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  1. Quelle: http://www.kritzerland.com/paternity.htm
  2. ... und wenn Ihr dem Link folgt, dürft Ihr auch ein bisschen probe : http://www.kritzerland.com/oHenry_irish.htm
  3. Kritzerland is proud to present a new world premiere limited edition release JOSEPH ANDREWS Composed and Conducted by John Addison In 1963, director Tony Richardson struck gold with his film adaptation of Henry Fielding’s Tom Jones. Beloved by critics and audiences, Jones was a huge hit, the fourth most successful film of that year and a winner of four Academy Awards – including Best Picture, Best Director and Best Score. Fourteen years and many films later, Richardson decided to pay Henry Fielding another visit, hoping the same formula would result in another box-office winner. This time the source was Fielding’s Joseph Andrews, the author’s first full-length published novel and, indeed, one of the earliest novels written in English. For the film, Richardson assembled a stellar team, both behind and in front of the camera. The cast included Peter Firth as the eponymous Joseph, Ann-Margret as Lady Booby, Michael Hordern, Jim Dale, Beryl Reid and Penelope Wilton (of Downton Abbey), along with cameos by John Gielgud, Hugh Griffith (repeating his role of Squire Western from Tom Jones) and Peggy Ashcroft. Also along for the ride was composer John Addison, who’d won the Oscar for Best Score for Richardson’s Tom Jones, and who had an amazingly long and fruitful composer/director collaboration with Richardson, resulting in great scores for films such as The Entertainer, A Taste of Honey, The Loneliness of the Long Distance Runner, The Charge of the Light Brigade, The Loved One, Dead Cert and The Phantom of the Opera. Addison’s score is wonderful and melodious music – it’s pastoral, jaunty and often quirky in its instrumentation, conjuring up the world of Fielding and all of the film’s colorful characters. Addison was a master at this kind of score and Joseph Andrews is prime John Addison. This world-premiere release of Addison’s music for the film was taken from the mono mixdown tapes, which were in great condition in the Paramount vaults. Joseph Andrews is limited to 1000 copies only and is priced at $19.98, plus shipping. CDs will ship by the third week of February, but we’ve been averaging three to four weeks early in terms of shipping ahead of the official ship date. Und wenn Ihr dem Link folgt, könnt Ihr a bisserl "Probehören": http://www.kritzerland.com/josAndrews.htm
  4. quelle: http://www.kritzerland.com/buccaneer.htm Habe die Varese-Ausgabe; ich warte mal ab, wieviel da mehr drauf ist... edit: Wann kommt endlich das 3-CD-Set von den Ten Commandments ???
  5. Kritzerland is proud to present a new limited edition release – three great scores on two CDs at a 1-CD price: JOHN WAYNE AT FOX – THE WESTERNS THE COMANCHEROS, NORTH TO ALASKA, THE UNDEFEATED Composed by Elmer Bernstein, Lionel Newman, Hugo Montenegro John Wayne at Fox – not a lot of films, but some extraordinarily entertaining ones. The Comancheros (1961), based on the 1952 novel by Paul I. Wellman, was directed by Michael Curtiz, the great director who’d done any number of classics, including some of the most beloved films of all time – Casablanca, The Adventures of Robin Hood, Captain Blood, Angels With Dirty Faces, The Sea Hawk, Yankee Doodle Dandy, Mildred Pierce, White Christmas, to name just a handful. Starring were Wayne, Stuart Whitman, Ina Balin, Lee Marvin, Nehemiah Persoff and Bruce Cabot. It’s a wonderful film with colorful performances, gorgeous photography, and a rousing musical score by Elmer Bernstein. At the time, Bernstein had just written what would become one of the most iconic western scores ever, The Magnificent Seven. The Comancheros was his follow up western score, and it, like the film it graces, is colorful, bigger than life, and filled with action and adventure. You know what you’re in for as soon as the first chords of the main title music begin, one of Bernstein’s all-time classic themes. But the score is rife with melody and invention and Bernstein’s music is as iconic and big as the Duke himself. A year earlier, the John Wayne Fox western was North to Alaska, a big, sprawling comedy western starring the Duke, Stewart Granger, enticing Capucine, Ernie Kovacs and teen heartthrob Fabian. The score, credited solely to Lionel Newman, but containing music by several others, fits the film like a glove. It’s got a tuneful title song by Mike Phillips, a nice song for Fabian called “If You Knew” and