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  1. Caldera Records
    Caldera Records proudly presents Zbigniew Preisner's score for Gianluca Minucci's “Europa Centrale.” It is the early months of the Second World War. An exiled communist couple is on a train to Ljubljana. Driven by their fragile ideals, they are on a mission that might kill them. Their fellow travelers might not be their allies. One false step and their fate is sealed. The atmosphere is dense with fear. Outside, the war is raging. Does humanism have a chance of survival? Will they be able to make it? Zbigniew Preisner decided to use a choir, a string quintet and electronic instruments for a quasi-opera that provides the atmosphere for individual scenes and also captures the mood of the film as a whole to draw out its meaning for the time we live in. While the choir is mostly wordless, the composer in specific instances gave them a few carefully chosen phrases such as “pianto” (“cry”) and “pianto antico” (“ancient cry”) as well as “silenzio” (“silence”). The haunting finale uses words by Dante Alighieri’s “Divine Comedy.” While the circumstances of the heroes in the period film are not in itself a laughing matter, the landscapes in which they and we move is marked by a grim absurdity, as Preisner elaborates: “The best musical form to convey this is opera, though stripped down, because both wartime and our present time were, and are, marked by austerity. That’s why a string quintet plays in place of a full orchestra, with modern electronic elements supporting it. The only element that retains its grandeur is the choir, which sings just a few words—because in the beginning, there was the word.” Zbigniew Preisner’s “Europa Centrale” is one of his most inspired works, a delicate, intricate and poignant comment on the fragility of our existence as individuals and societies. The 59th CD-release of Caldera Records features a detailed booklet text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Leszek Kaminski and produced by Stephan Eicke and Zbigniew Preisner. C6059 Music Composed and Produced by Zbigniew Preisner CD Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Album Art Direction and Design by Luis Miguel Rojas 1. Overture: Preghiera per Europa (2:08) 2. Pianto Antico (0:30) 3. Sogno Perduto (0:55) 4. Nel Silenzio Della Notte (1:55) 5. Le Dolenti Note (3:49) 6. Le Verità Sfuggenti (3:44) 7. Consolazione (2:55) 8. La Dolce Rimembranza (2:17) 9. Pianto per Europa (5:04) 10. Compianto (1:42) 11. Invocazione (3:46) 12. Silenzio, Silenzio (3:40) 13. Sospensione (1:25) 14. Ascolta, Europa (4:31) 15. Lamento per Europa (3:45) Producer’s Note: There is a slight distortion in the first track “Overture: Preghiera per Europa.” This is an artistic choice and not a producing or manufacturing error. For more information and sound clips, please visit our homepage: https://www.caldera-records.com/europa-centrale
  2. Caldera Records
    Caldera Records is proud to present David Shire’s score for the TV movie “Small Vices.” Robert B. Parker’s novels, which featured the Boston detective Spenser, not only achieved long-lasting success in the US but also sparked a resurgence in the hardboiled detective genre. “Small Vices” was the first of three adaptations for television from the late 1990s and early 2000s. David Shire’s score is an elaborate gem for he was able to showcase his jazz expertise again. The score’s recurring theme for the titular character accurately conveys Spenser’s world-weariness and toughness while also paying tribute to his grace and refined tastes. The use of a jazz combo in the music for “Small Vices” is reminiscent of the classic genre conventions of the 1970s. However, the composer does not rely on nostalgia. His music occupies a unique space between two worlds. It evokes the music of days gone by while incorporating modern and vibrant orchestral music. The aggressive ostinatos employed in the orchestration are similar to those found in bigger-budgeted thrillers of that era. Shire masterfully blends the old and new, creating a cohesive