Jump to content
Soundtrack Board
Thomas Nofz

Kurz & knapp: Sammelthread für "kleine" Veröffentlichungen

Empfohlene Beiträge

vor 3 Stunden schrieb Mephisto:

Was weiß man denn so über LOUISIANE? :)

Erwarte da bloß keine große Sinfonik. Das ist zum Teil recht jazzig wie üblich bei Bolling und in den orchestralen Passagen entweder langweilig dahinplätschernd oder recht holprig zusammengefügt. Ich habe mir vor Jahren deshalb die alte LP schon nicht gekauft als ich damals bei einem Freund reingehört hatte. Für mich war das eher enttäuschend. Und das jetzt auch noch ins Endlose gestreckt - um Gottes willen.

Diesen Beitrag teilen


Link zum Beitrag
Auf anderen Seiten teilen

Bereits im November 2018 von Network / Anderson Entertainment erschienen: SPACE PRECINCT (4-CD-BOX) OST von Crispin Merrell:

space-precinct-original-soundtrack.jpg

Zitat

Gerry Anderson, the hugely influential creator of UFO and Space: 1999, made a spectacular return to television in the early 1990s with Space Precinct – an incredibly exciting series that mixed live action drama with state-of-the-art prosthetics and animatronics to give a police procedural with a definite twist!

Now – for the first time – composer Crispin Merrell's memorably thrilling soundtrack is available to enjoy on this highly collectable four-disc set. Alongside episodic suites of music and a 64-page set of track notes, this definitive soundtrack release also features alternate and unused takes of the series' outstanding title music.

296 Minuten Musik auf 4 CDs. Sehr zuverlässig und schnell (da schon öfters dort bestellt) ist networkonair.com:

https://networkonair.com/all-products/2937-space-precinct-original-soundtrack

Dort kostet die Edition 14,17 GBP, zuzüglich 5,50 GBP Versand nach Deutschland.

Diesen Beitrag teilen


Link zum Beitrag
Auf anderen Seiten teilen
vor 10 Stunden schrieb Stefan Schlegel:

Erwarte da bloß keine große Sinfonik. Das ist zum Teil recht jazzig wie üblich bei Bolling und in den orchestralen Passagen entweder langweilig dahinplätschernd oder recht holprig zusammengefügt. Ich habe mir vor Jahren deshalb die alte LP schon nicht gekauft als ich damals bei einem Freund reingehört hatte. Für mich war das eher enttäuschend. Und das jetzt auch noch ins Endlose gestreckt - um Gottes willen.

Gut zu wissen, dann lasse ich die mal getrost ziehen. :)

Diesen Beitrag teilen


Link zum Beitrag
Auf anderen Seiten teilen

Ich nehme an, daß Du bezüglich französischer Filmmusik ohnehin recht schwach bestückt ist. Und dann gar mit so was wie Bollings LOUISIANA einzusteigen nur weil der gerade aktuell irgendwo mal wieder veröffentlicht wird, wäre für Dich mit Sicherheit der völlig falsche Weg. Wenn Du Dir wirklich was Gutes tun und  herausragende französische Filmmusiken aus der Zeit der frühen 80er suchst oder Dir zulegen willst, dann solltest Du so was wie FORT SAGANNE von Philippe Sarde, LES MISÉRABLES von Michel Magne oder L´AFRICAIN von Georges Delerue kaufen - und wenn Du es denn auch mal avantgardistischer haben willst, dann eben DANTON von Jean Prodromidès. Das sind CDs, die sich für Dich lohnen würden. Und ich nehme halt kaum an, daß Du die bereits hast.

Diesen Beitrag teilen


Link zum Beitrag
Auf anderen Seiten teilen

Da liegst Du völlig richtig. Was französische Filmmusik angeht, habe ich lediglich die FANTOMAS-Musiken, die Vladimir-Cosma-Boxen, einige Universal-France-Veröffentlichungen und die ersten drei Asterix-Spielfilm-Vertonungen, die ich sehr schätze. LOUISIANE hätte ja auch eine schöne Breitwandmusik werden können, gemessen am Plakat.

