Alexander Grodzinski

Wie immer etwas mürrisch, aber dafür auch wie immer ehrlich Kommt es mir nur so vor oder hat er Probleme beim Sprechen? Ich hoffe, es ist „nur" das Alter. Live auf der Bühne hat er zumindest immer noch Spaß.

Snow Files of the Week: "Jack O' Lantern/Battery/790 Days" aus "MillenniuM", Episode "The Curse of Frank Black" (1997). Was wäre Halloween ohne "The Curse of Frank Black"? Diese sehr beliebte Folge unter "MillenniuM"-Fans hat alles, was man für diese Nacht braucht: Seltsame Ereignisse, Dämonen, schwarze Katzen, Hexen, Geister und eine insgesamt düstere und unheimliche Atmosphäre. Mark verstärkt diese noch mit seiner düsteren und spukigen Musik. Am Ende der Episode baut Mark sogar ein klassisches Stück in seine Musik ein, die "Sarabande" von Georg Friedrich Händel. Die Musik wurde auf dem ersten Volume von LLL veröffentlicht, welches ausverkauft war und 2015 neu aufgelegt wurde. Auch die Zweitauflage ist mittlerweile ausverkauft. Happy Halloween!

Und Roger meinte auf eine Nachfrage, dass FRIGHT NIGHT II nicht kommt, weil man das Material nicht lokalisieren kann. Schade.

Aus der Facebook-Gruppe.

Der Score von Carpenter, Carpenter und Davis war komplett fertig, als er ersetzt wurde. Gründe dafür sind zwar immer noch nicht bekannt, aber Carpenter hat nun verlauten lassen, dass er den abgelehnten Score veröffentlichen will.

Ich habe das Taschenbuch im Januar bei Amazon vorbestellt. Mittlerweile gibt Amazon eine Lieferzeit von drei bis sieben Monaten an. Mal sehen, ob und wann ich es bekomme.

Intrada announces the premiere release of James Newton Howard's 1990 score to Columbia Pictures' Flatliners. It's a score that has deserved a release for the past 35 years and one of the last major Howard scores to have never been released in any format. It's a massive work, composed for large orchestra and chorus. Befitting the hyperreal style of the film, the composer tackles big ideas like spirituality and religion head on, with a score as grand as the themes suggest. As Howard recalls, “Some memories I have were having a 90-piece orchestra for the first time to do whatever I wanted and bringing in all kinds of different electronics and sampled stuff, including a specific ‘monkey chant’ from Bali. The main idea for me was trying to musically express redemption—a theme that blooms into its big version heard in 'Flatliners End Titles.'" It was also Howard's first time writing for large choir. This Flatliners release features nearly 80 minutes of music (including 18 minutes of demos and alternates) and arrives just in time for the film's 35th anniversary. The album was produced by Stéphane Humez and mastered by Maxime Marion with liner notes by Kaya Savas. The film is a psychological sci-fi thriller directed by Joel Schumacher and follows a group of ambitious medical students—played by Kiefer Sutherland, Julia Roberts, Kevin Bacon, William Baldwin and Oliver Platt—who conduct a dangerous experiment to explore what happens after death. They deliberately stop each other’s hearts for short periods of time, experiencing near-death visions before being revived. However, their experiments soon spiral out of control as they begin to face terrifying manifestations of their past sins, blurring the line between life, death and guilt. 01. Flatliners Main Title (1:59) 02. Pre Lab (1:36) 03. Nelson & Labraccio (0:50) 04. The Lab (1:08) 05. Nelson Preps (2:45) 06. Nelson Flatlines (2:31) 07. Drive To Deli (1:09) 08. Nelson’s Flashback (1:37) 09. Joe’s Death (1:56) 10. The Alley (3:40) 11. Trick Or Treat (1:26) 12. Labraccio Goes Under (4:42) 13. Billy Attacks In Apartment (1:17) 14. Rachel Reflects (0:51) 15. Rachel’s Death (2:29) 16. Rachel’s Revival (2:16) 17. Billy & Screwdriver (1:59) 18. Schoolyard (3:03) 19. Rachel & Dad In Class (1:23) 20. Nelson In Truck (1:18) 21. Billy Attacks In Truck (1:27) 22. Davey Comforts Rachel (0:47) 23. Graveyard (1:52) 24. Rachel Goes Home (3:05) 25. Nelson Calls Rachel (1:58) 26. Nelson Running To Lab (0:53) 27. Nelson Goes Under (1:36) 28. Boys Arrive At Lab (1:02) 29. Revival Attempts (2:16) 30. Nelson & Billy (1:22) 31. Flatliners End Titles (5:38) Total Score Time: 61:44 THE EXTRAS 32. Flatliners Main Title (Demo Version) (2:02) 33. Nelson Flatlines (Demo Version) (2:57) 34. Drive To Deli (Demo Version) (1:24) 35. Rachel’s Death (Demo Version) (1:09) 36. Nelson Calls Rachel (Demo Version) (1:27) 37. Boys Arrive At Lab (Alternate) (1:02) 38. Flatliners End Titles (Demo Version) (3:15) 39. Flatliners End Titles (Alternate) (4:32) Total Extras Time: 17:46 Total Album Time: 79:31