and seamless sound. This is most noticeable in cues that subtly incorporate synthesizers and a drum kit, which were commonly used in television at that time. Unfortunately, David Shire’s score for “Thin Air,” the follow-up to “Small Vices,” is missing. Therefore, we were unable to add it to the album. As a replacement, we opted to combine “Small Vices” with pieces that share the same essence. Thus, we created an homage to his jazz-oriented scores from the 1990s, which includes “Jake’s Women,” “Broadway Bound” and “Texan.” The 56th CD-release of Caldera Records features a detailed booklet text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Richard Moore and produced by Stephan Eicke and David Shire. C6056 Music Composed and Conducted by David Shire Album Produced by Stephan Eicke, David Shire Executive Producers for Caldera Records: John Elborg, Stephan Eicke Album Art Direction and Design by Luis Miguel Rojas Small Vices 1. Main Title (2:28) 2. Spenser and Susan I (1:52) 3. Spenser and Susan II (1:58) 4. Park Chase (1:42) 5. Fireside Pizza (1:27) 6. Spenser’s Funeral (2:27) 7. Travel Montage (1:13) 8. Rehab (1:04) 9. Strictures at an Exhibition (2:54) 10. Reunion (2:47) 11. Innocent (1:19) 12. End Title (1:51) Jake’s Women 13. Meeting Maggie (2:02) 14. Jake and Julie (1:45) 15. Jake and Maggie (1:52) 16. Theme (1:04) Broadway Bound 17. Main Title (2:53) 18. Night Montage (2:25) 19. Radio Source (3:13)* 20. Comedy Show Theme (0:37) 21. Finale (1:42) 22. End Credits (0:59) *arranged by Steve Bramson Texan 23. Bar Source (2:36) 24. Homage (4:47) 25. Drive (1:36) 26. Reveal and Finale (4:12) For sound clips and more information, please visit: https://www.caldera-records.com/small-vices
  3. Caldera Records
    Caldera Records is proud to present the original film recording of Roy Budd’s score for the film “Soldier Blue.” Ralph Nelson’s violent western starring Peter Strauss, Candice Bergen and Donald Pleasance, is both an indictment against the US army that was responsible for the Sand Creek Massacre as well as an allegory to the My Lai Massacre. How the former child-prodigy Roy Budd, the then 22-year old from Croydon, secured the gig for “Soldier Blue” is by now widely known, not least because the composer himself would share the anecdote with great wit in interviews: Upon hearing that the director was looking for a composer to score his upcoming western, Budd supplied him with a tape of his work as a showreel. Unbeknownst to director Ralph Nelson and others involved in hiring the composer, none of the music featured on said showreel was actually composed by Budd. Instead, he had taped compositions by Jerry Goldsmith, Elmer Bernstein, Lalo Schifrin and Henry Mancini. Unsurprisingly considering the selection, Nelson was convinced Budd was the right choice to score “Soldier Blue.” Budd delivered a memorable, energetic and varied score that can bear comparison with Goldsmith’s, Bernstein’s, Schifrin’s and Mancini’s efforts from the time. It is an astonishing work, especially considering it was composed by a 22-year-old. Its mix of differing musical elements and styles is particularly noteworthy, in that Budd pays homage to the classic Americana of Jerry Goldsmith and Elmer Bernstein while employing jazz and pop music sensibilities with a strong sense of rhythm. In that sense, “Soldier Blue” is not dissimilar to Quincy Jones’ groundbreaking “MacKenna’s Gold” and Piero Piccioni’s “Minnesota Clay,” which fused symphonic music with jazz as well as pop elements, and thus introduced a new approach to the western genre. It is not surprising that several compositions for “Soldier Blue” were re-recorded in pop arrangements and released on PYE Records, with which label Roy Budd was under contract at the time. We are delighted to finally make Roy Budd’s original film recording for “Soldier Blue” available. The recording was long considered lost before we unearthed the mono copies from Budd’s estate, in a storage container in North Yorkshire. Unfortunately, a few pieces were missing (such as ‘Fields of Green and Skies of Blue’), while