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  1. 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/
  2. DOLPHINS (Soundtrack, 16 Titel/52 Min). Seit 12.10.20 weltweit im digitalen Handel erhältlich. Die Musik, komponiert von Marcel Barsotti wurde eingespielt von den Starsolisten Daniel Hope (Violine), Adrian Brendel (Cello), Sebastian Knauer (Piano), dem NDR Radio Sinfonieorchester und dem Brahms Chor. Der Score zu dem gleichnamigen Film des verstorbenen Regisseur Farhad Yawari wurde von Marcel Barsotti komponiert und ist lief zwei Wochen auf der Bestenliste CLASSICAL NEW RELEASES von Spotify . Der Film erhielt viele weltweite Auszeichnungen, u.a. den Palmsprings Award und den Slamdance Award.
  3. 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/
  4. 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/
  5. 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/
  6. Die aus der Feder stammende Filmmusik von Marcel Barsotti zu dem Action-Fantasy Spielfilm „OH SHIT!“ des Starregisseurs Christoph Schrewe (Borgia) wurde vom Records TFM veröffentlicht. Die 61 minütige, temporeiche Action/Comedy-Filmmusik mit 28 Tracks wurde 2009 im orchestralen- und Bigband Stil komponiert. Der Film findet im Ausland große Beliebtheit und ist eine SciFi Persiflage auf Murphys Gesetz. Die aus der Feder stammende Filmmusik von Marcel Barsotti zu dem Action.docx
  7. Hallo, liebe Community! Anbei findet ihr den Link zu meinem Blog, wo ihr meine Review zum Captain Marvel-Score lesen könnt. Viel Spaß und ich freue mich über Feedback! https://scoregeek.wordpress.com/2019/03/15/captain-marvel-pinar-toprak/
  8. 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/
  9. THE POET Neuer Digital Soundtrack Release Die Filmmusik zu dem internatioanlen Kinofilm THE POET schrieb der Schweizer Filmkompoinist Marcel Barsotti. Soundtracks TFM hat sich zur Aufgabe gemacht viele verschollene Soundtracks digital wieder zu veröffentlichen, darunter auch THE POET von Regisseur Paul Hills.In der internationalen Thriller-Kinoproduktion spielen die Hauptrollen Dougrey Scott (Mission Impossible) und Laura Harring (Mullholland Drive). Die Musik von Marcel Barsotti wurde mit dem Berliner Filmorchester Babelsberg aufgenommen. Das Thema "Drive through the Rain" läuft erfolgreich weltweit in den Radiostationen, Richtung Love Jazz Score. Das Album ist erhältlich u.a. auf iTunes, spotify, cd baby, amazon, YouTube, YouTube Music, Shazam, Apple Music... https://open.spotify.com/album/4qysMmu7H9oO1Q49VPgLN4?si=k4NbZzOhRzCLd5DwWY-rBg
  10. Hey Leute, ich habe zusammen mit einem guten Kumpel einen Youtubechannel aufgemacht, in dem es um Filme und Serien geht. Enthalten ist ein Podcast alle 2 Wochen und auch Specialvideos über verschiedene Themen. Unser letztes drehte sich um Soundtracks und deren Geschichte. Vielleicht schaut ihr mal vorbei https://www.youtube.com/watch?v=plwuzWe8c4s&t=6s
  11. THE POWER. Brandneuer Release Original Motion Picture Soundtrack, 33 Titel, 83 Minuten Zum ersten Mal wird weltweit die Indie Alternative Horrorfilmmusik zu dem gleichnamigen englischen Kinofilm THE POWER von Regisseur Paul Hills veröffentlicht. Die Musik dazu schrieb Marcel Barsotti, der u.a. neben Gitarren, Bass und Schlagzeug auch ethnische Instrumente wie die DraNgen oder die Zheng Harp für den Film einspielte. Die Streicher wurden mit dem Bratislava Sinfonieorchester unter der Leitung von Ferran Cruixant aufgenommen.
