Veröffentlichung Kurz & knapp: Sammelthread für "kleine" Veröffentlichungen

[Stese]

NORTH BY NORTHWEST wäre zwar nicht nötig, aber da dies einer meiner Langzeit Lieblingsfilme ist, werde ich mir diese Einspielung holen.

[Trekfan]

vor 8 Stunden schrieb Stese:

NORTH BY NORTHWEST wäre zwar nicht nötig, aber da dies einer meiner Langzeit Lieblingsfilme ist, werde ich mir diese Einspielung holen.

Das Album kann man immer noch gut anhören. Eine Platte aus einer Zeit, als die Veröffentlichung der Originale undenkbar waren. Herrmanns Filmaufnahmen sind auch lange vergriffen, waren aber leider tontechnisch nie ganz unproblematisch. Eine sehr gute Neueinspielung hat später Joel McNeely für Varese aufgenommen. Habe nie verstanden, weshalb die seinerzeit nur als limitierte Club CD vermarktet wurde. Das war 2007. Das Label hat doch alle Rechte an der Einspielung, totes Kapital. 

Der Score war für mich immer Herrmanns beste Musik für Hitchcock. 

[Stefan Schlegel]

Ich selbst habe noch die alte Unicorn-LP von 1980 von NORTH BY NORTHWEST - damals gleich gekauft als sie erschien. Die Laurie Johnson-Einspielung an sich ist tadellos, allerdings ergab die damals neuartige Digital-Aufnahme mit omnidirektionalem Mikrophon an der heimischen Stereoanlage ein seltsam verschwommenes und sehr verhalltes Klangbild, so daß man den Lautstärkepegel an vielen Stellen umheimlich aufdrehen mußte - vor allem "Conversation Piece" war viel zu leise abgemischt. Das hört sich bei den jetzigen Dragon´s Domain-Soundclips schon ganz anders an.

Doug Raynes hat den Unterschied zwischen digitaler und analoger Aufnahme bei dieser Johnson-Einspielung mal im FSM Board sehr gut beschrieben gehabt. Und es erklärt auch, weshalb beide Fassungen - digital wie analog - jetzt auf der neuen CD mit oben sind:

"Originally, of course, the recording was released on LP. Prior to the LP release I remember going along to a presentation given by Unicorn in which they discussed and played some of their new digital recordings. They played “Conversation Piece” from NORTH BY NORTHWEST which sounded fine but when I got the LP I was extremely disappointed with the muddy sound on both the Unicorn and the Starlog/Varese LP.

The first time the analogue mult-mike recording was issued was on a French Milan CD “Alfred Hitchcock’s Film Music” which was a revelation because you could now hear all the instruments! Unfortunately that CD only contained about six tracks of the recording. The complete Unicorn and Varese multi track versions came later."

[Lars Potreck]

Eine Art Soundtrack: Pictures At An Exhibition: The Paintings Of Bob Peak

https://www.amazon.de/-/en/Bilder-Einer-Ausstellung-Pictures-Exhibition/dp/B0FD21J6C8

Komponisten wie Maria Newman, Mychael Danna, Harry Gregson-Williams, Ihab Darwish, Jeff Beal, Marco Beltrami, Michael Abels, Marc Shaiman, Don Davis sowie Bill Conti haben sich jeweils ein Werk von Peak vorgenommen und dazu Musik geschrieben. Hier kann man alle Stücke hören.

 

 

[Alexander Grodzinski]

Ebenfalls neu von Quartet:

Quartet Records, in collaboration with MovieScore Media, presents a new score by the renowned Academy-Award winner composer Stephen Warbeck (SHAKESPEARE IN LOVE, QUILLS, BILLY ELLIOT, THE MAN IN THE HAT) for a film directed by Gaby Dellal. Starring Fiona Shaw and Katherine Waterston, the story is about Charlotte, who—paralyzed by her life as a cattle rancher—flees her controlling husband and returns to her mother’s apartment. There, she rediscovers her teenage love and the life she left behind. Now, mother and daughter must confront hidden truths.

Stephen Warbeck’s music for PARK AVENUE is conceived as an intimate and slightly eccentric score, always remaining within the emotional range of the story. The recording features an ensemble made up of a combination of musicians from both jazz and classical music, giving the score a hybrid texture and diverse interpretive sensibility, with performances by double bassist Lars Danielsson and cellist Nick Cooper standing out.

1. Black Sun 1:56  (Performed by Isaac Waddington)
2. The Chase 1:31
3. The Reckoning 2:16
4. New York 2:20
5. Central Park 1:53
6. Kit’s World 2:48
7. Waiting 1:31
8. The Gallery 1:13
9. Manhattan Bar 1:03
10. Living and Dying 2:17
11. In the Bar 1:58
12. Park Avenue 1:50
13. The Awakening 1:58
14. The Gurney 1:53
15. Charlotte Leaving 1:47
16. The Poem and the Truth 5:13
17. The Hospital 1:45
18. Mother and Daughter 2:15
19. The Closing 3:06
20. Sweet Jane 2:06. (Performed by Mathilda Florence)

[Alexander Grodzinski]

Neu von Quartet:

Quartet Records and El Deseo present the soundtrack album for the eagerly anticipated new collaboration between acclaimed director Pedro Almodóvar and renowned four-time Academy Award–nominated composer Alberto Iglesias (THE CONSTANT GARDENER, THE KITE RUNNER, TINKER TAILOR SOLDIER SPY, PARALLEL MOTHERS).

AMARGA NAVIDAD marks their fifteenth film together, following more than thirty years of intense collaboration and worldwide success with such films as ALL ABOUT MY MOTHER, TALK TO HER, VOLVER and PAIN AND GLORY.

The film explores cinema within cinema and the limits of creativity, as a successful director writes a screenplay based on the personal experiences of those around him—without considering the emotional consequences of his actions.

Alberto Iglesias has composed one of his most intense, emotional, dynamic, and vibrant large-scale orchestral scores—perhaps his finest to date—with echoes of Stravinsky, Ravel, and Debussy.

The album also includes a version of the classic song “Las pequeñas cosas” by Chavela Vargas, performed by Amaia.

1. La ventana y la tormenta 1:01
2. Espera en urgencias 2:36
3. La playa negra 2:24
4. Sordo enfrentamiento 1:55
5. Un niño le sonríe 3:26
6. Inspiración 0:48
7. Despertar de Natalia 2:56
8. Transición 1:12
9. Tensa despedida a la luz del día 1:55
10. Elsa yacente 1:37
11. Llamada a deshoras 1:24
12. Middlesex 2:41
13. ¿Cuánto dura un duelo? 1:59
14. Un lugar ideal para morir 1:35
15. Ansiedad Lispector 2:15
16. La tormenta soñada 2:05
17. Las simples cosas  (Interpretada por Amaia)  2:58
18. El cursor impaciente 2:06
19. Elena y Natalia 2:41
20. Búsqueda de ansiolíticos 1:23
21. Compás de espera 1:34
22. Cruzando un mar de lava 0:32
23. Madrid amanece desierto 0:49
24. La crueldad 1 1:29
25. Mónica cordial 1:28
26. La crueldad 2 2:03
27. Mónica amenazante 2:32
28. La inspiración arrolladora 4:10
29. Dedos como patas de elefante 8:52
30. Créditos finales, comienza la aventura 2:34

Neu von BSX/Dragon's Domain:

Dragon’s Domain Records presents GAUGUIN AND GERALD FRIED, featuring music composed by Gerald Fried (THE MAN FROM U.N.C.L.E., STAR TREK,ROOTS) for two very different television programs that focused on the French Impressionist painter Eugene Henri Paul Gauguin.