Diesen Beitrag teilen


Link zum Beitrag
Auf anderen Seiten teilen
vor 22 Minuten schrieb Mephisto:

Da liegst Du völlig richtig. Was französische Filmmusik angeht, habe ich lediglich die FANTOMAS-Musiken, die Vladimir-Cosma-Boxen, einige Universal-France-Veröffentlichungen und die ersten drei Asterix-Spielfilm-Vertonungen, die ich sehr schätze. LOUISIANE hätte ja auch eine schöne Breitwandmusik werden können, gemessen am Plakat.

Das hatte ich mir schon so gedacht und das ist natürlich viel zu wenig.

Das hier ist eine superbe Breitwandmusik - absolutes Must-Have:

image.png.5f315c12408a4d727f9495754164b835.png

  • Like 1

Diesen Beitrag teilen


Link zum Beitrag
Auf anderen Seiten teilen
vor 24 Minuten schrieb TheRealNeo:

Nichts von Alexandre Desplat?

Warum Alexandre Desplat? Ich hatte doch von den frühen 80ern gesprochen - also die Zeit, aus der der Bolling stammt.
Außerdem bin ich ganz sicher kein Desplat-Fan, mag nur sehr wenig von ihm.

Diesen Beitrag teilen


Link zum Beitrag
Auf anderen Seiten teilen

Desplat... doch, ein bisschen habe ich hier. Aber von seinen Musiken zu französischen Filmen nur die Zusammenstallung mit Kompositionen für Jaques Audiard. Ansonsten noch GOLDEN COMPASS, GHOST WHISPERER und BIRTH. Insgesamt vermochte mich Desplat, an dem man ja eine zeitlang überhaupt nicht vorbeikam, wenn man ins Kino ging, nicht zu überzeugen.

Diesen Beitrag teilen


Link zum Beitrag
Auf anderen Seiten teilen

Gefällt Dir denn auch Yared?  Aus meiner Sicht sind dessen stärkste Musiken gerade nicht in den großen amerikanischen Kinoepen zu finden, sondern in eher weniger bekannten Filmen, oder zum Teil eben auch in den französischen Produktionen aus den 80ern.

Diesen Beitrag teilen


Link zum Beitrag
Auf anderen Seiten teilen

Zum 90. Geburtstag von Yasushi Akutagawa veröffentlicht Three Shells ein Doppelalbum mit der Live-Aufzeichnung eines Jubiläumskonzerts, aufgeführt vom Orchestra Tryptyque unter der Leitung von Keita Matsui. Enthalten sind Suiten aus den Scores zu Village of Eight Gravestones, Mount Hakkoda, Ako roshi und Kichiku.

 

 

Three Shells.jpg

Diesen Beitrag teilen


Link zum Beitrag
Auf anderen Seiten teilen

Am 20 Juni kommen von Digitmovies ein Re-Issue eines De-Angelis-Scores und eine verlängerte Fassung von Francis Lais Anima Persa

 

Digitmovies.jpg

Digitmovies2.jpg

Diesen Beitrag teilen


Link zum Beitrag
Auf anderen Seiten teilen

Nach jahrelanger Pause melden Keepmoving Records mit einem neuen Album zurück.

 

Keepmoving Records.jpg

“Open Book” Original Soundtrack from The Television Mini-Series
Limited Edition of 300 copies
Label: KMRCD 038
Date: 1977
Tracks: 26
Time: 72″32

Written by Russian author Veniamin Alexandrovich Kaverin, Open Book (Otkrytaya kniga) is one of the great classics of Soviet literature. The story was turned into a feature film in 1973 and later it was turned into a nine-part television mini-series. Helmed by prominent producer Victor Titov, the first four episodes premiered in 1977, while another five were shot a year later with some central parts recast – this batch was first televised in 1980. The music for both halves of the series was written by composer Nikolay Martynov.