only a short selection was available on a separate stereo tape. We have included those pieces as a bonus. The 53rd CD-release of Caldera Records features a detailed booklet text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Richard Moore and produced by Stephan Eicke and John Elborg. For more information and sound clips, please visit our homepage: https://www.caldera-records.com/soldier-blue Soldier Blue 1. Start of Journey (1:32) 2. Indians Attack Wagon (8:17) 3. Valley of the 600 (1:01) 4. There’s the Road to the Fort (2:24) 5. Hey Miss Lee (0:26) 6. Kiowa Fight Pt. 1 (0:50) 7. Kiowa Fight Pt. 2 (1:31) 8. Kiowa Fight Pt. 3 (3:41) 9. Honus Sets Light to Wagon (4:58) 10. From Honus Falling Off Horse (3:02) 11. Cresta Tends Wound (1:30) 12. Honus Rides Into Army Camp (0:29) 13. Cannons Open Fire (1:18) 14. Running Fox Sweeps Down (2:56) 15. Spotted Wolf Rides Out (2:12) 16. Massacre (2:03) Stereo Selection 17. Cresta Enters Army Camp (0:58) 18. Cresta Rides Into Indian Camp (1:21) 19. My True Love (Sourwood Mountain) (1:03) Bonus 20. Soldier Blue – Piano Demo (3:34) 21. Interview with Roy Budd (13:45)
  4. Caldera Records
    Caldera Records is proud to present David Shire’s score for the motion picture “Runaway”. It is David Shire’s first feature film score, recorded in early 1961, barely two years after the young composer had graduated from Yale University. Forgotten even by Shire himself, “Runaway” is an obscure debut by the composer who would go on to provide music to celebrated productions such as Francis Ford Coppola’s “The Conversation,” Joseph Sargent’s “The Taking of Pelham 1-2-3,” and David Fincher’s “Zodiac.” David Shire had been asked by a friend to compose and record original music for an independent, low-budget neo-noir film entitled Runaway. While the film was never distributed, and no details about the project could be unearthed, the original recording tapes were found in Shire’s archive in early 2023. Even the composer himself had forgotten about this obscurity. As he admits: “The arrangements are quite skillful, and I’m surprised I knew that much at that time.” With a project as humble as “Runaway,” a career in film and television seemed far-fetched at the time. Indeed, it took a few more years for Shire to truly make his mark. Instead, he made his living as a rehearsal and dance class pianist through the early to mid-60s while slowly edging closer to what he hoped would be a career on The Great White Way. He subsequently met Stephen Sondheim who introduced Shire to director Paul Bogart. It was Bogart who then hired Shire for the first ever “CBS Playhouse” episode, “The Final War of Olly Winter.” His early television work would lead to bigger and better things for David Shire’s tapes for the “CBS Playhouse” episodes were the perfect audition material. They showed the composer’s impressive range. For “The Final War of Olly Winter,” he was asked to provide a score influenced by traditional Vietnamese music. For “Sadbird,” Shire and Maltby Jr. penned three pop songs, while “Appalachian Autumn” is inspired by the pastoral Americana made popular in the 20th century by Aaron Copland. “The Experiment” is tuneful “muzak,” as Shire himself labels it; whereas “Secrets” is a subdued effort with subtle dissonances and jazz elements, one cue from which was an homage to Burt Bacharach, a lounge piece as source music that was inspired by the legendary tunesmith. We are pleased to release David Shire’s early works for the first time. Not one note of the pieces contained herein have previously been released in any format. The 52nd CD-release of Caldera Records features a detailed booklet text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Richard Moore and produced by Stephan Eicke, David Shire and John Elborg. C6052 Music Composed and Conducted by David Shire Album Produced by Stephan Eicke, David Shire Executive Producers for Caldera Records: John Elborg, Stephan Eicke Album Art Direction and Design by Luis Miguel Rojas Please visit our homepage for more information and sound clips: https://www.caldera-records.com/runaway