 

GAUGUIN THE SAVAGE was a feature-length docudrama that premiered on the CBS television network in the spring of 1980. David Carradine starred as the artist with Lynn Redgrave playing his long-suffering wife, Mette-Sophie Gad. The film begins with Gauguin as a Parisian stockbroker struggling to support his growing family. He is frustrated at having no free time to focus on the one thing he truly loves — his art. This obsession propels him to walk out on his family and eventually share quarters with Vincent Van Gogh (Barrie Houghton).
 

Gauguin’s self-centered attitude alienates him from many colleagues and patrons until he sees the only road to limitless creativity is to escape “civilization”. He flees to a land he believes is full of wild and primitive beauty — Tahiti. Yet, after a long sea voyage, he discovers to his dismay that it is a very modern community with all the comforts other French settlers have brought. Gauguin flees into the jungle, where he lives among the unspoiled natives and marries a local girl, Teha’amana, despite not being divorced from Mette-Sophie. It is here that Gauguin begins to develop his unique style, one marked by bold colors inspired by the landscape and native lifestyle, with Teha’amana as his main model. Fried composed a lush orchestral score to convey Gauguin’s passionate, often self-destructive, drive as he seeks to render his view of the world within his art.

 

Thirteen years earlier, Gerald Fried was engaged to score a 1967 CBS documentary GAUGUIN IN TAHITI: THE SEARCH FOR PARADISE. Narrated by Charles Kuralt, the one-hour presentation centered on the artist’s time in the islands painting, sculpting, and creating ceramic works. In another unusual coincidence, Lynn Redgrave’s father, Michael, was cast as the voice of Gauguin, reading the artist’s own words from his many diaries and letters.

 

Born February 1928 in the Bronx, Gerald Fried’s interest in music found its first fruition at the High School of Music & Art in New York City. He attended The Juilliard School of Music as an oboe major, graduating in 1945. Among his earliest friends was a bright kid named Stanley Kubrick. The two of them used to hang around Greenwich Village and talk about their budding interests, Fried’s in classical music and Kubrick’s in filmmaking. Their interests merged when Kubrick began filming DAY OF THE FIGHT, an 18-minute short about boxing. Knowing Fried was a music major, Kubrick asked him if he could write the score for his boxing picture. Fried agreed, then spent months going to the movies to learn how film scores worked, there being no schools or courses on film music in those days. Fried wrote an effective score, and Kubrick sold the film to RKO Pathé. Fried rejoined Kubrick to score four more of his films, including THE KILLING and PATHS TO GLORY, where the young filmmaker first gained his reputation.

 

After the success of THE KILLING in 1956, Kubrick moved to Los Angeles, shortly followed by Fried, who was immediately hired to compose and arrange music for several films, including THE VAMPIRE, THE RETURN OF DRACULA, MACHINE GUN KELLY and I, MOBSTER, I BURY THE LIVING, and TIMBUKTU (1959). By the 1960s, Fried moved into television, scoring episodes of such seminal shows of the decade as GILLIGAN’S ISLAND, THE MAN FROM U.N.C.L.E., MISSION: IMPOSSIBLE and STAR TREK. By the 1970s Fried was composing music for numerous made-for-TV movies. His best-known score of the decade was for the1977 miniseries ROOTS, which he took over scoring when Quincy Jones fell behind and was unable to meet the broadcast deadline for the eight-hour miniseries. Both Jones and Fried won Emmy Awards for their musical efforts on the series. During the ‘80s, Fried continued to compose music for television series, movies, and documentaries, and an occasional feature film. These are just two of the many magnificent scores Fried wrote throughout his career. The composer passed away on February 17, 2023 at the age of 95. His work remains a testament to his talent and dedication to the art of composition and he is remembered as a key figure in the evolution of music for film and television.

 

Dragon’s Domain Records presents GAUGUIN AND GERALD FRIED, featuring the world premiere release of GAUGUIN THE SAVAGE and GAUGUIN IN TAHITI: THE SEARCH FOR PARADISE, featuring music composed by Gerald Fried. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by author David Hirsch.

 

GAUGUIN AND GERALD FRIED is a limited edition release. GAUGUIN AND GERALD FRIED is expected to begin shipping the week of March 23rd, 2026

 

GAUGUIN THE SAVAGE
01. Main Title-Tahiti / Diagnosis & Paris Flashback (3:38)
02. I Hated That Hat And Coat (2:19)
03. Tahitian Hospital Recovery / Sex Is The Best Medicine (5:24)
04. Father & Daughter Talk / Painting In A Frozen Danish Attic (1:22)
05. Aline, I Can’t Work Here (3:02)
06. Painting With Van Gogh / A Disturbing Portrait / Vincent’s Girl /
       Mutilation (3:33)
07. Leaving Vincent / To Your Voyage / Sailing To Tahiti (2:07)
08. Rejecting ‘Civilization’ / A Letter To Aline (2:35)
09. Every Man Needs Wahini (2:29)
10. In Search Of A Wife (1:48)
11. “Gogi, Will You Be Good To My Daughter?” (2:19)
12. Forty-Four Canvases (1:42)
13. Ruffians Abduct Annah / Papa’s Home / Papa Put Out (2:59)
14. Before I Can Paint It, I Must First Find It (2:50)
15. The Doctor Has Given Me Mercury (1:04)
16. Aline Has Died / Painting The Great Vision (6:08)
17. Arsenic By The Sea / Gauguin’s End (1:56)
18. You Have To Believe In Me / End Credits (2:48)
19. “Get Big Drunk” (Bonus Music & Effects) (1:04)=
20. Journey To Tahiti (Bonus Music & Effects) (1:50)

GAUGUIN IN TAHITI: THE SEARCH FOR PARADISE

21. Prologue & Main Credits (1:56)
22. A Simple Brittany Life / Abandoning Family & Civilization For Paradise (8:16)
23. Alienating The European Settlers / Teha’amana’s Theme /
       Fired By His Patron (4:29)
24. Broke & Forced To Work / Syphilis / His Epic Work / Paradise Dead (3:43)
25. Pagan Gods & Myths / Paradise Lost & Found In Art (6:23)
26. Ready To Return / Deathbed / End Credits (1:59)

Total Time: 77:31

Dragon’s Domain Records presents THE ARTHUR B. RUBINSTEIN COLLECTION, VOLUME 1, featuring music from two original scores from the composer’s extensive filmography, THE PRINCE OF CENTRAL PARK and RIVKIN: BOUNTY HUNTER.