  12. Original Soundtrack THE BIBLE CODE. Seit heute steht der Soundtrack zum ersten Mal weltweit auf allen Download- und Streaming Plattformen zur Verfügung, u.a. spotify, itunes, apple music, youtube music, cd baby oder napster. Der 180 minütige, internationale SciFi-Fantasy Thriller von Mr. Robot Regisseur Christoph Schrewe wurde komplett neu gemastered, mit neunem Cover und läuft seit 2008 weltweit in über 50 Länder und wurde in über 10 Sprachen übersetzt. Die knapp 80 minütige, mystische Orchestermusik von Marcel Barsotti unterstreicht das mystische Fantasy-Epos um die Entschlüsselung des Bibel Codes.
  13. Ab heute ist weltweit der Soundtrack zu der Til Schweiger Kinokomödie „WO IST FRED?“ zum ersten Mal als komplette digitale Filmmusik erhältlich. Hinzugekommen sind sieben neue Filmmusiken aus dem Film, u.a. Küsschen, Speedy, Zang Boom Peng oder Basketball. Zum Soundtrack Start läuft morgen der Film auch im Fernsehen auf SAT 1 Gold um 22.10 Uhr. Ab kommenden Montag findet eine bundesweite Bemusterung aller Radiostationen statt. Am 08.01. startet weltweit die englische Soundtrack Version „WHERE`S FRED?“ auch in den USA. Die Komödie ist seit 2006 ein weltweiter TV Hit, in den Hauptrollen Til Schweiger, Alexandra Maria Lara und Jürgen Vogel. https://open.spotify.com/album/1Mu3KmoFVx4VouzddMxVHq?si=Zup7uyZORx6A8UQkZCVYsQ
  14. 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/
  15. 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/
  16. Caldera Records is proud to present the score for the motion picture “Ambition” from 1991, directed by Scott Goldstein, featuring music by Leonard Rosenman. Actor and writer Lou Diamond Phillips developed a story about an aspiring writer who has trouble finding a job, and has to support himself – as most aspiring writers do – by working odd jobs. His character Mitchell Osgood runs a bookstore when one day he stumbles across a potentially interesting story. If he can investigate and write it down, so Mitchell thinks, it could be his big break as a journalist. The subject of his investigation is a man named Albert Merrick, a serial killer who is up for parole. Who is this man, Mitchell wonders, and what motivated him to commit the awful crimes he was sentenced for? One of the stars of the film is, undoubtedly, a man behind the scenes: Leonard Rosenman. It was clear to Rosenman and Scott Goldstein that the score should have a progressive, rather than conventional harmonic structure. They agreed that this would help to underscore Merrick’s (the antagonist) horrific, troubling visions and this approach would help capture his state of mind musically. Goldstein suggested Rosenman play him some of his concert music as a blueprint for “Ambition”. Encouraged to be able to draw upon his “progressive” work for the concert stage, Rosenman presented Goldstein with “Foci”, a work for chamber orchestra that the composer had written in 1981 and revised in 1983. Goldstein loved what he heard and commenced to use “Foci” as temp music for “Ambition”. “Foci” is an atonal piece, complex and full of anxiety – exactly what Goldstein needed for his motion picture. The 31st 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 produced by Stephan Eicke and John Elborg. Music Composed and Conducted by Leonard Rosenman Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Ambition 1. Main Titles (3:23) 2. A New Project (1:31) 3. A Sleepless Night (1:40) 4. Albert Merrick (0:27) 5. The Worst Nightmare of the Day (1:48) 6. Confrontation (1:24) 7. What Makes Him Tick? (1:01) 8. Visions (0:41) 9. Room 301 (1:51) 10. Brave and Brutal (1:02) 11. A Good Friend of Mine (0:37) 12. Cancer, Psychosis, Anything (0:49) 13. Does It Hurt? (1:22) 14. A Matter of Timing (1:40) 15. Where is Mitchell? (0:45) 16. Cat and Mouse (2:02) 17. On Knife’s Edge (1:20) 18. Help Me Out (3:35) 19. On a Sinister Mission (1:26) 20. Jordan (1:04) 21. A Tasty Drug (0:54) 22. Against the Clock (4:12) 23. The Final Duel (0:55) 24. End Credits (3:51) Listen to a 5 min clip here: https://soundcloud.com/alderaecords/ambition-leonard-rosenman For more information please visit: http://caldera-records.com/portfolio/ambition/