Runaway 1. Title Music (1:30) 2. Title Chaser/Seduction Scene Pt. 1 (0:59) 3. Night Wandering (4:37) 4. Blues for Nat (1:01) 5. Seduction Scene Pt. 2 (2:59) 6. Seduction Scene Pt. 3 (0:57) 7. Ending (1:52) Sadbird 8. Opening Credits (1:20) 9. Instrumental Source (3:22) 10. Linda and Bob (1:57) 11. Closing Credits (1:31) 12. You Really Fooled Me, Baby (3:22) sung by Melba Moore 13. Rosalie’s Room (3:24) sung by Jack Manno 14. One More Chance (2:39) sung by Melba Moore The Experiment 15. Opening Titles/Rock March 1 (2:14) 16. Martini (3:06) 17. Credits (1:32) Secrets 18. Main Title (2:15) 19. Courtroom to Apartment (2:41) 20. Aperitif (1:29) 21. Late Movie Musical (1:36) 22. Muzak (3:25) 23. Homage to Burt Bacharach (3:32) 24. Closing Credits (1:20) The Final War of Olly Winter 25. The Final War of Olly Winter (3:50) 26. Closing Credits (2:04) Appalachian Autumn 27. Opening Credits (2:07) 28. Hugh and Eula (1:30) 29. The Funeral (2:11)
  5. Caldera Records
    C6051 Caldera Records is proud to present Loek Dikker’s score for the motion picture “Rosenstrasse,” directed by Margarethe von Trotta and starring Katja Riemann and Maria Schrader. The film tells an extraordinary story about the defiance of women: In the centre stands Ruth, a Jewish mother living in New York. Her daughter Hannah one day finds out that her mother was sent to the United States by her aunt during the Second World War. The true story unfolds in front of Hannah’s eyes as she decides to track down Lena. Ruth’s mother had been captured by the Nazis and imprisoned in a factory building in Rosenstrasse. Ruth and Lena were connected by their fate: Although Lena was German and member of the aristocracy, her husband Fabian was Jewish and kept prisoner in the same building as Ruth’s mother. Desperate to see their Jewish men freed, a group of women assembled in front of the factory building in Rosenstrasse for a growing protest in the course of which they put their own lives on the line. For the German-Dutch co-production, director Margarethe von Trotta relied on Loek Dikker to provide the music, the Netherlands’ most renowned composer for film and television who had celebrated international successes with Paul Verhoeven’s film “The Fourth Man” and Eric Red’s “Body Parts” (released on CD by Varèse Sarabande in the US). “Rosenstrasse” is the work in film he is most proud of – and for good reason. His orchestral composition is complex and rich – searing yet unsentimental. It is primarily his achievement that “Rosenstrasse” is not a manipulative tearjerker for his music strikes just the right balance between drawing out the emotions, expressing the horror of war, and underlining the initial feeling of powerlessness in an oppressive system by giving room to silence. The 51st CD-release of Caldera Records features a detailed booklet text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Richard Moore and produced by Stephan Eicke, Loek Dikker and John Elborg. Music Composed and Orchestrated by Loek Dikker Album Produced by Stephan Eicke, Loek Dikker Executive Producers for Caldera Records: John Elborg, Stephan Eicke Rosenstrasse 1. Main Titles (4:07) 2. The Synagogue (1:58) 3. Lena and Fabian (2:15) 4. Miriam’s Ring (3:00) 5. Miriam in the Synagogue (1:54) 6. The Farewell (3:16) 7. Luiz and Hannah (3:26) 8. Hannah’s First Visit to Lena (2:46) 9. Klara at Rosenstrasse (1:37) 10. Left Alone After the Razzia (2:14) 11. Lena Sees Fabian (1:29) 12. The Ladies Quarrel (1:02) 13. The Bombardment (4:12) 14. To Shoot or Not to Shoot (1:43) 15. Hannah Returns Home (1:32) 16. The Wedding (0:29) 17. End Credits (3:47) For sound clips and more information, please visit our homepage: http://caldera-records.com/portfolio/rosenstrasse/gallery/soundtracks/
  6. Caldera Records