 

Airing on television in 1977, THE PRINCE OF CENTRAL PARK was directed by Harvey Hart, written by Jeb Rosebrook, based on the novel by Evan Rhodes, starring T.J. Hargrave, Lisa Richards, Ruth Gordon, alongside a young Brooke Shields in a supporting role. At its heart, the story unfolds as a modern fairy tale that tells the poignant story of a teenage boy and his younger sister as they flee from an abusive foster mother. They find sanctuary within a tree house in Central Park. There they encounter a young hoodlum and form an unlikely friendship with a lonely elderly woman. The score for THE PRINCE OF CENTRAL PARK is a gentle and emotive composition written for a chamber ensemble, perfectly encapsulating the whimsical elements of the tale while mirroring the children's enchantment with tales of knights and chivalry.

 

Airing on television in 1981, RIVKIN: BOUNTY HUNTER was directed by Harry Harris, written by Peter Lefcourt, starring Ron Leibman, Harry Morgan, Harold Gary, Verna Bloom, George Dicenzo, John Getz and Glenn Scarpelli. An unsold pilot for a series, RIVKIN follows a modern bounty hunter (Leibman), making his living apprehending bail jumpers who finds himself in a high-stakes confrontation with a heavily armed drug dealer. The score for RIVKIN: BOUNTY HUNTER is composed for an ensemble of approximately 35 musicians, incorporating a variety of keyboards and a dynamic rhythm section to capture the essence of New York in 1981.

 

Both scores are presented complete in film order, showcasing Arthur B. Rubinstein's incredible talent and revealing him as an underrated gem in the world of film composition.

 

Arthur B. Rubinstein was an American composer and conductor renowned for his scores in film, television and theater, as well as his leadership of the Symphony in the Glen Orchestra. Born in Brooklyn, New York,Rubinstein attended the High School of Music & Art and earned a Bachelor of Music degree from Yale University. After beginning his career as a pianist and arranger in New York, he relocated to Los Angeles, where he established himself as a prolific composer for over 200 film and television projects spanning more than 40 years.

 

Rubinstein's most notable film scores include collaborations with director John Badham on BLUE THUNDER, WARGAMES, SHORT CIRCUIT, STAKEOUT,THE HARD WAY, ANOTHER STAKEOUT and NICK OF TIME, as well as LOST IN AMERICA and WHOSE LIFE IS IT ANYWAY?. In television, he composed for series such as SCARECROW AND MRS. KING, THE TWILIGHT ZONE (1985), AMAZING STORIES, WISEGUY, THE LOVE BOAT, SLEDGE HAMMER! and THE SIMPSONS, along with the ABC documentary SHOOTING WAR, directed by Steven Spielberg and narrated by Tom Hanks.

 

Dragon’s Domain Records presents THE ARTHUR B. RUBINSTEIN COLLECTION, VOLUME 1, featuring the music from the original scores to THE PRINCE OF CENTRAL PARK and RIVKIN: BOUNTY HUNTER, with liner notes written by G.B. Kemner and Scott Davis. The music has been mastered by James Nelson at Digital Outland.

 

THE ARTHUR B. RUBINSTEIN COLLECTION, VOLUME 1 is a limited edition release. THE ARTHUR B. RUBINSTEIN COLLECTION, VOLUME 1 is expected to begin shipping the week of March 23rd, 2026.

 

THE PRINCE OF CENTRAL PARK
01. Opening Titles (2:23) 
02. Central Park (2:51)
03. Finding The Treehouse And Nightfall (2:37)
04. Life In The Park (3:55)
05. Treehouse Montage And Knighted (4:00)
06. Mrs. Miller’s Messages (3:13)
07. Different Berries (1:18)
08. Mrs. Miller And The Kids (4:12)
09. Elmo Watches And Park Music (2:42)
10. Mrs. Miller And The Cops (2:26) 
11. The Carousel And Elmo Falls (4:19)
12. We Can’t Stay Here Forever (2:32)
13. Mrs. Miller’s Offer (2:20)
14. A New Family (3:06)

RIVKIN: BOUNTY HUNTER
15. Main Titles / First Bust (2:31) 
16. Father’s Music (1:20)
17. Rivkin On Sleaze Street (2:37) 
18. Hospital Visitors (2:26)
19. Blind Man’s Bluff (1:29)
20. Vito’s Restaurant (2:34)
21. Rivkin And His Girl (2:22)
22. Rivkin Talks To Son (2:49)
23. The Ceremony (2:02)
24. Slow Dancing (2:10)
25. Remembering His Wife (1:38) 
26. Rivkin’s Anger (2:11)
27. Rivkin Vows To Get St. Clair (2:57)
28. Rivkin Catches St. Clair (3:43)
29. Finale (1:25)
30. Disco Dancing (0:27)

Total Time - 76:50

Dragon’s Domain Records proudly presents the first volume in a new ongoing series of music from classic crime dramas from the Golden Age,featuring two world premiere releases of music from UNDERWORLD, U.S.A. and CROSSROADS TO CRIME.

 

Released in 1961, UNDERWORLD, U.S.A. was written and directed by the legendary Samuel Fuller (THE BIG RED ONE), starring Cliff Robertson, Dolores Dorn, Beatrice Kay, Paul Dubov, Robert Emhardt, Larry Gates,Richard Rust and Gerald Milton. Inspiration for UNDERWORLD U.S.A. came from a series of articles by Joseph F. Dinneen for The Saturday Evening Post, as well as Riley Cooper’s book HERE IS TO CRIME. Fuller chose to frame his exploration of organized crime around a tale of vengeance as Tolly Devlin (Robertson) vows to find the men who beat his father to death when he was a child. Devlin succeeds in working his way into the organization where the killers have now become powerful lieutenants and manages to sow distrust within their ranks.

 

The score for UNDERWORLD, U.S.A. was composed by Harry Sukman, an American composer, conductor and pianist. Among his many credits include GOG, SCREAMING EAGLES, FORTY GUNS, THE HANGMAN, FANNY, THE SINGING NUN and SALEM’S LOT, and dozens of episodes from various television series including LARAMIE, DR. KILDARE, PEYTON PLACE, THE HIGH CHAPARRAL and BONANZA.

 

Released in 1960, CROSSROADS TO CRIME was directed by Gerry Anderson (THUNDERBIRDS, SPACE: 1999), written by Alun Falconer, based on a story by Edgar Wallace, starring Miriam Karlin, George Murcell, David Graham and Victor Maddern. CROSSROADS TO CRIME was the first live-action feature from the fledgling AP Films prior to achieving international success with SUPERCAR (1961-62). While patrolling his beat, Police Constable Don Ross (Oliver) suspects a criminal gang is operating out of an English truck stop. Defying the orders of his commanding officer, he is determined to stop the local crime boss (Ferdy Mayne) and his two thugs (SUPERCAR voice artists George Murcell and David Graham) from hijacking a load of nickel ingots.

 

The score for CROSSROADS TO CRIME was composed by Barry Gray, who had just finished working with Gerry Anderson on a puppet series they co-created, FOUR FEATHER FALLS. Gray would continue to be an invaluable member of the AP Films team (later Century 21), creating the musical identity for such Gerry and Sylvia Anderson TV series as THUNDERBIRDS, UFO and SPACE: 1999.

 

This first volume in Dragon’s Domain Records series of classic crime dramas has been mastered by James Nelson at Digital Outland, featuring exclusive liner notes by Starlog Magazine’s David Hirsch on the music featured on the album.

 

THE GOLDEN AGE OF CRIME DRAMAS, VOLUME 1 is a limited edition release and is expected to begin shipping the week of March 23rd, 2026.