some fun original orchestral cues by Newman. Next we jump to the third of the Fox Wayne westerns, the 1969 film The Undefeated, starring Wayne and Rock Hudson, along with Roman Gabriel, Lee Meriwether, Bruce Cabot, Ben Johnson, Jan-Michael Vincent, Harry Carey, Jr., Paul Fix, Richard Mulligan, John Agar and Dub Taylor. Hugo Montenegro’s music for The Undefeated is big as all outdoors, with strong themes and a real sense of storytelling. As with many Western scores, there’s a lot of Copland “Americana” as well as a stirring main theme, some great dramatic scoring, some Mexican-flavored cues and even a hoedown Both The Comancheros and The Undefeated were previously released on CD by FSM, and North to Alaska was released on CD by Intrada – all are out of print – in the case of The Comancheros, for many years. But we’re pleased to bring them all together in one great 2-CD set – they’ve all been newly remastered for this release. John Wayne at Fox – The Westerns is limited to 1000 copies only and is priced at $19.98, plus shipping. Our hope is that CDs will ship by the last week of December or hopefully even sooner, but this is the busiest time of year for pressing plants, so there is the off chance that it could be early January. But the hope is to have them out the door before Christmas. Quelle:
  6. 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
  7. 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
  8. Demnächst von Kritzerland: POLTERGEIST II: THE OTHER SIDE (Komplett & Remastered) von Jerry Goldsmith: Quelle: FSM Forum
  9. Kritzerland is proud to present a world premiere limited edition CD release: THE PLEASURE OF HIS COMPANY [In angenehmer Gesellschaft ] Music Composed and Conducted by Alfred Newman Take an all-star cast (including Fred Astaire, Debbie Reynolds, Lili Palmer, Tab Hunter, Gary Merrill and Charlie Ruggles), a hit Broadway show (The Pleasure of His Companyby Samuel Taylor and Cornelia Otis Skinner), a world-class director (George Seaton), and what could possibly go wrong? The answer is, in a word – nothing. The plot is a bubbly confection about a ne’er-do-well rich man named “Pogo” Poole (Astaire), who returns from his many travels to attend the wedding of his daughter Jessica (Reynolds), a debutante who hasn’t seen her father since he and her mother (Palmer) divorced. As in all bubbly confections, there are complications, misunderstandings, charm, laughs and the eventual happy ending. The Pleasure of His Company has all these in spades with an emphasis on the “pleasure.” Hired to compose the score was the great Alfred Newman, who’d recently ended his long tenure at Twentieth Century-Fox. Newman had scored several of director George Seaton’s early films, including Chicken Every Sunday, The Big Lift, For Heaven’s Sake and Anything Can Happen, and just as Seaton had migrated from Fox to Paramount, so, too, did Newman. There he scored both The Pleasure of His Company and Seaton’s next Paramount film, The Counterfeit Traitor. It’s hard to imagine a more luscious, melodic, beguiling and captivating romantic comedy score than what Newman delivered for The Pleasure of His Company. The score gets off to a stunning start with a great Newman theme, “Lullaby in Blue” – a theme that is the cornerstone of the score and will reappear at frequent intervals. The main secondary theme occurs soon thereafter, Newman’s Pleasure of His Company theme. There’s a wonderful theme for Astaire, a kind of “traveling music” that is infectious and fun. And there are other lovely themes along the way to the happy ending. The score is like a sparkling glass of champagne – sophisticated, lush, witty, tender and pure Newman. This is the first CD release for The Pleasure of His Company and we present the complete score, the source music, and some demo cues, mostly in stereo from the original session masters housed in the Paramount vaults. A world premiere score release by Alfred Newman is always cause for celebration – so, pop open the champagne and be prepared to be charmed by one of the greatest film composers who ever lived. The Pleasure of His Company is limited to 1000 copies only and is priced at $19.98, plus shipping. CD will ship the last week of October, but preorders placed at Kritzerland usually ship one to five weeks early (we’ve been averaging four weeks). Quelle: http://www.imdb.com/title/tt0055307/?ref_=fn_tt_tt_1 Dort könnt ihr auch mal ´rein
  10. Vor ca. 10 Stunden vermeldete Bruce Kimmel Folgendes bei Facebook: Was DAS wohl sein mag? THE TEN COMMANDMENTS von Bernstein in der Original-Einspielung?