    Caldera Records is proud to present David Shire’s score for the television movie “Killer Bees,” directed by Curtis Harrington and starring Gloria Swanson, Edward Albert and Kate Jackson. A salesman is killed by a violent swarm of bees. Why? Young Edward Van Bohlen and his fiancée Victoria only hear rumors of said incident when they arrive in the sleepy town which is home to Edward’s family. Do they have anything to do with the bees that are responsible for an innocent person’s death? They do seem to harbor secrets, and they are particularly suspicious of Victoria – who feels increasingly uneasy in the family’s villa. “Killer Bees” fits neatly into the category of eco-thrillers that were especially popular in the 1970s. Directed by Curtis Harrington and shown as ABC’s Movie of the Week in February 1974, the film boasts a stellar cast, including Gloria Swanson as the family matriarch with a special bond with bees. The most thrilling aspect of this family drama though is David Shire’s music, which gives the film the energy it otherwise lacks. It is an often aggressive, suspenseful score for small orchestra that, with its short motifs and ostinatos for strings evocative of those employed in Hitchcock’s “Psycho,” pays tribute to the music of Bernard Herrmann. The references to “Psycho” are particularly evident in “Killer Bees,” as Shire admits: “I was very aware of that. Of course I was inspired by Bernard Herrmann. I love his film scores. He really showed me how to do a score that wasn’t a big Max Steiner score. He showed me that you could do it with motifs.” The TV movies of the 70s saw Shire do some of his strongest work, of which “Killer Bees” is only one example. As a bonus, we include selections from Shire’s scores for the early-70s television movies “Isn’t It Shocking?” and “Harpy.” The 50th CD-release of Caldera Records features a detailed booklet text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Richard Moore and produced by Stephan Eicke, David Shire and John Elborg. Music Composed, Orchestrated and Conducted by David Shire Album Produced by Stephan Eicke, David Shire Executive Producers for Caldera Records: John Elborg, Stephan Eicke For more information and sound clips, please visit: http://caldera-records.com/portfolio/killer-bees/ Killer Bees 1. Death of a Salesman (1:53) 2. Main Title (1:23) 3. To the House (0:37) 4. Call Me Madame (1:10) 5. End of the Line, Man (2:37) 6. Madame’s Death (1:22) 7. Cross(ed) Bees (1:19) 8. Follow Those Bees! (0:54) 9. “My Kingdom for a Can of DDT” (1:34) 10. Comb-coming Queen (3:25) 11. The New Madame (2:22) Isn’t It Shocking? 12. Mount Angel Morning (2:45) 13. First Funeral (1:28) 14. It is Shocking (3:05) 15. Warning Montage (1:27) 16. To the Farmhouse (1:18) 17. Willies of the Field (1:58) 18. Into Town (1:15) 19. Margie’s Cat House (3:01) 20. Justin the Nick of Time (1:50) 21. Finale (2:03) Harpy 22. Main Title (1:49) 23. Mock Hunt (1:49) 24. Wolf Hunt (2:53) 25. Circe (2:02) 26. It’s No Picnic (1:13) 27. Bird Massacre (3:25) 28. Preparations (3:26)
  7. Caldera Records
    C6049 Caldera Records is proud to present Roy Budd’s score for the motion picture “Welcome to Blood City”, directed by Peter Sasdy and starring Jack Palance, Keir Dullea and Samantha Eggar. The characters of the latter two wake up on a beach one day as part of a group of strangers. None of them can remember who they are or recognise where they are. Things don’t become clearer to them as they run into two men who swiftly rape the woman and shoot one of the strangers. They are eventually rescued by sheriff Friendlander and escorted to a town that looks as if it had been built for a Hollywood western. But is Friendlander really their friend, and what reality do they now inhabit? Slowly, a grisly truth dawns on the new arrivals. “Welcome to Blood City” is an unusual genre-mix that plays with elements of western, romance, thriller and science-fiction decades before “The Matrix” would premiere. However, the film was not a commercial or critical success, and Roy Budd’s score remains the best thing about it. It is also the most unusual work in his oeuvre as already becomes clear during the opening credits with its abstract effects, a lone flute solo, and the use of the echoplex. Budd’s score is more experimental and austere than any of his other compositions. Although “Welcome to Blood City” features