  17. Hey, Ich suche diesen Track (Anhang). Leider weiss ich weder den Interpreten, Songtitel noch den Film (falls er überhaupt in einem war) Ich benötige den Song für eine Show und die Angaben damit ich das ganze bei der Gema anmelden kann. Ich habe schon einige Leute gefragt, die auch in de bereich arbeiten, leider ohne Erfolg Ich würde mich freuen, wenn mir jemand den Interpreten und titel nennen kann. Ggf. auch hinweise wo ich noch suchen könnte Ps. Der name der Datei ist natürlich nicht der Name des Titels Danke schonmal freundlichen Gruß, advexxx THE VOID.mp3
  18. C6029 Caldera Records is proud to present the score for the motion picture “The Baby” from 1973, directed by Ted Post, featuring music by Gerald Fried. The motion picture, marketed as a horror film, tells the story of a dedicated social worker takes on a case involving a grown-up man still in diapers. It doesn’t take long for the disturbed social worker to figure out that ‘Baby’s’ family deliberately keeps the retarded man-child from maturing. There are even more disturbing facts to note: the disappearance of previous social worker being the most unsettling. But lo and behold, the new social worker finds herself confronted with the ‘Baby’s’ family who, so it seems, is out to silence her. Gerald Fried’s music provides a phonic reminder that things may not be as presented; a harmonic harbinger of hidden dread. Fried’s resonantly descriptive dissertation is centered around a somber and melancholy etude, offered first in cello solo (performed by the esteemed Edgar Lustgarten), and expanded into a dreamlike lullaby, which sustains the film’s emotional capital throughout. This forlorn, needful melody acts as a guiding constant with the netherworld atmosphere created by Gerald Fried’s eerily sublime orchestration – a creepy and unsettling realm of threatening rattles, hypnotic chimes, and nightmarish music box tinkling. The 29th CD-release of Caldera Records features a detailed booklet-text by David Fuller and Stephan Eicke and elegant artwork by Luis Miguel Rojas as well as an exclusive audio commentary by Gerald Fried. 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 The Baby 1. Main Title (2:49) 2. Meet the Baby (0:37) 3. Sitter (0:54) 4. Evil Eye (0:55) 5. Hatchet Wielders (0:37) 6. Slides (1:39) 7. Maloche (0:30) 8. Germaine (1:06) 9. Anne’s Closeup (0:53) 10. Ruth Complains (0:32) 11. Anne and Baby Gone (1:17) 12. Baby Dressed Older (1:11) 13. Night Approach (2:28) 14. See You in Court (0:57) 15. Knife Job (0:44) 16. Sneak Racy/DOA (6:30) 17. Second Hatchet (0:39) 18. Excavation (1:44) 19. Pool Games (1:41) 20. The Baby (Guitar) (1:49) 21. The Baby (Piano) (3:51) 22. Party Music (2:52) 23. Dance Music (4:32) 24. Dennis (4:39) Bonus: 25. Audio Commentary by Gerald Fried (7:14) Listen to a 5 min clip here: https://soundcloud.com/alderaecords/the-baby-gerald-fried For more information, please visit: http://caldera-records.com/portfolio/the-baby/gallery/soundtracks/
  19. THE FIRST 100 COPIES ARE SIGNED BY JOE KRAEMER! (Check your retailer!) Caldera Records is proud to present the new score for the motion picture “Sunrise” from 1927, directed by F.W. Murnau, featuring music by Joe Kraemer, commissioned by the Dallas Chamber Symphony. Featuring enormous stylized sets in order to create an idealized view of the world, “Sunrise” tells the story of three characters with no real names given. The Man and The Wife had been living happily on their farm until the appearance of The Woman From The City, who seduced the husband prior to the beginning of the story. In order to get rid of the farm that is tying The Man to country life, The Woman From The City convinces him to get rid of The Wife by staging a boating accident. When The Man realizes he is unable to commit the deed, The Wife flees to the City. He follows her and they rediscover their love for each other in the exotic world of the City. In 2016, Joe Kraemer got the chance to prove himself as a masterful composer for silent film when he was commissioned by the Dallas Chamber Orchestra to write an original score for Murnau’s masterpiece. In terms of the overall picture, Kraemer shares his inspirations: “I created themes for each of the major characters and concepts in the film, and then used those themes to carry out the