  11. Kritzerland is proud to present a world premiere limited edition soundtrack CD release – two great film scores on one great CD: THE FAR HORIZONS Music Composed and Conducted by Hans Salter and SECRET OF THE INCAS Music Composed and Conducted by David Buttolph Two movies from the Golden Age, both starring Charlton Heston, a double bill in the old style – well-made pictures designed solely to entertain. The Far Horizons holds the distinction of being the only major motion picture made about the Lewis and Clark Expedition. Based on a fictional novel by Delia Gould Emmons, the film combined fact and fiction in its depiction of the two-year expedition. Heston played Lt. William Clark; co-starring as Captain Meriwether Lewis was Fred MacMurray. The director was Rudolph Mate, and the film was shot in gorgeous Technicolor and Paramount’s then-new widescreen process, VistaVision, by Daniel Fapp. And it has a terrific score by Hans J. Salter. For a composer whose name is rarely included among the top composers for film, Hans J. Salter scored an amazing number of beloved horror and sci-fi films, including Man Made Monster, The Black Cat, The Wolf Man, Frankenstein Meets the Wolf Man, Son of Dracula, House of Frankenstein, Creature from the Black Lagoon, This Island Earth, The Mole People and The Incredible Shrinking Man, but he was equally at home in every genre and wrote great scores for such diverse films as Hold That Ghost, Fritz Lang’s Scarlet Street, The Strange Affair of Uncle Harry, Magnificent Doll, The Reckless Moment, Against All Flags, The Black Shield of Falworth, Autumn Leaves, Hold Back the Night, Come September, If a Man Answers, and Bedtime Story, to name but a few from his extraordinarily prolific career. And he also scored a number of western and adventure films, including Bend of the River, The Far Country, Man Without a Star, Wichita and many others. His score for The Far Horizons is a majestic beauty, with a wonderful main theme that gets plenty of variations, along with some great dramatic scoring. For this CD, we present all the surviving cues, which thankfully constitute most of the score. It’s movie music in the grand tradition – full-bodied, emotional, and filled with melody. The score is presented in mono. Here’s the plot for Secret of the Incas: A legend says that the Inca Empire was destroyed by the gods when a starburst of gold and jewels was stolen from the Temple of the Sun many centuries ago. The legend continues that the empire will be reborn once the treasure is returned. Now, an adventurer is seeking the treasure, as is his nemesis. The adventurer wears a brown leather jacket, a fedora, tan pants, and an over-the-shoulder bag and revolver. Sound familiar? Can we say Indiana Jones? But this was 1954, and the adventurer was Harry Steele, played by Charlton Heston. Secret of the Incas was definitely an inspiration for the Indiana Jones series. It was and is a fun picture. Shot on location in Peru at Cuzco and Machu Picchu (the first major Hollywood film to shoot at those locations), with a great cast that, in addition to Heston, included Thomas Mitchell, Robert Young, Nicole Mauray, and the then very popular exotic singer, Yma Sumac. Helping to make it so much fun is the film’s musical score by David Buttolph. Like Hans J. Salter, David Buttolph is a bit of an unsung film composer. Buttolph, over the course of his extremely prolific career, scored hundreds of films, including some pretty great movies such as This Gun for Hire, The House on 92nd Street, Somewhere in the Night, 13 Rue Madeleine, The Brasher Doubloon, Kiss of Death, The Enforcer, House of Wax, The Beast from 20,000 Fathoms, Phantom of the Rue Morgue, Long John Silver, The Lone Ranger, The Horse Soldiers, and PT 109. He also moved into television scoring, working on such series as Laramie, Wagon Train and The Virginian. Buttolph’s score for Secret of the Incas is exotic and adventure-filled like the film. Because of Yma Sumac’s involvement, it was decided to use a piece of music that was from one of her albums, specifically “High Andes” by Moises Vivanco, which Buttolph uses sparingly. Otherwise, Buttolph has memorable themes of his own, underscoring all the adventure, romance and thrills. For this CD we present all the surviving film cues in glorious stereo sound. THE FAR HORIZONS/SECRET OF THE INCAS is limited to 1000 copies only. The price is $19.98, plus shipping. CD will ship the first week of August, but preorders placed at Kritzerland usually ship one to five weeks early (we’ve been averaging four weeks). Und wenn ihr dem Link http://www.kritzerland.com/horizons_incas.htm folgt, dürft ihr das hübsche Cover sehen und könnt in die Musik hineinhören!