Ist eben Geschmackssache Allgemein mag ich die früheren Carpenter-Scores lieber, im Bereich Halloween ist sein HALLOWEEN III - SEASON OF THE WITCH mein liebster Score. Aber ich finde schon, dass seine neuen Halloween-Scores auf der einen Seite genau seinen alten Stil bedienen, aber auf der anderen Seite durchaus modern wirken, ohne zu sehr in puren Krach zu verfallen. Gerade beim Hören des expandierten Albums zu HALLOWEEN (2018), welches unter anderem auch durch viele ruhigere Tracks ergänzt wurde, finde ich die Stimmung und die Atmosphäre, die die Musik verbreitet, schon sehr „eerie" und teilweise sogar etwas melancholisch. Musikalisch muss man Carpenters Minimalismus eben mögen, aber ich finde, dass genau dieser Minimalismus der Musik zugute kommt, weil sie so eben nicht Gefahr läuft, in heutige Klangmuster zu verfallen. Da ist man im Horrorbereich meist eben eher auf Lautstärke bedacht und fährt alles auf, was man so hat, egal, ob orchestraler oder elektronischer Score. Und selbst die Klangflächen und langgezogenen Töne heben sich bei Carpenter deutlich ab von dem, was man sonst so an „droning" und Sound Design in heutigen Scores zu hören bekommt. Wie bei allen Carpenter-Scores seit Mitte der 90er sind seine neuen HALLOWEEN-Scores natürlich auch mit Rock-Elementen durchsetzt, Daniel Davis spielt ja auch Gitarre. Aber anders als bei dem Blues-Rock von ESCAPE FROM L.A., dem Country-Rock von VAMPIRES oder dem Hard-Rock von GHOSTS OF MARS wird die Gitarre hier oftmals auch als Klangfarbe eingesetzt oder als „Stinger", was Carpenter ja auch gerne macht. Wie gesagt, muss man mögen und ich finde auch nicht alle seine neuen Sachen gelungen (seinen Score für das FIRESTARTER-Remake fand ich eher dröge), aber mich packt sein Stil nach wie vor.

Carpenter produziert mit seiner Frau Sandy King eine Horror-Anthology-Serie namens "John Carpenter presents". Soll wohl sowas wie American Horror Story werden. Wobei sich Carpenters Part wohl mal wieder eher auf das Entgegennehmen des Schecks und das Hergeben seines Namens beschränkt Wobei: Es ist die Rede davon, dass Carpenter Einfluss hat auf die Geschichten und den Stil. Na ja, mal sehen.

Kam nun gestern an. Optisch schon hübsch aufgemacht mit dem Hologramm auf der Box. Ich habe die Scores nun länger nicht gehört, kam bisher aber auch nur zum Hören des ersten Albums. Aber ja, finde ich bis jetzt immer noch gut Carpenter hat mit der Hilfe von Cody und Daniel seinen Sound modernisiert, ohne seine musikalischen Markenzeichen zu verlieren.

Apropos Jack White: Auch Bernd Meinunger ist gestorben. Er war fast 50 Jahre lang der Texter für Ralph Siegel, hat aber auch für unzählige andere Künstler Texte geschrieben, unter anderem Peter Maffay, Drafi Deutscher, Nino de Angelo und Roland Kaiser. In den 90ern wirkte er unter Pseudonym auch an dem Eurodance-Projekt E-Rotic mit.