 

SPECIAL NOTE: These recordings were originally taken from analog masters and music & effects tracks and therefore certain limitations from the source tapes may be evident. We have tried to preserve as closely as possible, the quality of the original recordings

 

UNDERWORLD, U.S.A.
(1961 - Harry Sukman)
01. Underworld U.S.A. Main Title / Alley Fight / Tolly Witnesses / Alley Murder (2:30)
02. Tolly's Father Is Dead (Interpolates Auld Lang Syne) / Arrested / 
       Flashback / Arrested Again (2:45)
03. Prison Hospital Job / Wait For Farrar / Alone With Farrar /
       Hunt For Gela Begins / Break-In (4:06)
04. Meet Cuddles / Tolly Rescues Cuddles / Escape / To The Bait Shop / 
       Tolly Takes The Drugs (3:53)
05. Tolly and Gus Meet In Alley / Sandy Tells Cuddles The Truth / 
       Police Station Transition A (1:37)
06. Fowler's Suicide / Gus Kills Mankin's Daughter (2:08)
07. Tolly and Cuddles Make Love (1:47)
08. Smith Arrested / Headline Montage / Police Station Transition B /
      Gunther Arrives / Double Cross / Gus Kills Gunther (2:20)
09. Cuddles Proposes Marriage To Tolly / Thinking of Cuddles (3:10)
10. Tailing Gela Parts A & B / Seeing Gela With Driscoll / Gus Calls Tolly (1:33)
11. Tolly Beats Gela / Gela's Death (1:58)
12. Marriage Proposal Reconsidered / Tolly Confronts Connors (1:49)
13. Tolly Is Shot / Dying In Cuddles Arms / Finale (3:03)
14. Underworld U.S.A. (1961) Theatrical Trailer (2:26)

CROSSROADS TO CRIME
(1960 - Barry Gray)
15. Crossroads to Crime Main Title (1:43)
16. Presumed Kidnapping / Copper Hurt (1:01)
17. Lying to the Constable at Home (2:33)
18. Mr. Miles Warns Mrs. Williams and Mr. Diamond (1:24)
19. The Job at the Cafe / Sargeant Discovers Bribe (3:46)
20. Lorry Taken / Ross Plots with Mrs. Williams / Final Job (2:53)
21. We Need the Copper / The Heist (4:44)
22. Shootout With Diamond / End Titles (2:49)
23. Crossroads to Crime (1960) Theatrical Trailer (2:04)

Total Time 58:13

Citadel Records, a division of BSX Records, presents THE WESTERN FILM WORLD OF DIMITRI TIOMKIN, which includes music from several Western themed movies from the legendary composer’s rich filmography, including GIANT, RED RIVER, DUEL IN THE SUN, HIGH NOON, NIGHT PASSAGE and RIO BRAVO.

 

THE WESTERN FILM WORLD WORLD OF DIMITRI TIOMKIN was produced by composer Laurie Johnson and Christopher Palmer and included music selected by and original scores adapted by Palmer, performed by the London Studio Symphony Orchestra, including the John McCarthy Singers with baritone Bob Saker. The music was recorded utilizing a Calrec Soundfield Microphone into a Sony 1600 Digital Recorder in London in March 1980.

 

A bonus track is included, the composer’s own suite entitled ‘A President’s Country’, performed by the Royal College Of Music Orchestra,conducted by Sir David Willcocks, recorded in the mid 1980s. Tiomkin assembled the suite himself, including themes from RED RIVER, DUEL IN THE SUN, GIANT, RAWHIDE, HIGH NOON and THE ALAMO and was originally used to underscore a documentary spotlighting the southwest of Texas, the homeland of President Lyndon Johnson and included narration by Gregory Peck.

 

Dimitri Tiomkin was a Russian Jewish composer who emigrated to America and became one of the most distinguished and best-loved music writers in Hollywood. He won a hallowed place in the pantheon of the most successful and productive composers in American film history, earning himself four Oscars and sixteen Academy Awards nominations. Classically trained in Saint Petersburg before the Bolshevik Revolution, he moved to Berlin and then to New York City after the Russian Revolution. In 1929, after the stock market crash, he moved to Hollywood, where he became best known for his scores for Western films, including DUEL IN THE SUN, RED RIVER, HIGH NOON, THE BIG SKY, 55 DAYS AT PEKING, GUNFIGHT AT THE O.K. CORRAL, RIO BRAVO, and LAST TRAIN FROM GUNHILL.

 

Originally released on vinyl in the early 1980s by Unicorn-Kanchana and later an early compact disc in the late 1980s, Citadel Records, a division of BSX Records, is proud to bring these recordings back into the marketplace, under license from Unicorn Records Limited, with the music newly remastered by James Nelson at Digital Outland and retaining the original liner notes written by Christopher Palmer.

 

THE WESTERN FILM WORLD OF DIMITRI TIOMKIN is a limited edition release. THE WESTERN FILM WORLD OF DIMITRI TIOMKIN is expected to begin shipping the week of March 23rd, 2026.

 

01. Prelude (from "Giant") (2:18)
02. Prelude And Wagon Train (from "Red River") (4:02)
03. Red River Crossing (from "Red River") (2:32)
04. The Challenge And Finale (from "Red River") (3:20)
05. Prelude And Legend (from "Duel In The Sun") (3:06)
06. The Buggy Ride (from "Duel In The Sun") (2:35)
07. Trek To The Sun, Love-Death And Finale (from "Duel In The Sun") (5:03)
08. Main Titles (from "High Noon") (2:56)
09. The Clock And Showdown (from "High Noon") (8:46)
10. End Titles (from "High Noon") (1:11)
11. Follow The River (from "Night Passage") (3:01)
12. De Guella (from "Rio Bravo") (3:35)
13. Love Theme (from "Rio Bravo") (2:31)
14. End Titles (from "Rio Bravo") (1:59)
The John McCarthy Singers with Bob Saker, baritone.
The London Studio Symphony Orchestra, Leader, Hugh Bean.
Conducted by Laurie Johnson

BONUS TRACK
15. A President's Country - Suite (11:44)
The Royal College of Music Orchestra. David King, Organ. 
Conducted by Sir David Willcocks

Total Time: 58:44

Disc-On-Demand (CDR)
Includes Digital Download / Digital Booklet

BSX Digital presents music from the original motion picture to the 1984 film SPLASH directed by Ron Howard, starring Tom Hanks, Daryl Hannah, John Candy and Eugene Levy, featuring music composed and conducted by Lee Holdridge (THE BEASTMASTER, OLD GRINGO, THE MISTS OF AVALON).

 

Following the release of the film, the composer produced a rerecording of the score performed by the Royal Philharmonic Orchestra. Also included are three bonus tracks performed by Kira McClelland, Dan Redfeld and the London Symphony Orchestra conducted by Charles Gerhardt.