  12. Kritzerland is proud to present a limited edition soundtrack CD release – three great film scores on one great CD: ELEPHANT WALK/BOTANY BAY/STALAG 17 - FRANZ WAXMAN AT PARAMOUNT Music Composed and Conducted by Franz Waxman Franz Waxman at Paramount. One great composer, one great studio, and an astonishing batch of scores. If Waxman had written only Sunset Blvd. and A Place in the Sun for Paramount he would have been assured his place in the pantheon of great film composers. But he wrote many other fantastic scores for the studio as well, including Sorry, Wrong Number, Alias Nick Beal, Rope of Sand, The Furies, Dark City, Come Back, Little Sheba, Rear Window, Career, and the three scores we’re offering on this world premiere CD release: Elephant Walk, Botany Bay, and Stalag 17. The films are as different as can be, but Franz Waxman brings his musical genius to each. For all three scores we present all of the surviving musical cues. We begin our triple bill with Elephant Walk, a Paramount picture from 1954 starring Elizabeth Taylor, which featured an outstanding score by Franz Waxman. Right from the first chords of the “Prelude,” its lush theme transporting us immediately into the world of the film, we know we are in the safe and brilliant hands of a composer at the top of his game. What follows demonstrates Waxman’s usual adeptness at capturing mood, incident and characters, including his splendid dramatic action cue for the film’s climactic “Elephant Stampede.” While it’s a shame that the entire score hasn’t survived, the cues presented here – in beautiful-sounding stereo – are an excellent representation of Waxman’s contribution to the film. Next up is the 1953 Paramount film Botany Bay, starring Alan Ladd, James Mason, Patricia Medina, Cedric Hardwicke, and Murray Matheson. Waxman’s “Prelude and Foreword” sets the tone of the film and its tale. From there he provides a textbook on film scoring, with adventure and drama on the high seas, with heroes and villains, with drama and suspense – all with the classic Waxman sound. Happily, the majority of the score cues have survived for Botany Bay – close to forty minutes of music, all in crisp, clear mono sound. Stalag 17, the last of our Waxman triple bill, began life as a stage play. In 1953, it was brought to the screen by Paramount Pictures and director Billy Wilder. The film starred William Holden, who won an Oscar for his performance. Stalag 17 is one of the great prisoner-of-war films, right up there with The Great Escape and The Bridge on the River Kwai, both of which came later. For the film, Franz Waxman came up with a brief but perfect score, utilizing “When Johnny Comes Marching Home” as its basis. Otherwise, it’s percussion and brief bits of scoring that work wonderfully well in the film. Again, Waxman’s innate approach to material and his knowing when music is necessary and when it isn’t is what made him one of the greatest film composers in the history of movies. The main title, with its propulsive drums and treatment of “When Johnny Comes Marching Home,” is the perfect start to the film. We present the surviving tracks in mono, as they were recorded. ELEPHANT WALK/BOTANY BAY/STALAG 17 – FRANZ WAXAN AT PARAMOUNT is limited to 1000 copies only. The price is $19.98, plus shipping. CD will ship the last week of July, but preorders placed at Kritzerland usually ship one to five weeks early (we’ve been averaging four weeks). Quelle: http://www.kritzerland.com/waxmanTrio.htm