jazz inflections and aggressive orchestral moments, it is neither a grand symphonic score nor a driving jazz composition for which the former child prodigy from Croydon, England, had become famous. In his score, Budd doesn’t rely on themes and melodies but on motifs and moods instead. The lonesome, haunting flute solo at the beginning skilfully captures the deserted landscape and troubling alienation of the unwitting pawns while the echoplex (used famously in “Patton” by Jerry Goldsmith whom Budd admired and befriended) provides a sense of mystery and hints at the science fiction element of the story. We are pleased to finally make Roy Budd’s score for “Welcome to Blood City” available for the first time, thanks to the efforts of his wife Sylvia Budd. The score was long thought to be lost before we discovered it – among other tapes – in a small storage container outside a village in North Yorkshire, England, where it had been kept for a decade. As a bonus, we include the few pieces Budd wrote and recorded for the short-lived though well-reviewed British TV series “The Sandbaggers”, a political thriller about undercover operations. The 49th CD-release of Caldera Records features a detailed booklet-text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Richard Moore and produced by Stephan Eicke and John Elborg. Music Composed and Conducted by Roy Budd Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Listen to the sound clips by clicking on the links below Welcome to Blood City 1. Main Titles (2:08) 2. Realisation (2:42) 3. Ride into Town (2:04) 4. Enter Friendlander (1:57) 5. Run For Your Life (0:52) 6. Fair Fight (1:53) 7. Blood City (unused) (2:53) 8. Later (0:13) 9. The Hunted (1:55) 10. Shootout (2:07) 11. Lewis and Katherine (unused) (1:29) 12. The Day Breaks (0:59) 13. Katherine and Lewis’ Argument (0:38) 14. Over My Dead Body (0:56) 15. Pinned Down (3:27) 16. Get Out (0:51) 17. Friendlander and Flint Have a Disagreement (1:23) 18. Friendlander is Upset (2:44) 19. Realisation (alternate) (2:42) 20. End Credits (2:22) Bonus: The Sandbaggers 21. Main Title (0:54) 22. Bumper #1* (0:08) 23. Theme alt. #1* (0:55) 24. Theme alt. #2* (0:41) 25. Bumper #2* (0:10) 26. Bumper #3* (0:09) 27. End Titles (0:53) * unused For more information and sound clips, please visit: http://caldera-records.com/portfolio/welcome-to-blood-city/gallery/soundtracks/
  8. Caldera
    C6044 Caldera Records is proud to present Dwight Gustafson’s scores for the motion pictures “The Printing” and “Beyond the Night”, directed by Tim Rogers and Katherine Stenholm respectively. “Beyond the Night”, from 1983, tells the story of John and Bettie Dreisbach, passionate missionaries who first worked in Nigeria tending to leprosy patients and spreading the word of Christ in an area that was nearly exclusively Muslim. For close to ten years, the Dreisbachs served as ministers in the Sahara, before the government forced them to leave. “Beyond the Night” describes the couple’s time in the Sahara Desert. Dwight Gustafson’s themes are infused with discreet elements from African music such as the rhythmic drumming in the “Titles”, specific tone sequences particularly popular in Northern African music (“Trip to the Village”) and a heavy use of grace notes in the woodwinds (“Clinic Day”). What binds the score together is Gustafson’s strong main theme, first heard in the “Titles” and later through diverse variations heard in the course of the movie/score. In its sweeping nature, the theme has a folkloric Americana quality that echoes the works of Aaron Copland and even the spiritual compositions of Alan Hovhaness. “The Printing” tells the story of hardship experienced by Christians in the cause of their faith. This time, the story is set in the Soviet Union and celebrates Christian believes who, despite being threatened by the communist government which had made it its mission to stifle Christian belief, dared to openly worship the Lord. Not only do the heroes of this film refuse to abandon Christ, but they continue to secretly print Bibles, convinced that God