 

1. Love Came For Me (Love Theme) (2:37)
2. Madison In Bloomingdale's (1:39)
3. Mermaid On The Beach (2:30)
4. Underwater (2:18)
5. Reflection (1:06)
6. Rainy Night (2:43)
7. Face To Face (1:38)
8. Escape And Chase (2:55)
9. Madison And Allen (3:08)
10. Moonlit Night (2:57)
11. Daydream (0:55)
12. Raid On A Museum (0:41)
13. The Leap To Freedom (3:36)
14. Return Home (1:30)
BONUS TRACKS
15. Love Came For Me (Solo Piano) (1:46)
Pianist: Dan Redfeld
16. Love Came For Me (Vocal) (3:20)
Vocalist: Kira McClelland
17. Love Came For Me (3:32)
Performed by the
London Symphony Orchestra
Conducted by Charles Gerhardt

Total Time: 38:43

[Stese]

vor 4 Stunden schrieb Alexander Grodzinski:

 

Following the release of the film, the composer produced a rerecording of the score performed by the Royal Philharmonic Orchestra.

Weiß jemand, warum davon nicht die Originalaufnahmen erscheinen können?

[ronin1975]

Pretty Lethal - Paul Leonard-Morgan

Zur Action-Horror-Comedy um ein paar Ballerinas, die in eine Arr Hostel-Situation geraten und sich mit Dance-Moves da raus-‚kicken‘ gibt‘s nw überraschend orchestralen Score mit ein paar Anleihen an Drag Me to Hell und Beltrami. Macht Spass und hat ordentlich rumms

 

[Alexander Grodzinski]

Von Quartet auf CD und LP:

Quartet Records, in collaboration with GDM and EMI General Music, presents a CD reissue of Ennio Morricone’s iconic album COLORI, celebrating its 55th anniversary.

In the summer of 1971, Morricone entered the legendary Orthophonic Studios in Rome alongside his longtime collaborators Bruno Nicolai, Alessandro Alessandroni and Edda Dell’Orso, and recorded a selection of ten tracks drawn from some of his recent film scores, many of which had not yet been released. He remixed some cues and re-recorded others, always with fascinating results.

Morricone unveils his most experimental side in COLORI, an LP that brings together some of his most evocative compositions for early 1970s Italian cinema. Far from the sweeping western soundscapes that made him internationally renowned, this work ventures into more daring territory, where psychedelia, suspense and orchestral sophistication converge.

Featuring pieces drawn from soundtracks such as VERUSCHKA, MADDALENA, A LIZARD IN A WOMAN’S SKIN, THE FIFTH CHORD, SENZA MOVENTE and THE CAT O’NINE TAILS, COLORI unfolds a rich sonic universe: ethereal vocals, innovative arrangements and a distinctive cinematic sensibility that anticipates new ways of storytelling through sound.

More than a simple compilation, COLORI stands as a testament to Morricone’s creative genius and his ability to transform film music into an autonomous artistic experience.

The album was released in 1971 by General Music in Italy and was only reissued on CD in Japan in the early 1990s, making it a coveted collector’s item. This new CD edition has been remastered by Chris Malone from the original sources and retains the original cover featuring a painting by Alessandra Morricone—the composer’s daughter—as well as the original liner notes by Fabrizio Zampa.

An essential work for discovering Morricone at his most adventurous and unconventional.

• Senza motivo apparente 4:04 (Sans mobile apparent)
• Poesia di una donna 3:13 (Veruschka, poesia di una donna)
• La lucertola 6:20 (Una lucertola con la pelle di donna)
• Veruschka 4:12 (Veruschka, poesia di una donna)
• Una donna da ricordare 4:16 (Maddalena)
• Giornata nera per l’ariete 2:35 (Giornata nera per l’ariete)
• Sole sulla pelle 4:20 (Una lucertola con la pelle di donna)
• Immagini del passato 8:08 (Veruschka, poesia di una donna)
• Ninna nanna in blu 2:36 (Il gatto a nove code)
• Idiota 3:34 (Maddalena)

Quartet Records, in collaboration with GDM and EMI General Music, presents the first vinyl reissue of Ennio Morricone’s iconic album COLORI, celebrating its 55th anniversary.

In the summer of 1971, Morricone entered the legendary Orthophonic Studios in Rome alongside his longtime collaborators Bruno Nicolai, Alessandro Alessandroni and Edda Dell’Orso, and recorded a selection of ten tracks drawn from some of his recent film scores, many of which had not yet been released. He remixed some cues and re-recorded others, always with fascinating results.

Morricone unveils his most experimental side in COLORI, an LP that brings together some of his most evocative compositions for early 1970s Italian cinema. Far from the sweeping western soundscapes that made him internationally renowned, this work ventures into more daring territory, where psychedelia, suspense and orchestral sophistication converge.

Featuring pieces drawn from soundtracks such as VERUSCHKA, MADDALENA, A LIZARD IN A WOMAN’S SKIN, THE FIFTH CHORD, SENZA MOVENTE and THE CAT O’NINE TAILS, COLORI unfolds a rich sonic universe: ethereal vocals, innovative arrangements and a distinctive cinematic sensibility that anticipates new ways of storytelling through sound.

More than a simple compilation, COLORI stands as a testament to Morricone’s creative genius and his ability to transform film music into an autonomous artistic experience.

The album was released in 1971 by General Music in Italy and was only reissued on CD in Japan in the early 1990s, making it a coveted collector’s item. This new vinyl edition has been remastered by Chris Malone from the original sources and retains the original cover featuring a painting by Alessandra Morricone—the composer’s daughter—as well as the original liner notes by Fabrizio Zampa.

An essential work for discovering Morricone at his most adventurous and unconventional.

SIDE A

1. Senza motivo apparente 4:04 (Sans mobile apparent)
2. Poesia di una donna 3:13 (Veruschka, poesia di una donna)
3. La lucertola 6:20 (Una lucertola con la pelle di donna)
4. Veruschka 4:12 (Veruschka, poesia di una donna)
5. Una donna da ricordare 4:16 (Maddalena)

SIDE B

1. Giornata nera per l’ariete 2:35 (Giornata nera per l’ariete)
2. Sole sulla pelle 4:20 (Una lucertola con la pelle di donna)
3. Immagini del passato 8:08 (Veruschka, poesia di una donna)
4. Ninna nanna in blu 2:36 (Il gatto a nove code)
5. Idiota 3:34 (Maddalena)

[Alexander Grodzinski]

Neu von Dragon's Domain:

DDR818

Dragon’s Domain Records presents THE ALBERT GLASSER COLLECTION, VOLUME 8: FILM NOIR THRILLERS II. The 1950s were Albert Glasser’s busiest as a film composer, scoring many films across multiple genres. With this eighth collection of the composer’s music, we are pleased to explore two films focusing on film noir that Glasser scored in the1950s: 1954’s DRAGON’S GOLD and 1956’s FLIGHT TO HONG KONG.

 

Released in 1956, FLIGHT TO HONG KONG was directed by Joseph M. Newman, written by George Callahan, Gustave Field and Leo Townsend, starring Rory Calhoun, Barbara Rush, Dolores Donlon, Pat Conway, Werner Klemperer, Mel Welles and Paul Picerni. A trans-Pacific airplane carrying a shipment of industrial diamonds is hijacked and forced to land at a remote airstrip. The passengers include a famous novelist, Pamela (Rush), and her handsome seatmate, Tony (Calhoun). He turns out to be in charge of the Macau-based arm of the international crime syndicate responsible for staging the theft. The passengers eventually arrive in Hong Kong, where Pamela is swarmed by the press, and Tony is reunited with his girlfriend, Jean (Donlon), who works at the nightclub owned by his adopted mother, Mama Lin (Soo Young). Albert Glasser scores the film with his usual vigor, peppering several orchestrations with an exotic-sounding instrument,which seems to be equally at home in both the Far East or outer space. Glasser was also responsible for the background music in the club sequences.