Brigham Young University Film Music Archive Production. All proceeds from this limited edition compact disc go towards the acquisition, preservation of film music elements and public future releases. Produced by David O. Selznick in 1937, A STAR IS BORN is the story, remade many times, of a young girl with dreams of fame who falls in love with a star whose talent and popularity are on the wane. Max Steiner’s score beautifully accompanies the on-screen romance and heartbreak of this classic Technicolor drama. But the story of the score is a drama in itself and this CD, taken from the composer’s personal acetates which are preserved in the Max Steiner Collection at Brigham Young University, presents, in comprehensive fashion, multiple versions of cues that were written and re-written for the film. In large part, the discs were in excellent condition, while a few had obviously been played numerous times over the years. The package includes a 40 page book with an introduction by Steiner biographer Steven C. Smith and notes by Ray Faiola, who also restored the score and produced the CD master. Package design by Jim Titus. Produced with the cooperation of Warner Bros. Entertainment. 01. Main Title 1:46 02. Advice from Granny (replaced) 3:47 03. Advice from Granny (film version) 3:44 04. Farewell at Depot (replaced) 1:13 05. Arrival at Hollywood 1:55 06. Job Search (replaced) 2:04 07. Job Search (film version) 2:05 08. A Drink With Danny 1:12 09. Finally a Job 2:08 10. Impressionable Waitress (unused) 1:59 11. Contemplations Waltz (unused) 1:27 12. Good For Amusement Only (unused) 6:24 13. Driving Esther Home (partially unused) 2:41 14. The Enchanted Hour Preview 1:32 15. Trocadero Terrace 2:23 16. Boxing Arena Exit Music 1:01 17. Honeymoon Trailer 0:44 18. Gossip Column / The Maine Mansion 1:48 19. A Star is Born / Box Office Poison 2:22 20. Home From the Studio (replaced) 0:57 21. Home From the Studio (film version) 0:57 22. Dressing Table (replaced) 2:48 23. Dressing Table (film version) 2:22 24. Sign Here Mr. Lester (replaced) 1:33 25. Sign Here Mr. Lester (film version) 1:33 26. Academy Award Foxtrot (replaced) 1:14 27. Academy Award Foxtrot (film version) 1:13 28. Oliver Offers to Help (replaced) 1:28 29. Bailed Out / Vicki’s Sacrifice 2:34 30. Norman Commits Suicide 4:03 31. Funeral Mob 1:34 32. Mrs. Norman Maine / Finale 1:03 33. Trailer Score Part Two 1:44

Mutant is proud to announce a distribution partnership with Sparks & Shadows Records, an independent record label formed by Emmy and BAFTA Award-winning composer Bear McCreary. Last year, Mutant was the physical media home for McCreary’s debut rock record, The Singularity, a concept album featuring legendary rock talent including Slash, Serj Tankian (System of a Down), Corey Taylor (Slipknot), Rufus Wainwright, and many more. Mutant will now be the home and co-distributor of Sparks & Shadows’ back catalog on physical media, including McCreary’s scores for films, TV shows, and video games such as Black Sails, Da Vinci’s Demons, 10 Cloverfield Lane, Call of Duty, and much more. To celebrate this collaboration, Mutant is excited to premiere The Lord of the Rings: The Rings of Power (Season Two Complete Soundtrack Collection from the Amazon Original Series) This 10xCD box set features the complete episodic scores for all eight episodes of Season Two of the hit series, as well as the original soundtrack album. The limited-edition, numbered set also contains a 130-page booklet featuring liner notes by composer Bear McCreary. The Lord of the Rings: The Rings of Power (Season Two Complete Soundtrack Collection from the Amazon Original Series) is now available for pre-order at madebymutant.com

