed by the composer, William Kraft. BSXCD-8926 Original Motion Picture Soundtrack Fire and Ice Music by William Kraft $15.95 Ships the week of 4/29/13 1. Main Title/Prologue/The Subhumans Appear/Nekron 7:01 2. Spoils Of War/On The Run 5:28] 3. Meet Teegra 1:07 4. Teegra Is Abducted 2:44 5. Escape From The Subhumans 4:09 6. Lunch Is Served 1:14 7. Teegra Kills 1:29 8. Wolves/Dinner Guest 4:30 9. Larn And Teegra 2:42 10. Cephalopod Attack 1:11 11. Darkwolf 00:46 12. Botched Rescue 4:30 13. Roleil/Darkwolf's Stand 3:29 14. Thoughts Of Teegra 2:57 15. Roleil's Deal/Larn In Pursuit 2:43 16. Nekron's Madness 3:19 17. Nekron's Power 1:25 18. Larn Versus Nekron 2:31 19. Larn Escapes/Darkwolf Appears 2:38 20. Flight Of The Dragonhawks/The End Of Nekron/Reunited10:00 21. Fire And Ice End Title 3:35 BuySoundtrax Records is proud to present THE FILM MUSIC OF MICHAEL NYMAN FOR SOLO PIANO featuring piano performances by Joohyun Park. The recording will be available digitally, in stores, and from www.buysoundtrax.com on April 10th. “I started this piano album by concentrating solely on music from THE PIANO,” said Park. “All music of Michael Nyman has stunning, beautiful and dynamic melodies and it really began to capture my attention. I wanted to record more of Nyman’s work after working on the pieces from THE PIANO.” Pianist Joohyun Park was born in Kwang-Ju, South Korea. She began studying music at age 6. Park received both a Bachelor’s and Master’s Degrees of Piano from Yon Sei Univeristy (Seoul, Korea) and a Bachelor’s Degree of Contemporary Writing and Production from Boston’s famed Berklee College of Music. She has worked as a score coordinator, pianist, orchestrator and assistant composer for movies including PRIEST, THE INFORMERS, DRAG ME TO HELL, CREATION, WHEN IN ROME, THE BLACK TULIP and LOVE HAPPENS. A frequent performer for BuySoundtrax, Joohyun also performed THE MUSIC OF BATTLESTAR GALACTICA FOR SOLO PIANO. Though it was THE PIANO that launched Nyman in the US, his career had already been some three decades in the making by the release of the film that earned him a Golden Globe, and Ivor Novello, and BAFTA Award. Nyman studied at the Royal Academy of Music through the 1960s and, as a music critic, is credited with coining the musical term ‘minimalism.’ In the mid 1970s he began scoring films, most notably for director Peter Greenaway on films including THE COOK, THE THIEF, HIS WIFE AND HER LOVER, DROWNING BY NUMBERS, and THE DRAUGHTSMAN'S CONTRACT. Nyman’s film credits also include THE LIBERTINE, THE END OF THE AFFAIR, THE DIARY OF ANNE FRANK, CARRINGTON and GATTACA. Jeff Bond describes (in the album’s liner notes), “Nyman’s trademark as a composer may be the way he derives deep emotions from an essentially minimalist style. His scores can be lushly orchestrated or paired down to solo instrumentation, but his music often plays as portraits in miniature that reveal constrained, expressive feeling—longing bursting beneath the surfaces of the characters he writes for.” “Minimalism is emphasizing musical ideas by repetition with the very basic and little materials,” explained Park. “Nyman is a minimal music composer and pianist with great passion. It was a challenge to express minimal music that was written by the person who invented the term, but his great music also gave my passion great momentum. I am honored to produce a piano album of this great musician’s work.” THE FILM MUSIC OF MICHAEL NYMAN FOR SOLO PIANO will be available digitally, in stores, and directly from BuySoundtrax on April 10, 2013. THE FILM MUSIC OF MICHAEL NYMAN FOR SOLO PIANO is a limited edition release of 1000 units. The first 100 copies sold