 

Released in 1954, DRAGON’S GOLD was directed by Jack Pollexfen and Aubrey Wisberg, written by Wisberg and Pollexfen, starring John Archer, Hillary Brooke, Noel Cravat, Philip Van Zandt, Marvin Press and Dayton Lummis. DRAGON’S GOLD follows Mack Rossiter (Archer), an investigator for a bonding company sent to Hong Kong tofind out if one of their clients actually stole $7,000,000 worth of gold. No sooner does he arrive than he becomes entangled in a web of murders, intrigues and double-crosses that include the client's wife, Vivian (Brooke), another man posing as the client and someone else claiming that he’s the legitimate owner of the gold.

 

Born January 25,1916, Albert Glasser was a composer, conductor and arranger of film music. One of the most prolific B-movie composers, Albert Glasser started off as a copyist in the music department at Warner Brothers in the late 1930s, learning the art of film scoring from scratch while working under Max Steiner and Erich Wolfgang Korngold. He graduated to orchestrating, and by the mid-1940s was composing his own scores. He scored approximately 200 films during his career, many for American International Pictures and director Bert I. Gordon. For the US War Department, Glasser composed for Frank Capra's Special Services Unit and for Office of War Information radio shows for overseas broadcasts. For television,he composed the score for THE CISCO KID. For radio, he composed scores for HOPALONG CASSIDY, CLYDE BEATTY, and TARZAN.

 

Dragon’s Domain Records presents THE ALBERT GLASSER COLLECTION VOLUME 8: FILM NOIR THRILLERS II, featuring the premiere release of original music composed by Albert Glasser for DRAGON’S GOLD and FLIGHT TO HONG KONG, mastered by James Nelson at Digital Outland. The booklet contains liner notes written by noted author David Hirsch.

 

THE ALBERT GLASSER COLLECTION VOLUME 8: FILM NOIR THRILLERS II is a limited edition release and is expected to begin shipping the week of April 27th, 2026.

 

FLIGHT TO HONG KONG
01. Logo (1:05)
02. Prologue (With Narration) (0:49)
03. Main Title (1:05)
04. Terminal and Boarding (1:58)
05. Flares Can Be Dangerous (2:34)
06. Welcome Home Mr. Tony (4:32)
07. “Happiness Is Where You Are, Mama Lin“ (2:35)
08. Tony’s Story (2:27)
09. The Upjohn Job (1:46)
10. It’s Our Lucky Night (2:05)
11. ”His World and Yours Are Not The Same” (2:54)
12. Still Owe Me A Hong Kong Goodbye (2:00)
13. ”When A Man Makes A Mistake, All Of His Friends Suffer” (2:57)
14. Tony Betrays Minnow Bait / Thought You Were His Friend (3:03)
15. Running Into Pamela (2:32)
16. Everything Changes (1:19)
17. Planning The Heist (2:05)
18. “His Last Thoughts Were Of You” (1:53)
19. Badmouthing Pamela / Fight / Can't Get Any Deader (3:00)
20. Tramp Steamer To Philippines (1:15)
21. Tiger Balm Gardens (3:59)
22. Flight To Hong Kong (2:34)
(Vocal: Rory Calhoun)
23. Sweetener (0:52)
24. Al’s Tribute to Calvin Jackson M55 tk1 (unused) (3:19)

DRAGON’S GOLD
25. Prelude (1:04)
26. Welcome To Hong Kong (3:21)
27. General Wong Kai Hai (3:35)
28. The Search (3:34)
29. Alley Attack (3:22)
30. Mack and Vivian / Taxi Ride (2:57)
31. Finding the Gold (2:31)
32. The Journey Home / Finale (2:30)
Total Time: 78:59

DDR859

 

Dragon’s Domain Records presents THE KILLING OF SISTER GEORGE, featuring music composed by Gerald Fried (THE MAN FROM U.N.C.L.E., STAR TREK, ROOTS) for the 1968 dramatic film directed by Robert Aldrich (THE FLIGHT OF THE PHOENIX, THE DIRTY DOZEN, WHATEVER HAPPENED TO BABY JANE?), written by Frank Marcus and Lukas Heller, starring Beryl Reid, Susannah York, Coral Browne, Patricia Medina, Hugh Paddick, Cyril Delevanti, Sivi Aberg, William Beckley, Elaine Church, Brendan Dillon and Mike Freeman.

 

Released in 1968, THE KILLING OF SISTER GEORGE is based on the play by Frank Marcus and includes Beryl Reid reprising her original stage performance as June Buckridge. The film is notable for its frank exploration of sexuality, identity, and psychological dependence, topics that were still considered controversial in mainstream cinema at the time.

 

THE KILLING OF SISTER GEORGE centers on June Buckridge (Reid), a middle-aged actress best known for playing the beloved character “Sister George,” a district nurse in a popular BBC radio soap opera “Applehurst.” However, her professional life is in jeopardy as she suspects the producers are planning to kill off her character due to declining ratings and concerns over her off-screen behavior. Off-set, June is a frequently drunk,outspoken, cigar-chomping rabble-rouser in a turbulent and often abusive relationship with the much younger and immature Alice McNaught (York), who plays with dolls and has a minor job in the fashion industry. Life spirals out of control after an inebriated Joan sexually assaults two young Catholic nuns in a taxi, causing the vehicle to crash. A complaint is filed with the TV network by the diocese that places her in direct conflict with producer Mercy Croft (Browne), who also has an interest in Alice. This impending loss of identity for June, both as an actress and as the persona she has come to embody, forms the emotional core of the film.

 

Director Robert Aldrich and composer Gerald Fried worked together several times, on films such as TOO LATE THE HERO and THE GRISSOM GANG.THE KILLING OF SISTER GEORGE was their first collaboration.

 

Born February 1928 in the Bronx, Gerald Fried’s interest in music found its first fruition at the High School of Music & Art in New York City. He attended The Juilliard School of Music as an oboe major,graduating in 1945. Among his earliest friends was a bright kid named Stanley Kubrick. The two of them used to hang around Greenwich Village and talk about their budding interests, Fried’s in classical music and Kubrick’s in filmmaking. Their interests merged when Kubrick began filming DAY OF THE FIGHT, an 18-minute short about boxing. Knowing Fried was a music major, Kubrick asked him if he could write the score for his boxing picture. Fried agreed, then spent months going to the movies to learn how film scores worked, there being no schools or courses on film music in those days. Fried wrote an effective score, and Kubrick sold the film to RKO Pathé. Fried rejoined Kubrick to score four more of his films, including THE KILLING and PATHS TO GLORY, where theyoung filmmaker first gained his reputation.