Born in Leningrad in 1938, Martynov graduated from the local conservatory as a musicologist from the class of Mikhail Druskin. As an artist, his key research were Dmitry Shostakovich and Russian choral music. Throughout the years he penned four symphonies, operas (Galileo, Cherry Orchard) and ballets (Hercules, Petersburg Dreams). In terms of screen music, he lent his talents to some 30 projects, the best-known of which are serialized television adaptations of classic literary works such as Maxim Gorky’s The Life of Klim Samgin and of course Open Book.

This release of Nikolay Martynov’s Open Book is a rare example of Russian television scoring available commercially. Only a handful of tapes survive of this era as neither the studios, nor the composers saw too much potential in television scores. For Open Book, only the music from the first half (Parts 1-4) survived. It’s a rare treasure to hear a film score recording from the 1970s with conductor Vladislav Chernushenko instructing the Leningrad State Philharmonic as well as the Choir of the Leningrad Chapel. Liner notes by Gergely Hubai discuss the film and the score based on an all-new interview with the composer!

Diesen Beitrag teilen


Link zum Beitrag
Auf anderen Seiten teilen
Zitat

Cinema-Kan im Juni: "Original Soundtrack from the classic Nikkatsu Roman Porno film CONFIDENTIAL: SECRET MARKET directed by Noboru Tanaka in 1974. Digitally remastered and release for the first time on CD!"

Musik von Yasuo Higuchi.

 

Cinema Kan.jpg

Diesen Beitrag teilen


Link zum Beitrag
Auf anderen Seiten teilen
Am 13.5.2019 um 21:26 schrieb Oliver79:

Zum 90. Geburtstag von Yasushi Akutagawa veröffentlicht Three Shells ein Doppelalbum mit der Live-Aufzeichnung eines Jubiläumskonzerts, aufgeführt vom Orchestra Tryptyque unter der Leitung von Keita Matsui. Enthalten sind Suiten aus den Scores zu Village of Eight Gravestones, Mount Hakkoda, Ako roshi und Kichiku.

 

 

Three Shells.jpg

 

Kenne die VÖ selbst (noch) nicht, möchte aber die Bedeutung des Komponisten anhand einiger Hörproben unterstreichen, die allesamt in anderer Einspielung auch beim Jubiläumskonzert erklingen:

 

VILLAGE OF 8 GRAVESTONES

https://www.youtube.com/watch?v=jlsYy1uExdA

 

MOUNT HAKKODA

https://www.youtube.com/watch?v=CZ2Rybtv2Us

 

AKO ROSHI (NHK TAIGA DRAMA)

https://www.youtube.com/watch?v=Rh05t-eZnrw

 

KICHIKU

https://www.youtube.com/watch?v=tH_O-44KVVY

Diesen Beitrag teilen


Link zum Beitrag
Auf anderen Seiten teilen

Neben dem Herrmann und dem Yared gibt es von Music Box diese Woche auch noch einen aktuellen Score von Nathaniel Méchaly
 

Zitat

Music Box Records releases the CD version of Nathaniel Mechaly's score to the Swedish romantic period musical Swoon (Eld & Lågor) (digital version available through MovieScore Media).

Directed by Måns Mårlind and Björn Stein, the story is a new reimagination of the Romeo and Juliet story with John (Albin Grenholm) and Ninni (Frida Gustavsson) growing up in resentment of each other due to their families’ competing amusement parks. When they meet again as adults in 1940, their attraction is undeniable, but soon enough they must face much harsher enemies than their past…


Following their success on Midnight Sun, French composer Nathaniel Méchaly (of Taken fame) returns for another collaboration with Måns Mårlind and Björn Stein. On the one hand, the music underscores the classic Romeo and Juliet idea with an unabashedly romantic theme, but there are several carnivalesque sections that pay homage to the period and the setting of the story. The album also includes the new song from Lily Oakes entitled “The Keep”.

French composer Nathaniel Méchaly studied music at the Conservatoire National de Région de Musique de Marseille. He started his film music career as an assistant to Oscar-winning composer Gabriel Yared. He is best-known as the composer for the Taken trilogy, starring Liam Neeson. Méchaly, with Japanese composer Shigeru Umebayashi, won Best Original Film Score at the 33rd Hong Kong Film Awards and Best Composer at the 8th Asian Film Awards for The Grandmaster.
The 8-page booklet features liner notes by Gergely Hubai, discussing the film and the score, based on an original interview with the composer.