  13. Und wenn ihr dem Link folgt http://www.kritzerland.com/myGeisha.htm könnt ihr wieder ein paar Tracks !
  14. Kritzerland is proud to present a new limited edition soundtrack release to one of the most beloved classics ever: LAURA - Music Composed by David Raksin Laura—both the 1944 film and the immortal David Raksin score that supports and, in the opinion of some, lends it classic status—is the ultimate in noir-ish Hollywood glamour: a dark masterpiece that somehow transcended all the difficulties strewn along its path to production to become one of the great exemplars of the accidental artistry of a largely commercial studio system. With a brilliant cast, including Dana Andrews, Gene Tierney, Clifton Webb, Vincent Price, and Judith Anderson, and sublime direction by Otto Preminger, Laura, based on the novel by Vera Caspary, is as iconic a film noir as there ever was. The film is filled with classic bon mots, most of them coming from Clifton Webb as the acerbic Waldo Lydecker. “I should be sincerely sorry to see my neighbor’s children devoured by wolves,” or “I don’t use a pen, I write with a goose quill dipped in venom,” or “I cannot stand these morons any longer. If you don’t come with me this instant I shall run amok.” The film, which runs a brisk eighty-eight minutes, was nominated for four Academy Awards – Clifton Webb received a Best Supporting Actor nomination and the others were for screenplay, director, art direction, and photography. It took home the prize for Joseph LaShelle’s velvety beautiful black-and-white photography. But what becomes a legend most? In the case of Laura it is clearly one of the greatest movie themes ever written. Laura was David Raksin’s first major composing assignment and he delivered the goods, with a breathtakingly beautiful monothematic score that fits Laura like a glove. Shockingly, there were twenty best score nominations in 1944 and Laura was not one of them. But the theme and the score have endured and grown even more popular over the years. Many singers have recorded the song (with its lyric by the great Johnny Mercer), and there have been an equal number of instrumental and jazz covers – in fact, during Raksin’s lifetime it was said to be the second most recorded song in history. In tandem with the film’s release on Blu-ray, we are thrilled to present for the first time on CD, the complete score for Laura. The previous CD release on Arista, which has been out of print for many years, was missing about ten minutes of cues. Additionally, what was presented was compiled into a twenty-seven minute suite with no track breaks – one long track. That release was taken from a reel-to-reel tape, but for this complete release the original elements were used. Additionally, we include as a bonus some test demos and the entire suite from the previous release. In total, eighteen tracks of prime David Raksin, and a score that truly stands the test of time. Laura – a movie and musical masterpiece. Laura is limited to 1000 copies only. The price is $19.98, plus shipping. CD will ship the second week of March but preorders placed at Kritzerland usually ship one to five weeks early (we’ve been averaging four weeks). Quelle: http://www.kritzerland.com/Laura.htm
  15. Kritzerland is proud to present a world premiere limited edition soundtrack release: CAREER Music Composed and Conducted by Franz Waxman In 1959, Paramount brought Career (based on James Lee’s hit off-Broadway play) to the screen with a terrific cast including Dean Martin, Anthony Franciosa, Shirley MacLaine, Carolyn Jones, Joan Blackman, and Robert Middleton. The film was directed by Joseph Anthony, who was a successful theater director and an expert at turning plays into films – prior to Career he’d already done two for Paramount: The Rainmakerand The Matchmaker. The film was a success with audiences and critics, and received three Academy Award nominations – Best Art Direction (Hal Pereira, Walter H. Tyler, Samuel M. Comer, Arthur Krams), Best Cinematography (Joseph LaShelle), and Best Costume Design (Edith Head). But the film shines in every department, none more so than with its dynamic score by Franz Waxman. From the exciting opening chords that lead directly into the big city theme, the score is absolutely thrilling. It is the kind of dramatic scoring that Waxman did so brilliantly. He gets inside the drama and the characters – the yearning, the hunger, the nastiness, the competiveness, the romance, the first taste of success, the bitter taste of failure after failure – it’s brilliant music from start to finish. By the time of Career, Waxman’s own career was filled with masterpiece after masterpiece – the 1950s alone brought forth Sunset Blvd., My Cousin Rachel, A