Neu von Quartet: Quartet Records, in collaboration with GDM and EMI General Music Publishing, presents a remastered reissue of BLUEBEARD (1972), in full stereo for the first time. It is one of the most bizarre-yet-beautiful Ennio Morricone scores composed during the busiest period of his career. The film is a weird co-production directed by Edward Dmytryck, produced by Alexander Saldkin, and starring Richard Burton, Rachel Welch, Virna Lisi, Nathalie Delon and Agostina Belli. The plot of the film is loosely based on a French folk tale about a nobleman whose last wife becomes curious when he tells her that she can enter any room in his castle except one. In that room, he keeps the corpses of all his previous wives, whom he has murdered. Ennio Morricone divided his score between the melancholic, the macabre and the parodic. One senses his intention to delve deeper into the psychology of the characters and to imbue the images with irony, moving from black comedy to bourgeois horror drama. The album of BLUEBEARD has been released several times on LP and CD since its first appearance in 1972 on the General Music label. In 2011, GDM CD Club released an expanded limited edition, supervised by the composer and produced by Dániel Winkler and Claudio Fuiano, containing all the music recorded for the film, which quickly sold out. This is a reissue of the same program, revised and mastered by Chris Malone from first-generation stereo master tapes. The booklet includes liner notes by Miguel Angel Ordóñez discussing the movie, the music and the composer. Barbablù (Titoli) 4:04 Caccia 2:22 Preludio alla prima moglie 1:19 Una macabra scoperta 2:09 1928 2:56 Interludio alla seconda moglie 2:22 Barbablù romantico 3:31 Postludio alla terza moglie 2:45 Dedicato alla quarta 2:39 Il violinista 2:51 La quinta è in coma 2:26 Barbablù al crepuscolo 2:25 Povera sesta 2:46 Brutta fanfara 1:31 Requiem per la settima 3:14 Barbablù 2:23 Preludio alla prima moglie (#2) 0:45 Una macabra scoperta (#2) 3:25 1928 (#2) 2:50 Interludio alla seconda moglie (#2) 1:51 Barbablù romantico (#2) 4:14 Postludio alla terza moglie (#2) 2:31 La quinta è in coma (#2) 2:20 Barbablù al crepuscolo (#2) 2:34 Povera sesta (#2) 3:26 Barbablù romantico (#3) 4:11 Barbablù (Titoli – Versione Film) 2:58 Total Disc Time: 73:01 Quartet Records, in collaboration with GDM and EMI General Music Publishing, present a remastered reissue of the 1972 classic, bizarre and ironic Ennio Morricone cult score for LE TRIO INFERNAL (1972), a successful French dark comedy-drama, sadistic and erotic, directed by Francis Girod, starring Michel Piccoli, Romy Schneider and Mascha Gonska. The film is about an ambitious lawyer who devises a plan with his German mistress and her sister to deceive wealthy millionaires, marry them and then murder them, disposing of the bodies in sulfuric acid, thereby collecting the inheritance and insurance money. Ennio Morricone responds to the challenge posed by Le trio infernal with one of his most complex and contradictory scores, where lyricism is mixed with irony, beauty is subverted, and music is transformed into a narrative commentary laden with ambiguity. The album of LE TRIO INFERNAL has been released several times on LP and CD since its first appearance in 1974 on the Yuki label in France. In 2010, GDM CD Club released an expanded limited edition, supervised by the composer and produced by Dániel Winkler and Claudio Fuiano, containing all the music recorded for the film, which quickly sold out. This is a reissue of the same program, revised and mastered by Chris Malone from first-generation stereo master tapes. The booklet includes liner notes by Miguel Angel Ordóñez discussing the movie, the music and the composer. Acido e Charme 3:52 Rag Nuziale (primo matrimonio) 3:27 Trio Infernale 6:03 Rag Nuziale (secondo matrimonio) 3:27 Acido e Charme (#2) 3:51 Sinfonietta – Requiem All’Acido Solforico 5:23 Rag Nuziale (ultimo matrimonio) 1:18 Trio Infernale (#2) 1:57 Acido e Charme (#3) 1:55 Rag Nuziale (primo matrimonio #2) 2:44 Trio Infernale (#3) 1:47 Acido e Charme (#4) 2:17 Rag Nuziale (ultimo matrimonio #2) 4:16 Trio Infernale (#4) 1:34 Acido e Charme (#5) 2:35 Trio Infernale (#5) 1:43 Rag Nuziale (secondo matrimonio #2) 2:24 Trio Infernale (#6) 4:52 Acido e Charme (#6) 2:48 Trio Infernale (#7) 3:51 Trio Infernale (#8) 2:29 Total Disc Time: 64:42 Quartet