 

After the success of THE KILLING in 1956, Kubrick moved to Los Angeles, shortly followed by Fried, who was immediately hired to compose and arrange music for several films, including THE VAMPIRE, THE RETURN OF DRACULA, MACHINE GUN KELLY and I, MOBSTER, I BURY THE LIVING, and TIMBUKTU(1959). By the 1960s, Fried moved into television, scoring episodes of such seminal shows of the decade as GILLIGAN’S ISLAND, THE MAN FROM U.N.C.L.E.,MISSION: IMPOSSIBLE and STAR TREK. By the 1970s Fried was composing music for numerous made-for-TV movies. His best-known score of the decade was for the1977 miniseries ROOTS, which he took over scoring when Quincy Jones fell behind and was unable to meet the broadcast deadline for the eight-hour miniseries. Both Jones and Fried won Emmy Awards for their musical efforts on the series. During the ‘80s, Fried continued to compose music for television series,movies, and documentaries, and an occasional feature film. These are just two of the many magnificent scores Fried wrote throughout his career. The composer passed away on February 17, 2023 at the age of 95. His work remains a testament to his talent and dedication to the art of composition and he is remembered asa key figure in the evolution of music for film and television.

 

Dragon’s Domain Records presents the world premiere release of THE KILLING OF SISTER GEORGE, featuring music composed by Gerald Fried. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by Scott Davis.

 

THE KILLING OF SISTER GEORGE is a limited edition release. THE KILLING OF SISTER GEORGE is expected to begin shipping the week of April 27th, 2026.

 

01. Main Title / Making A Drink (4:21)
02. TV Funeral (1:36)
03. Drunken Taxi Ride (1:01)
04. Sister George On Her Motorcycle / Eating A Cigar (2:28)
05. George And Childie / Going Home (3:46)
06. Bar Scene (1:25)
07. “I’ll Be Nice” (0:45)
08. TV Wedding / Reassurance / George’s Show Dreams (1:41)
09. The Letter / George And Childie (3:22)
10. Spat / Thinking Of Sister George (2:28)
11. Back To Dancing (Party Source) (1:11)
12. I Can Do Anything (Party Source) (4:39)
13. Slow Dance (Party Source) (3:41)
14. “Isn’t Your Name Ruth?” (Party Source) (5:24)
15. The Lorry / The Crash (2:36)
16. I Met Mrs. Croft (3:30)
17. Wrap Party (Party Source) / George Drunk /
      Farewell To “Applehurst” (Party Source) (4:33)
18. Bitter Feelings (Party Source) (2:58)
19. Sad Memories (Party Source) (5:13)
20. George Hides Them (3:39)
21. Bedroom (5:41)
22. Alone (2:41)
23. Credits / Postlude (3:06)
24. By The Light Of The Silvery Moon (Party Source) (0:32)

Total Time: 73:18

DDR855

 

Dragon’s Domain Records presents POPE JOAN, featuring music composed by Maurice Jarre (LAWRENCE OF ARABIA, DOCTOR ZHIVAGO, WITNESS) for the 1972 historical drama directed by Michael Anderson (AROUND THE WORLD IN 80 DAYS, THE DAM BUSTERS, THE SHOES OF THE FISHERMAN), written by John Briley, starring Liv Ullmann, Jeremy Kemp, Natasha Nicolescu, Peter Arne, Leslie-Anne Down, Franco Nero, Maximilian Schell, Patrick Magee, Trevor Howard and Olivia de Havilland.

 

Released in 1972, POPE JOAN follows Joan (Ullmann), a pious young woman in medieval Europe who becomes a scholar of theology,disguises herself as a man, rises through the hierarchy of the Catholic Church, and is eventually elected Pope.

 

French composer Maurice Jarre was best known for his sweeping musical canvases for the epic films of director David Lean, including LAWRENCE OF ARABIA, DOCTOR ZHIVAGO, and A PASSAGE TO INDIA, all of which won Academy Awards for the composer. Jarre collaborated with many of the other great directors of the ’60s and ’70s, including William Wyler, Richard Brooks, René Clément, John Frankenheimer, Alfred Hitchcock, Luchino Visconti, John Huston, Elia Kazan, and others. He scored more than 150 films and television projects during his long career. His filmography includes projects such as THE COLLECTOR, RYAN’S DAUGHTER, THE PROFESSIONALS, IS PARIS BURNING?, GRAND PRIX,TOPAZ, THE DAMNED, THE MAN WHO WOULD BE KING, THE LAST TYCOON, VILLA RIDES,JESUS OF NAZARETH, THE LIFE AND TIMES OF JUDGE ROY BEAN, SHOGUN, LION OF THE DESERT, THE MESSAGE, FATAL ATTRACTION, GORILLAS IN THE MIST, GHOST, DEAD POETS SOCIETY, and many more.

 

Originally released on compact disc in 2009 and very scarce, Dragon’s Domain Records brings POPE JOAN back to the marketplace, featuring music composed and conducted by Maurice Jarre. The music has been newly mastered by James Nelson at Digital Outland, and the liner notes written for the previous release by James Fitzpatrick have been reprised.

 

POPE JOAN is a limited edition release and is expected to begin shipping the week of April 27th, 2026.

 

01. Main Titles (4:02)
02. Young Joan (2:56)
03. Young Joan Given A Crucifix (3:27)
04. Prelude To Rape (1:19)
05. Joan’s Rape / Joan As A Nun (7:27)
06. Cecilia’s Song (1:20)
07. Joan And Brother Adrian (1:32)
08. The Nunnery (4:39)
09. Joan’s Masturbation (5:05)
10. Saxon Menace (1:41)
11. Saxon Raid On The Nunnery (6:22)
12. Joan As A Monk (3:11)
13. Army Camp / Athens Monastery (5:42)
14. Journey To Rome (1:39)
15. Pope Leo III (3:19)
16. Pope Joan (2:41)
17. Finale / Joan’s Death (5:06)
 

BONUS TRACKS
18. Pope Joan Original Main Title (The Devil’s Impostor) (4:44)
19. Rock Music (Slow) (3:28)
20. Rock Music (Fast) (2:21)

Total Time: 72:10

STC77150

 

Citadel Records, a division of BSX Records, presents ALFRED HITCHCOCK’S TORN CURTAIN – THE LOST SCORE composed by the legendary Bernard Herrmann (PSYCHO, VERTIGO, NORTH BY NORTHWEST), conducted on this release by the great Elmer Bernstein (THE MAGNIFICENT SEVEN, TO KILL A MOCKINGBIRD).

 

Released in 1966, TORN CURTAIN was to be the ninth in a momentous series of collaborations between director Alfred Hitchcock and composer Bernard Herrmann. Written by Brian Moore, Willis Hall and Keith Waterhouse, starring Paul Newman, Julie Andrews, Lila Kedrova and Wolfgang Kieling, the film follows Michael Armstrong (Newman), an American scientist who publicly defects to East Germany as part of a secret mission to steal a formula before planning his escape back to the West.

 

In all of their previous collaborations, Herrmann had been given a free hand to compose his music without any concern for the commercial exploitation of the music for financial gain. But the market for soundtrack albums had started to change and one of these changes included accounting for the inclusion of a theme or a hit song on the album designed to boost sales and would not necessarily serve the film in a practical way. Herrmann resisted these inclinations as long as he could but it would be TORN CURTAIN that would end their creative collaboration. After Herrmann had gone through the process of creating his score in the usual manner and began to record it, he was interrupted by the director on the recording stage, who expressed his misgivings about what he was hearing and that was the end of their relationship...