 

Music Box3.jpg

Diesen Beitrag teilen


Link zum Beitrag
Auf anderen Seiten teilen
Zitat

Alien_trespass_Cover_v3_1024x1024.jpg?v=

Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents the original motion picture soundtrack release of ALIEN TRESPASS, featuring music composed by Louis Febre (SWIMFAN, SMALLVILLE, ONCE UPON A TIME) for the 2009 science fiction/horror/comedy film directed by R.W. Goodwin (THE X FILES, THE FUGITIVE, TRU CALLING), starring Erick McCormack, Jenni Baird, Dan Lauria, Robert Patrick, Jody Thompson, Aaron Brooks and Sarah Smyth.

ALIEN TRESPASS is a 2009 science fiction film masquerading as a 1950’s science fiction thriller. It’s not a spoof, homage, or even parody. It very carefully emulates the style of 1950s science fiction cinema, in all its earnestness and inadvertent silliness. The film’s plot follows an alien spaceship crash landing in the Mojave Desert. Its pilot, Urp, is the equivalent of a federal marshal on Earth, who enforces security in the quadrant of space our solar system happens to occupy. He is on assignment to capture a Ghota, a voracious one-eyed creature which is known to divide into numerous replications which can quickly overrun a planet such as ours. During the crash the ravenous Ghota escapes, and Urp is forced to inhabit a human’s body in order to track and capture the Ghota before it is able to divide and spell doom for Earth’s civilization.

The film’s Seattle-based director R. W. Goodwin’s Hollywood pedigree includes serving as co-executive producer, writer, and director for television’s THE X-FILES from 1993 to 1998. While stock library music accompanies the film’s prologue and newsreel footage, composer Louis Febre was brought in to compose an original, very 1950’s style score for the film, replete with soaring Theremin, succulent string passages, expressive brass gestures, and dramatically rolling percussion. The film’s budget would not allow a live orchestra to perform the score, but Febre was quite content to create the music using digital samplers, as he had done with Mark Snow on their previous collaborations. There were two instruments that Febre knew he needed to record live, however. Virtuoso Thereminist Rob Schwimmer was brought in from New York to play the instrument on the score and Febre also contracted cellist Emily Wright to play on the score, particularly for the more romantic/evocative music. While preparing his score, Febre spent time revisiting some ‘50s science fiction films to thoroughly acclimate himself to the essence of ‘50s monster movie music.

Louis Febre began his career with the notorious B-movie company PM Entertainment before meeting his friend and mentor John Debney. The two formed a partnership that would produce successful collaborative efforts such as the movie DOCTOR WHO, and led to Louis' first television series, THE CAPE, which would earn him an Emmy for Best Dramatic Underscore. The two continue to work together to this day. Febre has enjoyed success with the movies SWIMFAN, TOWER OF TERROR (Disney), and a set of SCOOBY-DOO television movies. He earned an Annie Award nomination for his score for SCOOBY-DOO AND THE ALIEN INVADERS. That same year, he won a Pixie Award for the independent short film: REVENGE OF THE RED BALLOON.

In 2001, he could be found collaborating with Steve Jablonsky on the first season of the hit television series DESPERATE HOUSEWIVES. As an additional orchestrator, he worked again with John Debney on CATS & DOGS, JIMMY NEUTRON, the Disney film CHICKEN LITTLE, DISNEYWORLD TOKYO, and with Mark Snow on THE X-FILES movie. With the departure of Snow from the television series SMALLVILLE, Febre became the credited composer in 2007. Louis Febre continues to work in television and independent films. Most recently, he composed the score for the award winning Colombian film BASTARDS Y DIABLOS.

Dragon’s Domain Records presents ALIEN TRESPASS on compact disc for the first time, featuring music composed by Louis Febre. The music has been mastered by James Nelson at Digital Outland and the album includes liner notes written by author Randall Larson.