through www.buysoundtrax.com will be autographed by Pianist Joohyun Park. BSXCD-8925 Music From The Films Of Michael Nyman For Solo Piano Featuring Music From THE PIANO • GATTACA CARRINGTON • ENEMY ZERO A ZED & TWO NOUGHTS THE DIARY OF ANNE FRANK DROWNING BY NUMBERS Arranged and Performed by Joohyun Park $15.95 Ships the week of 4/29/13 THE PIANO 1. Big My Secret (2:46) 2. The Mood That Passes Through You (2:03) 3. Deep Sleep Playing (2:16) 4. Silver Fingered Fling (3:45) 5. The Attraction of the Pedalling Ankle (6:00) 6. The Heart Asks Pleasure First (2:34) CARRINGTON 7. Fly Drive (0:52) THE DIARY OF ANNE FRANK 8. If (5:08) 9. The School Room (2:58) DROWNING BY NUMBERS 10. Ship and Tides (2:22) ENEMY ZERO 11. Digital Tragedy (1:06) 12. Love (2:50) A ZED & TWO NOUGHTS 13. Time Lapse (3:33) GATTACA 14. Tomorrow (3:13) 15. Departure (2:47) THE PIANO 16. Lost and Found (2:33) Total Time: 46:39
  13. Als Erich Kunzel am 1. September 2009 verstarb kam auch die Aufnahmetätigkeit seines Cincinnati Pops Orchestras zum erliegen. Auch weil das Telarc-Label umstrukturiert wurde und der Plattenvertrag nicht verlängert wurde. Fast ein Jahr dauerte die Suche nach einem neuen Chefdirigenten und mit John Morris Russell ging es dann weiter. Die Suche nach einem neuen Label blieb wohl erfolglos. Also gründete das Orchester sein eigenes Label (Fanfare Cincinnati) und begann wieder mit Aufnahmen! Nach dem ersten Album im letzten Jahr (ein Weihnachtsalbum) kommt nun endlich wieder ein FILMMUSIK-SAMPLER der Cincinnati Pops auf den Markt! Ganz dem Zeitgeist entsprechend wird Musik für Superhelden dargeboten! "SUPERHEROES!" JOHN MORRIS RUSSELL / CINCINNATI POPS ORCHESTRA Musik von Goldsmith, Silvestri, Zimmer, Williams, Elfman u.a. Wer die bisherigen Alben des Orchesters kennt, weiß das uns wahrscheinlich eine grandiose Einspielung erwartet. Lassen wir uns überraschen. VÖ: 24. September 2013 Trackliste: 1. Main Theme from Spider-Man 2. Captain's March from Captain America: The First Avenger 3. The Dark Knight Suite 4. To the Rescue! A TV Superhero Theme Medley feat. Adam West 5. End Credits from Supergirl 6. Superman March from Superman 7. Thor Suite 8. I Am Iron Man from Iron Man 2 9. Star Spangled Man from Captain America: The First Avenger 10. The Launch (Conduktor's Theme) 11. End Credits from X-Men: The Last Stand 12. Make Way for Tomorrow Today from Iron Man 2 13. The Avengers from The Avengers 14. The Lonely Man Theme from The Incredible Hulk 15. Iron Man (Black Sabbath) Ich mochte diese Sampler schon immer und bin froh das es damit weiter geht. Von diesen Scores besitze ich fast keinen und finde es gut, mir die jeweiligen Hauptthemen auf einer einzigen CD kaufen zu können.
  14. Fox Music hat "The East" von Harry Gregson-Williams & Halli Cauthery digital veröffentlicht. https://itunes.apple.com/de/album/east-original-motion-picture/id696994130
  15. Der neue Wong Kar Wai Film, wieder mit Umebayashi Score, nur das halt Machély Additional Music beigesteuert hat, da Umebayashi noch nen anderen Film nebenbei laufen hatte. LKS bringt den jetzt demnächst raus. Hat im Film echt sehr gut gewirkt, allerdings wurden da auch diverse Sachen von Morricone und Coulais verwendet.
  16. Joseph LoDuca hat auf seiner Homepage geschrieben, dass er den Score zum ersten Evil-Dead-Film neu aufgenommen hat. Es ist der Teil eines Doppel-Albums, welches in naher Zukunft veröffentlicht werden soll.
  17. Filmmusicreporter hat soeben berichtet, dass Ramin Djawadi die Musik für Del Toro's Projekt "Pacific Rim" komponieren wird. Ramin Djawadi - PACIFIC RIM Und hier noch das Zitat von Del Toro: what ever...
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