 

Bernard Herrmann is one of the greatest composers of motion picture music in the twentieth century. He is considered the man behind some of the most original and distinctive film scores. He was a master at evoking psychological and dramatic tension in his music to suit the dramatic needs of a film. He won his only Oscar in 1947 for writing the score for THE DEVIL AND DANIEL WEBSTER. Herrmann made a powerful mark in radio and in 1934 he began a 25-year career as a conductor and composer in radio, working for the CBS Symphony Orchestra. In 1938, he scored the notorious infamous presentation of Orson Welles’ Halloween production of H. G. Wells’ THE WAR OF THE WORLDS broadcast. He is best remembered for his collaborations with some of Hollywood’s most celebrated film directors like Alfred Hitchcock, Orson Welles, Martin Scorsese and Brian DePalma. Described as a perfectionist, he believed that most directors didn't have a clue about music so he would blithely ignore their instructions. His filmography includes CITIZEN KANE, THE MAGNIFICENT AMBERSONS, NORTH BY NORTHWEST, VERTIGO, MYSTERIOUS ISLAND, CAPE FEAR, FAHRENHEIT 451, OBSESSION, TAXI DRIVER and many hours of episodic television including THE TWILIGHT ZONE and HAVE GUN, WILL TRAVEL, among others.

 

From 1974 to 1979, composer Elmer Bernstein, a great believer in preserving the film music of the past, indulged an expensive whim: Re-recording excerpts from memorable scores by esteemed colleagues ranging from Alfred Newman and Miklos Rozsa to Alex North and Bernard Herrmann. This collection would span fourteen LPs and include many previously unreleased film scores, including the first recording of Herrmann’s lost score to TORN CURTAIN. Later, these historic recordings were released on compact disc by Film Score Monthly in 2006 in a limited edition box set that has continued to become scarce over the years.

 

Citadel Records, a division of BSX Records, is proud to bring these recordings back into the marketplace, under license from the composer’s estate with the music newly remastered by James Nelson at Digital Outland and retaining the original liner notes written by Christopher Palmer. ALFRED HITCHCOCK’S TORN CURTAIN – THE LOST SCORE features Bernard Herrmann’s music conducted by Elmer Bernstein, performed by the Royal Philharmonic Orchestra.

 

 

ALFRED HITCHCOCK’S TORN CURTAIN - THE LOST SCORE is a limited edition soundtrack release. ALFRED HITCHCOCK’S TORN CURTAIN – THE LOST SCORE is expected to begin shipping the week of April 27th, 2026.

 

01. Torn Curtain Prelude (2:24)
02. The Radiogram / The Hotel (2:46)
03. The Phone / The Bookstore (5:24)
04. Valse Lente (3:06)
05. The Travel Desk / Gromek (3:18)
06. The Farmhouse (2:18)
07. The Body (2:34)
08. The Killing (1:58)
09. The Toast / The Photos (3:00)
10. The Cab Driver / The Hill (3:44)
11. Discovery / The Blackboard (2:55)
12. The Formula / The Corridor (2:53)
13. The Bicycles / The Bus (3:04)
14. Torn Curtain Prelude (Reprise) (2:23)
Total Time: 41:47

BSXDG0225

BSX DIGITAL presents the premiere release of music from the several television movies composed by the great Mark Snow (THE X FILES, MILLENNIUM). Few composers have shaped the sound of modern television as profoundly as Mark Snow. Over a career spanning more than four decades, Snow created an unmistakable musical language, one built from haunting textures, subtle electronic pulses, and evocative melodic fragments. His scores have accompanied mysteries, thrillers, supernatural dramas, and human stories alike, making him one of the most prolific and respected composers in the medium. Although much of his reputation rests on his mastery of supernatural and science-fiction storytelling, Snow’s talents were equally at home in dramatic narratives and character-driven stories. While many listeners immediately associate Mark Snow with his celebrated television themes, his catalog contains a wealth of lesser-known scores that reveal the full breadth of his musical imagination. MARK SNOW: SUITES AND THEMES FROM THE TV MOVIES brings together selections from several of those projects — television films and series episodes that allowed Snow to explore a variety of dramatic moods and storytelling styles.

MARK SNOW: SUITES AND THEMES FROM THE TV MOVIES includes music from PROJECT ALF, THE DANGER OF LOVE, WITNESS TO THE EXECUTION, PERVERSIONS OF SCIENCE, THE BIGAMIST, AMERICAN STORY, CHILDREN OF THE DUST, A PLACE FOR ANNIE and ROYAL MATCH.

From 1996, PROJECT ALF was a continuation of the beloved television series in which the mischievous extraterrestrial finds himself in government custody. Snow’s score balances humor, warmth, and gentle science-fiction adventure. 

Released in 1992, THE DANGER OF LOVE: THE CAROLYN WARMUS STORY (1992) offers a darker tone. Based on a notorious real-life case, the film examines obsession, betrayal, and murder. Snow underscores the psychological tension with restrained but unsettling musical textures.

From 1994, In WITNESS FOR THE EXECUTION, the composer confronts a chilling premise: a near-future television network planning to broadcast a live execution for ratings. Snow’s music heightens the moral unease of the story while maintaining the suspense of a high-concept thriller.

Science fiction returns in PERVERSIONS OF SCIENCE. “Dreams of Doom” is an episode from the short-lived anthology series inspired by Tales from the Crypt. The story of a professor trapped in a labyrinth of dreams gave Snow an opportunity to craft an eerie and surreal musical atmosphere.

More human dramas appear with THE BIGAMIST and AMERICAN STORY. In these films, Snow explores complex emotional landscapes, shifting from irony and deception to the lingering emotional scars of wartime. 

CHILDREN OF THE DUST tells a sweeping historical story set against the violent conflicts of the American frontier, while the poignant A PLACE FOR ANNIE centers on the relationship between a nurse and her HIV-positive foster daughter.

Finally, ROYAL MATCH presents a lighter romantic tale of an American woman entering the rigid world of European royalty.

BSX Digital presents MARK SNOW: SUITES AND THEMES FROM THE TV MOVIES, featuring the premiere release of music from PROJECT ALF, THE DANGER OF LOVE, WITNESS TO THE EXECUTION, PERVERSIONS OF SCIENCE, THE BIGAMIST, AMERICAN STORY, CHILDREN OF THE DUST, A PLACE FOR ANNIE, and ROYAL MATCH, featuring music composed by Mark Snow. The music has been remastered by James Nelson at Digital Outland and includes liner notes by G.B. Kemner and Scott Davis.

I. Suite from PROJECT ALF (1996) (4:43)

2. Suite from THE DANGER OF LOVE

(THE CAROLYN WARMUS STORY) (1992) (5:07)

3. Suite from WITNESS FOR THE EXECUTION (1994) (4:44)

4. Dreams of Doom suite

(From PERVERSIONS OF SCIENCE) (1997) (12:49)

5. Suite from MAN WITH THREE WIVES

(aka THE BIGAMIST) (1993) (5:21)

6. Suite from AMERICAN STORY (1992) (4:37)

7. Suite from CHILDREN OF THE DUST (1994) (9:50)

8. Suite from A PLACE FOR ANNIE (1994) (6:14)

9. Suite from ROYAL MATCH (1985) (9:56)

Total Time: 63:21