ALIEN TRESPASS is a limited edition release of 500 units and is expected to begin shipping the week of July 2nd, 2019

01 Rangeland Logo 0:07
02 Feature Presentation/Space Travel/Spaceship Crashes 3:45
03 First Attack/Enter Spaceship/Ted Finds The Ship 5:49
04 More Rocks/Back Up/Not Alone 3:41
05 I Am Ted 2:59
06 Wilson Dies/Hitchhiker/Ghota Hunter 3:31
07 Bubba and Lloyd Die 4:51
08 Kids See Ship/Monster in the House 2:54
09 Check It Out/Vernon Dies 4:56
10 Just a Puddle/I’ll Stay Here 1:55
11 Monster Sighting/Mom and Little Girl 5:13
12 Salt/Blob Score/Urp Shoots Monster 6:40
13 Tammy’s Speech/Exit Spaceman 8:04
14 End Titles 5:54
Total Time: 1:00:59

Zitat

Scarlet_Letter_cover6_1024x1024.jpg?v=15

Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents THE SCARLET LETTER/THE ELECTRIC GRANDMOTHER, featuring music composed and conducted by John Morris (BLAZING SADDLES, YOUNG FRANKENSTEIN, THE ELEPHANT MAN).

THE SCARLET LETTER was a four part mini-series production of Nathaniel Hawthorne’s historical novel helmed by director/producer Rick Hauser. The production starred Meg Foster as Hester Prynne, John Heard as Reverend Dimmesdale, and Kevin Conway as Chillingworth. THE SCARLET LETTER tells the story of Hester Prynne, a Colonial Boston woman who had lived two hundred years earlier, and a scarlet piece of cloth elaborately embroidered with the letter ‘A’. In her husband’s absence, Hester takes a secret lover and has a child by him. Accused of adultery, Hester is imprisoned. Refusing to identify the father of the child, her shame and despair continue and her isolation grows as the townspeople see her as a symbol of sin in their pious community. Unknown to them, the father is Reverend Arthur Dimmesdale, who must grapple with his indecision over revealing himself and his indiscretions.

Airing on public television in 1979, this version of THE SCARLET LETTER was considered the most faithful adaptation of Hawthorne’s novel at the time. Extensive research and detailed production design also made this one of the most accurate filmic depictions of 17th Century colonial America. Hauser’s use of visual symbolism from the original text and the inclusion of the author as a narrator were highlights, and a lush orchestral score by John Morris gave the series a big budget feel. For THE SCARLET LETTER, Morris used the 76-piece London Studio Symphony Orchestra and recorded at the CTS Recording Studios in London over three days in January of 1979.

Airing in 1982 as a television special on NBC, THE ELECTRIC GRANDMOTHER was a retelling of a Ray Bradbury story. Maureen Stapleton stars as the kindly robotic granny who uplifts three children after the death of their mother. Edward Herrmann (THE LOST BOYS) plays their father and Paul Benedict (THE JEFFERSONS) plays the bemused robot-maker Fantoccini. The story began as a script Bradbury wrote for THE TWILIGHT ZONE called “I Sing the Body Electric”. The TWILIGHT ZONE episode was broadcast during its third season, in 1962, starring Josephine Hutchinson as the mechanical grandmom and Veronica Cartwright as the young girl. Bradbury subsequently adapted his teleplay into a 12,000-word novella, originally titled “The Beautiful One is Here”, published in McCall’s Magazine in August 1969. Renamed with its TWILIGHT ZONE title, the story was included that same year in Bradbury’s anthology, also titled “I Sing The Body Electric.” THE ELECTRIC GRANDMOTHER was well-received, having won a prestigious Peabody Award and an Emmy nomination in the category of “Outstanding Children’s Program”, while 10-year old Tara Kennedy (in her only film role) was nominated for a “Young Artist Award” in the “Best Young Actress in a Movie Made for Television” category. John Morris composed the music for THE ELECTRIC GRANDMOTHER a year before composing THE SCARLET LETTER, and fresh from his feature film scores for THE ELEPHANT MAN (1980) and Mel Brooks’ HISTORY OF THE WORLD PART 1 (1981). The score is based on two recurring themes: the dominant and quite cheerful “Electric Grandmother” melody for the family as a whole, and the tender, sentimental “Grandmother Lullaby” tune.