Records, in collaboration with GDM and Universal Music Publishing, presents a remastered reissue of one of Ennio Morricone’s most celebrated collaborations with Mauro Bolognini (ARABELLA, L’ASSOLUTO NATURALE, METELLO), the 1975 drama PER LE ANTICHE SCALE, starring Marcello Mastroianni, Barbara Bouchet, Lucia Bosé, Marthe Keller and Françoise Fabian. The film is set in fascist Italy in the 1930s and takes place in a Tuscan mental hospital. There, Dr. Bonaccorsi (Mastroianni), a charismatic, progressive and contradictory psychiatrist, works with mentally ill patients while simultaneously maintaining romantic relationships with three women: a nurse, a colleague’s wife and the hospital secretary. The decadent and labyrinthine atmosphere of the asylum acts as a metaphor for the state of Italian society at the time. Morricone’s score combines melancholic passages with atonal and dissonant moments, reflecting the clash between the lyricism of the human soul—the patients, their dreams, their poetic delusions—and the oppressiveness of the system—the treatments, the medical language, the hierarchy in the asylum. PER LE ANTICHE SCALE was originally released on an Italian 45RPM featuring only two cues from the score. It wasn’t until 1997 that RCA released on CD the mock-up album prepared by the composer in 1975, which was ultimately canceled. In 2007, GDM released an expanded edition with the complete score recorded by Morricone in a 74-minute edition, supervised by the composer and produced by Dániel Winkler and Claudio Fuiano. This is a reissue of the same program, revised and mastered by Chris Malone from first-generation stereo master tapes. The booklet includes liner notes by Miguel Angel Ordóñez discussing the movie, the music and the composer. Per le antiche scale (Preludio) 3:25 Passato remoto 7:02 I Interludio 2:18 Sospiri e Rantoli 6:56 II Interludio 2:59 Rimani 5:36 Interludio 2:59 Seconda invasione 2:31 Postludio 3:19 Follia e morte 7:56 Rimanenze 6:07 Per le antiche scale (#2) 3:00 Carnevale 6:23 Sospiri e Rantoli (#2) 2:39 Postludio (#2) 1:26 Follia e morte (#2) 6:06 Per le antiche scale (#3) 2:57 Total Disc Time: 79:19 Quartet Records, in collaboration with GDM, Universal Music Publishing and EMI General Music Publishing, presents a remastered reissue of the beautiful, nostalgic Ennio Morricone score for the 1981 romantic drama LA DISUBBIDIENZA, directed by Aldo Lado, starring Stefania Sandrelli, Jacques Perrin and Mario Adorf. Based on the novel by Alberto Moravia, the film is about a fourteen-year-old boy living in a bourgeois family with strong ties to fascism during the Republic of Salò, becoming involved in the partisan resistance, defying his parents’ authority. The appearance of two women will bring his adolescence to an end. Ennio Morricone composed an enchanting score for LA DISUBBIDIENZA, with one of its most melancholic and heartbreaking themes (“Morire e Viverti”) features the voice of Edda Dell’Orso. Also featured is a profound love theme and beautiful variations on it. Another nostalgic theme, written for solo oboe, defines the boy’s loneliness. It also includes the beautiful song “Dolci Parole,” which is one of the few times Edda has performed a song with lyrics. The score was released on LP in France in 1981 by General Music. In 1996, it made its first appearance on CD in Italy, with the same 10 tracks. In 2011, GDM CD Club released an expanded limited edition, removing two cues from the original vinyl and the first CD release, as they were neither composed for this film nor had anything to do with it. The new edition, supervised by the composer and produced by Dániel Winkler and Claudio Fuiano, containing all the music recorded for the film, which quickly sold out. This is a reissue of the same program, revised and mastered by Chris Malone from first-generation stereo master tapes. The booklet includes liner notes by Miguel Angel Ordóñez discussing the movie, the music and the composer. Morire e viverti 5:13 Oboi sommersi 4:30 Al Teatro Goldoni 3:23 La Disubbidienza (source #1) 2:38 Morire e viverti (#2) 5:10 Repressione 2:02 Dolci parole (A. Stainton / E. Morricone) Vocal: Edda Dell’Orso 1:47 La Disubbidienza 4:17 Il colore dei suoi occhi 4:32 Ritorsione 1:11 Morire e viverti (#3) 5:11 La Disubbidienza (source #2) 2:49 Ritorsione (#2) 0:47 Dietro la tenda 5:07 Total Disc Time: 48:44

Kommt am 21. Oktober.