plot of the film. It is a highly programmatic composition. I was influenced by composers like Copland, Gershwin, and Strauss. Additionally, I had just finished a three-week stay in Austria when I began writing the score, and I was very influenced by the culture I experienced in the wonderful town of Baden.” The score had its world premiere, live-to-picture, in Dallas in October 2016, where it was conducted by Richard McKay. It had a second performance in August 2017 in Baden, Austria, where Kraemer himself conducted it live-to-picture with members of the Synchron Symphony Orchestra. A few weeks after the live performance, the orchestra reconvened at the Synchron Stage in Vienna to record selections from the score for this CD release. The 26th CD-release of Caldera Records features a detailed booklet-text by Gergely Hubai, an exclusive audio commentary by the composer, and elegant artwork by Luis Miguel Rojas. The CD was produced by Stephan Eicke and John Elborg. Music Composed and Conducted by Joe Kraemer Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Sunrise 1. Sunrise (2:23) 2. The Train Sequence (1:50) 3. The Other Woman (2:15) 4. Whistle (1:52) 5. The Husband Sneaks Away (3:26) 6. The Marsh Sequence and City Song (4:27) 7. Gathering Reeds (2:27) 8. To Bed (2:23) 9. Off to the City (2:16) 10. The Dog Scene (2:47) 11. A Man Posessed (4:34) 12. City Arrival (1:36) 13. Buying Flowers (2:28) 14. The Wedding Scene (3:26) 15. Traffic Jam (2:02) 16. Pictures in a Window (1:19) 17. The Photo Session (2:01) 18. Antics in the Studio (2:41) 19. Night in the City (2:22) 20. Pig on the Loose (3:53) 21. The Dance (2:54) 22. Storm at Seam (4:24) 23. Salvation (4:53) 24. Finale (1:43) Bonus: 25. Audio Commentary by Joe Kraemer (13:09) Listen to a 5 min clip here: https://soundcloud.com/alderaecords/sunrise-joe-kraemer For more information please visit: http://caldera-records.com/portfolio/sunrise/gallery/soundtracks/
  20. Hallo zusammen, ich hatte in den letzten Wochen die Gelegenheit, den Score für den Kurzfilm HERO zu schreiben und mit dem City of Prague Philharmonic Orchestra aufzunehmen. Die Regisseure wollten einen "good old fashioned" 80er/90er Orchester-Score, gaben mir aber ansonsten komplette kreative Freiheit, was eine seltene und großartige Gelegenheit für jeden Komponisten ist. Der komplette Score ist jetzt zum Anhören auf Soundcloud verfügbar: Freue mich auf Kommentare! Viele Grüße, Robin
  21. Caldera Records is proud to present the original score for the motion picture “That Good Night” from 2017, directed by Eric Styles, featuring music by Guy Farley. The film, based on the stage play by N.J. Crisp, tells the story of Ralph, a successful writer whose life is full of regrets. With a curious personality that’s both charming and rude, Ralph has built a number of “love him or hate him” relationships over his life – unfortunately, his family seems to fall into the latter group. Now in his seventies and terminally ill, Ralph sets out two goals before entering that good night: he wants to mend his relationship with long-abandoned son Michael and also make sure that he is not a burden to his much younger second wife, Anna. “That Good Night” marks the last screen performance of John Hurt who passed away in January of 2017. Hurt is joined by Charles Dance and Sofia Helin in a stellar cast. The music for “That Good Night” was written by Guy Farley (“Modigliani”, “Maria di Nazaret”). Farley provided an elegant underscore, recorded with a small orchestra of strings, woodwinds, harp, piano, and world instruments such as a Cavaquino, Spanish guitars, an accordion and ethnic percussion which capture the Mediterranean flavour of the Portuguese Algarve, while the chamber orchestra works its magic on the emotional element of the story. The score, one of Farley’s best to date, is filled with memorable themes and motifs that are both uplifting and touching, paying tribute to the character’s struggles and the film’s hopeful message. The 24th CD-release of Caldera Records features a detailed booklet-text by Gergely Hubai and elegant artwork by Luis Miguel Rojas. The CD was produced by Stephan Eicke and John Elborg. Music Composed and Conducted by Guy