Born in Elizabeth, New Jersey in 1926, John Morris studied at the Juilliard School of Music and the University of Washington. From the 1950s through the 1970s, Morris helped to compose incidental music and dance numbers for a number of Broadway productions, including WILDCAT, HOT SPOT, BAKER STREET, DEAR WORLD, MACK & MABEL and HAMLET (1975). He also wrote and produced his own musical , A TIME FOR SINGING, released in 1966. He began a career in film scoring in 1968 with the Mel Brooks film, THE PRODUCERS. He has since scored more than sixty films and TV movies, including THE ELEPHANT MAN, THE DOCTOR AND THE DEVILS, DIRTY DANCING, CLUE, SCARLETT, and all but two of Brooks’ comedy films. He has been nominated twice for an Academy Award® and won two Emmy Awards® for his work. John Morris died on Jan. 25th, 2018 at the age of 91. His last film score had been for the 2004 film, THE BLACKWATER LIGHTSHIP, starring Angela Lansbury.

While THE SCARLET LETTER was previously released on compact disc in 1995, THE ELECTRIC GRANDMOTHER has never been seen a release. Dragon’s Domain Records is excited to bring THE SCARLET LETTER back to the marketplace along with the world premiere release of the composer’s music for THE ELECTRIC GRANDMOTHER, mastered by James Nelson at Digital Outland with liner notes by author Randall D. Larson. THE SCARLET LETTER/THE ELECTRIC GRANDMOTHER is a limited edition of 500 units.  The  album, to be distributed through buysoundtrax.com, is expected to begin shipping the week of July 2, 2019.

1. Opening Theme (2:36)
2. Sentenced (1:36)
3. Hester and Dimmesdale (1:49)
4. Chillingworth (2:58)
5. A Meeting on the Beach (3:12)
6. The Minister’s Vigil (3:26)
7. The Lovers (2:02)
8. The Comet (2:40)
9. A Soul Full of Sorrow(1:06)
10. The Scarlet Letter (1:43)
11. The Marketplace (1:59)
12. Chillingworth’s Revenge (4:36)
13. Dimmesdale’s Confession(1:45)
14. The Conclusion(4:48)
15. The Electric Grandmother -Main Title (1:21)
16. Mom Dies (1:10)
17. Electronic Heart (1:31)
18. Fantoccini (2:14)
19. Building Grandma (3:25)
20. Grandma Arrives (2:02)
21. The Kite Sequence (1:12)
22. Grandmother Lullaby (2:05)
23. Grandma Prepares to Leave (1:13)
24. I’ll Be Here (2:00)
25. Time Passes / Finale (2:05)
26. The Electric Grandmother -End Credits (1:03)
27. The Electric Grandmother -
End Credits (Alternate) (0:45)
Total Time: 59:34

 

Diesen Beitrag teilen


Link zum Beitrag
Auf anderen Seiten teilen

Rick Wakeman hat auf seinem eigenen Label RRAW ein Doppelalbum mit den Scores zu den Ken-Russell-Filmen Crimes of Passion und Lisztomania veröffentlicht.

RRAW.jpg

Diesen Beitrag teilen


Link zum Beitrag
Auf anderen Seiten teilen
Am 2.5.2019 um 18:56 schrieb neo:

Leise und unauffällig hat das Label "Digital River" den Filmscore von "Silent Hill" von Jeff Danna und "Wind Chill" von Clint Mansell und paar andere Alben digital veröffentlicht. Bin gespannt was da sonst noch unveröffentlichtes kommt :)

https://digitalriver.bandcamp.com/

 windchill.jpg.e13ae84085827bd110e286f9ee0b88fe.jpg

 

Den hätte ich mir gern runtergeladen aber er scheint wieder runter genommen zu sein?