will protect them from the evil schemes of the communists. Gustafson’s music here is as moody and gray as the architecture of communist-era Russia – where incidentally, the composer can also be seen in the film, playing a pastor. Unusually for him, he utilizes a synthesizer and subtle suspensions to introduce his main theme, a downbeat yet still lyrical melody in a minor key that later blossoms through variations that the composer develops during the course of the score. His delicate, sophisticated orchestration remains evident throughout. The 44th CD-release of Caldera Records – a world premiere – features a detailed booklet-text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Richard Moore and produced by Stephan Eicke and John Elborg. Music Composed and Conducted by Dwight Gustafson Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Beyond the Night 1. Titles – A Real Emergency (2:01) 2. Clinic Day (1:38) 3. A Government Threat (2:05) 4. Trip to the Village (1:51) 5. Witness to a Friend (1:24) 6. Sunday Preaching (0:35) 7. The Clinic is Closed (4:07) 8. The Word Continues (1:09) 9. The Word Received (0:48) 10. The Word Believed (1:15) The Printing 11. Title Music (4:39) 12. Discovered (1:37) 13. Psychiatric Ward (1:36) 14. Torture (2:02) 15. The Search (0:59) 16. Betrayal (1:33) 17. The Market (2:27) 18. Delivery (2:11) 19. The Printer (1:13) 20. Confrontation (2:26) 21. Baptism (4:28) 22. Accident (1:30) 23. To the Printing House (2:04) 24. Aleksandr’s Decision (1:39) 25. The Chase (1:39) 26. The Sledders (2:06) 27. Escape (1:32) 28. Finale (2:15) 29. Closing Credits (2:00) For more information and sound clips, please visit our homepage: www.caldera-records.com/portfolio/the-printingbeyond-the-night/
  9. Caldera
    C6043 Caldera Records is proud to present Zbigniew Preisner’s score for the motion picture “Forgotten We’ll Be” from 2020, directed by Fernando Trueba. Trueba’s acclaimed film is inspired by Héctor Abad Faciolince’s memoir “Oblivion: A Memoir” in which he describes with great tenderness the life and work of his father, the revered Colombian scientist and activist Hector Abad Gómez who was killed by mercenaries in 1987. Adapted by Trueba’s brother David, the film focuses on two major time periods: the 70s and mid-80s. While the latter part – shot in black and white – mainly deals with Gómez’ political agenda and achievements, the scenes set in the 70s – shot in color – paint Gómez as a devoted family man. They also describe the turmoil experienced by him and his family through the hands of his young son Hector who runs over a woman in his car and throws stones through the window of a Jewish family’s home. After their collaboration on “The Queen of Spain”, “Forgotten We’ll Be” marked a new collaboration between the revered director and renowned composer Zbigniew Preisner. “Forgotten We’ll Be” is similar to other Preisner scores released by us at Caldera Records – namely “Valley of Shadows” and “Lost and Love” in that childhood and the loss of childhood innocence play a pivotal role. “Valley of Shadows” and “Forgotten We’ll Be” are even partly told from a child’s point of view. Hence there was no question that Preisner’s score for Fernando Trueba’s most recent film should capture themes of childhood musically. Hence, the composer devised gentle and yet poignant themes for orchestra, choir and solo instruments such as the harp which features prominently in one of Zbigniew Preisner’s most haunting and touching scores. The 43rd CD-release of Caldera Records – a world premiere – features a detailed booklet-text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Leszek Kaminski and produced by Stephan Eicke and John Elborg. Music Composed by Zbigniew Preisner Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Forgotten We’ll Be 1. Return to Medellín (3:22) 2. Child’s Play (0:51) 3. Children’s Hospital (1:06) 4. Letter To The Father (4:00) 5. Letter From The Father (1:59) 6. In Cartagena (1:31) 7. The Morgue (1:18) 8. Van den Budenmayer: Farewell Part I (0:41) 9. Marta’s Disease (0:24) 10. Van den Budenmayer: Farewell Part II (1:03) 11. Torino (1:44) 12. Flashback (0:46) 13. The End of Happiness (1:49) 14. Return To The University (1:16) 15. The Crime (2:35) 16. Letter From The Father (Harp Version) (1:57) 17. The Pain (5:12) 18. Deep Sorrow (1:34) 19. Van den Budenmayer: Farewell (2:18) 20. Héctor Abad Gómez’s Funeral – End Credits (2:43) 21. Van den Budenmayer: Farewell (Coro Transcription) (2:21) For more information and sound clips, please visit: http://caldera-records.com/portfolio/forgotten-well-be/