Farley Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke That Good Night 1. That Good Night (2:22) 2. The Horizon (1:41) 3. The Villa (1:57) 4. Reynaldo (2:14) 5. Try Harder (1:28) 6. I Love Portugal (1:16) 7. The Fee (1:49) 8. An Injection (1:36) 9. Call Your Dad (2:05) 10. Terminal (2:37) 11. Birth (3:07) 12. How Soon? (0:54) 13. You’re Despicable! (1:46) 14. John, Michael and Cassie (2:46) 15. Symposium (1:05) 16. His Beloved Rolex (1:21) 17. You Can Be So Nasty (1:22) 18. Trust Me (2:32) 19. October (1:45) 20. We Call it ALS (1:07) 21. A Grandfather! (1:37) 22. Reformed Character (0:55) 23. Death and Poetry (1:28) Bonus: 24. Audio Commentary by Guy Farley (6:45) For more information please visit: http://caldera-records.com/portfolio/that-good-night/ For an exclusive 5 min audio clip please visit: https://soundcloud.com/alderaecords/that-good-night-guy-farley
  22. Caldera Records is proud to present the original score for the motion picture “Wild Geese II” from 1985, directed by Peter Hunt. The film is loosely connected to “The Wild Geese” from 1978, starring Richard Burton, Richard Harris and Hardy Kruger. Unfortunately, Burton passed away shortly before the filming of the sequel began and some sections of the screenplay had to be re-written. The story revolves around top level Nazi Rudolph Hess (Laurence Olivier) who has important intel on prominent political figures. Ruthless TV executives Michael and Kathy Lukas (John Terry and Barbara Carrera) want to get him out of his Spandau prison to appear on live television. Faulkner declines their offer to lead such a mission, but recommends Lebanese American soldier turned mercenary Haddad (Scott Glenn) as a substitute who agrees to take on the mission that soon turns into a nightmare for everyone involved. The music was composed by Roy Budd (“Get Carter”) who had already written the music for “The Wild Geese”. Budd had to create new musical material for the sequel and delivered a more contemporary direction for underscoring the mission. Besides the funky action music which is the obvious main draw of the score, there are plenty of other great moments in the score, such as a catchy main title march and the soulful ballad “Say You’ll Be Mine”, sung by Peter Hoffmann and dedicated to Budd’s wife Sylvia Budd who served as co-producer of this album. This release of “Wild Geese II” fills an important hole in Roy Budd’s discography. A soundtrack was originally released on LP by CBS Records, but it had no legitimate CD release since then. The score was carefully restored and mastered from the original tapes. Recorded with the London Symphony Orchestra, the music sounds as fresh as if it was recorded today and stands as one of Budd’s very best works. The 22nd CD-release of Caldera Records features a detailed booklet-text by Gergely Hubai and an elegant artwork by Luis Miguel Rojas, excerpts from the handwritten score, a detailed biography of the composer, as well as an exclusive audio commentary by the composer’s wife, Sylvia Budd. The CD was produced by Stephan Eicke, John Elborg, and Sylvia Budd. Music Composed, Orchestrated and Conducted by Roy Budd Recorded with the London Symphony Orchestra Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke, Sylvia Budd Wild Geese II 1. Main Title (4:35) 2. Cat and Mouse in Berlin (3:35) 3. Solitary Confinement (3:46) 4. Moving Around Spandau (3:16) 5. The Wall (1:50) 6. The Romance Begins (2:36) 7. Plot and Deceit (2:22) 8. Attempt to Free Hess (8:31) 9. Escape (1:37) 10. End Titles (2:46) 11. Say You’ll Be Mine (4:45) Performed by Peter Hoffmann Bonus: 12. Audio Commentary by Sylvia Budd (5:14) Listen to a 4 min clip here:
  23. Hallo zusammen, ich habe mich nun endlich wieder einmal an ein bisschen Filmmusik versucht und für einen Horror-Thriller (Filmstudentenprojekt) den Soundtrack gebastelt. Ist weitestgehend eine Mischung aus orchestralen Klängen mit hier und da ein bisschen Elektro-Elementen. Das Hauptmotiv besteht aus vier Tönen: einem absteigende Quart-Tritonus-Wechsel und wird eigentlich ständig irgendwo variiert. Vielleicht entdeckt es ja der eine oder andere. Der Film selbst wird leider erst in ca. einem halben Jahr frei im Netz veröffentlicht werden, da die Produktionsleiter ihn gerne bei verschiedenen Wettbewerben/Festivals einreichen würden. Würde mich aber schon sehr über Rückmeldungen zur Musik freuen. War echt eine Heidenarbeit (weit über Hundert Stunden). https://soundcloud.com/dustin-naegel/resolution-and-end-credits https://soundcloud.com/dustin-naegel/a-dark-discovery https://soundcloud.com/dustin-naegel/shortcut-through-the-woods https://soundcloud.com/dustin-naegel/interrogation https://soundcloud.com/dustin-naegel/an-axe-in-a-nature-reserve https://soundcloud.com/dustin-naegel/run-away https://soundcloud.com/dustin-naegel/opening-teaser Viele Grüße Dustin