Diesen Beitrag teilen


Link zum Beitrag
Auf anderen Seiten teilen
vor 6 Stunden schrieb queenofthefoovultures:

Den hätte ich mir gern runtergeladen aber er scheint wieder runter genommen zu sein?

Ja anscheinend is das Label wieder weg von Bandcamp... vlt. doch rechtlich Probleme? Man weiss es nicht. 😕 Ich hatte noch mit denen Mailkontakt vor paar Wochen, aber auch die Mailadresse scheint nicht mehr zu existieren.

Diesen Beitrag teilen


Link zum Beitrag
Auf anderen Seiten teilen

Zwei neue Titel von Beat Records:

Un caso di coscienza - Non commettere atti impuri - Riz Ortolani

Zitat

We are proud to release for the first time on CD—complete and in stereo—the scores by Riz Ortolani for the comedy movies UN CASO DI COSCIENZA directed in 1970 by Giovanni Grimaldi, starring Lando Buzzanca, Antonella Lualdi, Paolo Carlini, Turi Ferro, Nando Gazzolo, Raymond Pellegrin, Saro Urzì, Michele Abruzzo, Alfredo Rizzo, Françoise Prévost, Aldo Puglisi, Ileana Rigano, Carlo Sposìto, Linda Sini, Dagmar Lassander, Helga Liné, Franco Lantieri, Renato Malavasi, Marcella Michelangeli, Viviane Ventura and Elio Zamuto. and NON COMMETTERE ATTI IMPURI directed in 1971 by Giulio Petroni and starring Dado Crostarosa, Barbara Bouchet, Luciano Salce, Marisa Merlini, Claudio Gora, Bruno Dolfin, Franco Balducci, Gigi Ballista and Simonetta Stefanelli. For ''Un caso di coscienza'' Maestro Ortolani composed a wild shake theme that is introduced in the opening titles in a vocal version (with lyrics by the actor Fiorenzo Fiorentini and orchestra conducted by Natale Massara) performed by Il Supergruppo (Tr.1 and Tr. 16). This beat motif is revisited throughout the film in different versions (Tr.3,5,12,14) and for the party scene in the Baron Favara palace (Tr.7). Ortolani composed other motifs for a magical and mysterious theme with ancient flavor for flutes and guitar (Tr.4, 8), another danceable shake (Tr.9), an evocative piece with solo organ for the mass scene (Tr.10) and atmospheric lounge music for romantic or dining sequences (Tr.2,6,11,13,15). We used everything that was recorded in stereo during the recording session (33:17), stored in the private archives of the Ortolani family. The cue sheets indicate that track 12 was considered for a single that was never released, but in 1970 the song featured in the opening titles (Tr.1) was officially released on Ricordi LP (SMRL 6069) with the title IL SUPERGRUPPO, formed by members of other bands known in the ‘60s as Victor Sogliani of Equipe 84, Mino Di Martino of Giganti, Gianni Dall'Aglio of I ribelli, Petruccio Montalbetti of Dik Dik and Ricky Gianco, who supervised the producttion of the 33 rpm . There is also a promotional white-label single (Ricordi SRL 10-588) featuring the song (same piece on both sides). For ''Non commettere atti impuri'' Riz Ortolani composed a brilliant soundtrack that opens with a lively, beat-flavored main theme introduced in ''Titoli di testa'' (Tr.17) and reprised as a shake (Tr.18). For the tender love story between the boy and girl, Riz Ortolani composed a delicate motif with several variations (Tr.19, Tr.21, Tr.24, Tr.25), an agitated theme for psychedelic organ and percussion ( Tr.29), religious music for organ (Tr.22, Tr.23) and organ with Gregorian chant (Tr.28) and sensual music for the scenes with Barbara Bouchet (Tr.26, Tr.27). The main theme is reprised in the finale with rock guitar and brass, the middle portion featuring drums in a shake tempo with Gregorian chant (Tr.30). The material from NON COMMETTERE ATTI IMPURI lasts 32:42 and comes from the stereo master recordings stored in Beat Records' archives.
Co-produced by Claudio Fuiano for CFSoundtracks and Daniele De Gemini for Beat Record.
graphic design by Claudio Fuiano & Daniele De Gemini
mastering by Claudio Fuiano & Enrico De Gemini