Place in the Sun, Prince Valiant, Demetrius and the Gladiators, Rear Window, The Silver Chalice, Mister Roberts, The Spirit of St. Louis, Sayonara, Peyton Place, and The Nun’s Story – to name just a few. During his long and distinguished career, he was nominated for twelve Oscars and took home the prize twice, for Sunset Blvd. and A Place in the Sun. He had a unique musical voice and will forever hold a high place in the pantheon of great film composers. Waxman’s score for Career is presented here complete and in stereo from the original session tapes housed in the Paramount vaults. We’ve included several bonus cues that appear in the film, including the source music song “(Love Is a) Career” by Sammy Cahn and James Van Heusen, and a little dance music cue composed by Gus Levene, as well as a couple of the cues from the mono music stem. It’s always thrilling to be able to bring an unreleased Franz Waxman score to CD, especially one as dynamic and beautiful as Career. Career is limited to 1000 copies only. The price is $19.98, plus shipping. CDs will ship the second week of December. Quelle: http://www.kritzerland.com/career.htm
  16. Kritzerland is pleased to present a world premiere limited edition soundtrack release: STRATEGIC AIR COMMAND Music Composed and Conducted by Victor Young In 1955, Paramount Pictures released the second film in their new VistaVision format –Strategic Air Command. With its extraordinary aerial footage and location shooting, VistaVision would really come into its own. The film was, in a word, breathtaking. Add to that a great cast headed by James Stewart, June Allyson, Frank Lovejoy, Barry Sullivan and Harry Morgan, the great cameraman William H. Daniels, a terrific screenplay by Valentine Davies (book and film of Miracle on 34th Street, The Bridges at Toko-Ri, The Benny Goodman Story, The Glenn Miller Story) and Beirne Lay Jr., and great direction by Anthony Mann (many great noirs, an incredible run of western films starring James Stewart, and the magnificent El Cid), and you had a recipe for success. Strategic Air Command was the sixth-highest grossing picture of 1955. The New York Times’ Bosley Crowther raved, “Never, in many years of looking at Air Force and aviation films, have we seen the familiar wide blue yonder so wide or so magnificently displayed as it is in the VistaVision process used to project Strategic Air Command. But above all, there are those airplanes, the roaring engines, the cluttered cockpits, the clouds and sky. These are the things that make your eyes bug out and your heart leap with wonder and pride.” And one of the primary reasons the heart leaps with wonder and pride is the film’s stunning musical score by Victor Young. Young’s body of work is astonishing, and includes such great scores as Golden Boy, Reap the Wild Wind, The Glass Key, The Palm Beach Story, The Uninvited, The Great Moment, Ministry of Fear, Love Letters, To Each His Own, Golden Earrings, The Big Clock, State of the Union, The Paleface, The Night Has a Thousand Eyes, Samson and Delilah, Gun Crazy, Bright Leaf, Rio Grande, Scaramouche, The Quiet Man, Shane, Three Coins in the Fountain, Johnny Guitar, The Country Girl, Around the World in Eighty Days, and that is only the very tip of the Victor Young iceberg. Young’s score for Strategic Air Command is one of his greats. It has everything you’d want in a score – a rousing main title march, beautiful and emotional music for the drama, and, above all, some of the greatest “flying” music ever written for the screen. Young’s scoring of the flying scenes virtually turns those sequences into ballets of flight, a sky symphony of enduring beauty. This is the world premiere release of Strategic Air Command. The music masters were mono (the film was also mono, but its original engagements used the Perspecta soundtrack, a kind of fake stereo) and mostly in very good condition, housed in the Paramount vaults. A couple of tracks only existed on acetates (which we cleaned up as best we could), and a handful were too damaged to use at all. There have not been nearly enough Victor Young scores released on CD, and we’re especially thrilled to bring out this particular example, as it presents all of Young’s strengths as a film composer and a brilliant melodist. They don’t come much better. Strategic Air Command is limited to 1000 copies only. The price is $19.98, plus shipping. CD will ship the second week of October – however, never fear, preorders placed directly through Kritzerland usually ship one to five weeks earlier (we’ve been averaging four weeks early). Wenn Ihr dem Link folgt, könnt ihr auch mal ´reinhören: http://www.kritzerland.com/sac.htm
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