  24. Hallo zusammen, ich habe die letzten Tage sehr intensiv an folgendem Stück gearbeitet: https://soundcloud.com/dustin-naegel/journey-onward Das dazu gehörende Filmprojekt (liegt schon Jahre zurück) ist leider nie komplett abgeschlossen worden, aber mich hat es schon seit langem gereizt, endlich mal Musik für dieses Genre (Fantasy) zuschreiben, da sich unglaubliche viele Möglichkeiten ergeben und man als Komponist vergleichsweise uneingeschränkt arbeiten kann. Der eigentliche Hauptteil der Arbeit war für mich aber das Instrumentieren, Aufnehmen (alles DAW-gestützt über Midi natürlich) und dann vor allem auch das Abmischen der letztlich 45 Spuren. Ich würde mich extrem über ein paar Tipps vor allem in Bezug auf den Mix freuen. Also was man wo vielleicht noch besser machen könnte, wo Stimmen eventuell nicht präsent genug bzw. zu präsent sind etc. Ich habe mir die ganze Geschichte mittlerweile wohl schon so oft angehört, dass mir ein bisschen der objektive Blick verloren gegangen sein dürfte. Vielen Dank schon mal! Dustin
  25. Caldera Records is proud to present George Kallis’ original score for the motion picture “The Black Prince” from 2017, directed by Kavi Raz. The films tells the touching and exhilarating story of Maharaja Duleep Singh, the last king of Punjab before its British annexation. After the First Anglo-Sikh War, the king sees himself torn between his own country and England and struggles to regain his own kingdom. The title role of the Maharaja is portrayed by Punjabi poet and singer Satinder Sartaaj who delivers a strong performance in the film that also stars Jason Flemyng and Amanda Root. One of the main stars of the film is the music, composed and conducted by George Kallis who has composed music for over 20 films and Emmy and BAFTA award-winning TV programs. With this colourful and highly entertaining score, highlighting tender moments and fierce action, Kallis delivers one of his strongest efforts to date. The score showcases several memorable themes and leitmotifs, such as a main theme for the Maharaja, a theme for his mother and for his first wife, with several other motifs which portray Punjab and its characteristics. There are delicate elements of ethnic music in the score but with its soaring orchestral concept “The Black Prince” has its own universal language that connects all countries. The music was recorded in Hungary, conducted by the composer himself. The 20th CD-release of Caldera Records features a detailed booklet-text by Gergely Hubai and elegant artwork by Luis Miguel Rojas. The CD was produced by Stephan Eicke and John Elborg. Music composed and conducted by George Kallis Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke The Black Prince 1. Opening Titles (3:19) 2. First Trip to India (2:21) 3. The Painting (3:20) 4. Holland Park (1:59) 5. Mother (3:06) 6. Arur Singh Captured (2:45) 7. No Passage to Punjab (1:24) 8. Back to England (2:17) 9. I Know Your Destiny (2:08) 10. The Prophecy (2:35) 11. The Bird (1:49) 12. Dr. Logan Passes (2:32) 13. First Meeting (3:14) 14. Treason! (2:35) 15. I Am Not a Prince (2:10) 16. Letters Intercepted (1:58) 17. Marriage Proposal (1:27) 18. Travelling to Paris (0:42) 19. Assassination Attempt (2:09) 20. Rest in Peace Bamba (1:46) 21. My Childhood (1:44) 22. The Sword of the Maharaja (2:39) 23. Death and Coronation (3:07) Bonus: 24. Audio Commentary by George Kallis (4:39) Listen to a 5 min clip here: https://soundcloud.com/alderaecords/the-black-prince-george-kallis For more information visit our homepage: http://caldera-records.com/portfolio/the-black-prince-2/
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