L 'Italia vista dal cielo - Piero Piccioni

Zitat

Beat Records presents for the first absolute time on CD the complete edition of the soundtrack by Piero Piccioni for ''L'Italia vista dal cielo'', a series of fourteen documentaries directed by Folco Quilici from 1966 to 1978, all commissioned, sponsored and produced by Italian Esso with the aim of portraying the scenic, artistic and architectural beauties of each region of Italy with aerial shots taken by helicopter. The most prestigious theaters were chosen in the capitals of the interested regions, such as the Teatro La Fenice in Venice, the Teatro Massimo in Palermo, the Teatro Argentina in Rome, the Teatro Nuovo in Milan, the Teatro San Carlo in Naples, the Petruzzelli Theater in Bari and the Municipal Theater in Bologna, screened in the presence of political, civil, cultural and religious representatives. The films were also shown in schools and universities and in the main cities of each region, eventually also disseminated abroad with English, French, German and Spanish versions. Numerous screenings were organized together with the Italian embassies and institutes of culture through an agreement with the Ministry of Foreign Affairs. The films were put on display at fairs, Italian festivals and other events. We release for the first absolute time on CD the beautiful scores by Piero Piccioni for the "L'Italia vista dal cielo" episodes "Emilia,'' "Marche" and "Sicilia" in their entirety, assembled from the stereo master tapes of the original recording sessions. Previously, only one mono track called "Primavera" (here Tr.1) was issued on a C.A.M. library LP (CML 0013). For the regions "Emilia" and "Marche," Piccioni composed a score that is a true hymn to the joy of living. The Main Titles theme ("Primavera") provides the background for the aerial shots of colorful balloons flying in the background of a blue sky with green landscapes below, a perfect marriage of music and image. The pleasing motif is performed by a symphonic orchestra with beat arrangements. Piero Piccioni reprises this main theme with many wonderful versions, including Latin American, Beat, sacred, cheerful, sad, slow, fast, etc., each allowing the listener to realize the greatness of this musician. For the "Sicily" region, Piero Piccioni wrote pastoral passages of rare beauty with sparse instrumentation including organ, guitar, flute and oboe. This CD represents another wonderful addition to the ever-growing discography of Maestro Piccioni, whom we all love immensely.
Available packaged in a jewel case with a 12-page booklet designed by Alessio Iannuzzi with mastering and liner notes by Claudio Fuiano


 

beat.jpg

beat2.jpg

Diesen Beitrag teilen


Link zum Beitrag
Auf anderen Seiten teilen

Ach gott, Space Precinct!!! Fand ich damals ganz cool, aber heute trifft mich evtl der Schlag. Weiss nich ob ich mich traue das nochmal anzuhören!

 

anyway, Apollo 11 von Matt Morton is sehr gute Synthiemusik ala Carpenter für die Megadoku über naja, Apollo 11 🤣

mir gefällts!

Diesen Beitrag teilen


Link zum Beitrag
Auf anderen Seiten teilen

Erstelle ein Benutzerkonto oder melde dich an, um zu kommentieren

Du musst ein Benutzerkonto haben, um einen Kommentar verfassen zu können

Benutzerkonto erstellen

Neues Benutzerkonto für unsere Community erstellen. Es ist einfach!

Neues Benutzerkonto erstellen

Anmelden

Du hast bereits ein Benutzerkonto? Melde dich hier an.

Jetzt anmelden

×

Wichtige Information

Wir nutzen auf unserer Webseite Cookies, um Ihnen einen optimalen Service zu bieten. Wenn Sie weiter auf unserer Seite surfen, stimmen Sie der Cookie-Verwendung und der Verarbeitung von personenbezogenen Daten über Formulare zu. Zu unserer Datenschutzerklärung: Datenschutzerklärung/Impressum