  10. Caldera
    C6042 Caldera Records is proud to present "Chronicle", a celebration of the creative relationship between director Werner Herzog and composer Ernst Reijseger. For 15 years, Herzog has worked with cellist and composer Ernst Reijseger. It was he who penned the music for films as colorful as “The White Diamond”, “My Son My Son What Have Ye Done”, “Cave of Forgotten Dreams” and, most recently, “Fireball.” Ernst Reijseger is an internationally celebrated cellist. His music knows no boundaries and is therefore hard to categorize. Reijseger rejects labels such as world music despite the fact that he has worked for over a decade with Senegalese singer and poet Mola Sylla and Dutch pianist Harmen Fraanje, with Indonesian and Sardinian ensembles, accompanying their traditional folk music with skillful improvisations on his instrument that at times sounds like a didgeridoo, percussion, but rarely like a cello, so inventive his playing is. It’s unlike anything you have ever heard. "Chronicle" is a Best-of compilation that features the most remarkable recordings of Reijseger and his ensemble for some of Herzog's most acclaimed films. The 42nd CD-release of Caldera Records, released in collaboration with Spring Music Productions, features a detailed booklet-text by Stephan Eicke, an interview with Werner Herzog as a bonus track, and elegant artwork by Luis Miguel Rojas. The CD was mastered by Niels Brouwer and produced by Ernst Reijseger, Stephan Eicke and John Elborg. For more information and sound clips, please visit our homepage: http://caldera-records.com/portfolio/chronicle-ernst-reijseger-and-werner-herzog-film-scores/
  11. Caldera
    Caldera Records is proud to present Gerald Fried’s music for Stanley Kubrick’s films “Fear and Desire” and “Day of the Fight”. Gerald Fried and Stanley Kubrick became friends as teenagers. The musician enabled the latter to join a baseball team while the future director served as the conduit for Fried to join intellectual circles. They would first collaborate professionally in 1951, when Kubrick needed music for his short film, “Day of the Fight.” A year previously, the photographer had portrayed boxer Walter Cartier for Look magazine, and henceforth decided to make him the subject of a moving picture. “Day of the Fight” follows Cartier during the hours preceding a seminal fight, with the tightly focused 12-minute documentary including trivia from the boxer’s life, as narrated by Douglas Edwards. Then in 1952 Kubrick started to develop his first feature film, a drama he saw as a poetic allegory about a man lost in a hostile world. “Fear and Desire” – describing the two dominant human passions – is not to be taken literally, as it depicts the struggle of four soldiers who find themselves behind enemy lines. As opposed to opening the film with a boisterous main title fanfare (as he had done in “Day of the Fight”), he used only a solo bassoon to introduce the theme, reminiscent of Stravinsky’s famous opening of “Le Sacre du Printemps.” Kubrick loved this approach and showered his friend with compliments during the recording. Fried set out to write a profound, meaningful, touching, despairing and yet triumphant score – which he duly achieved and with which he paid tribute to the film’s qualities. Incidentally, and although he had ended their working-relationship in 1957, Kubrick was very much inspired by a film Fried worked on in 1964: “To the Moon and Beyond” was produced for the World Fair in 1964/65 in New York. The short film, narrated by “Twilight Zone” creator Rod Serling, depicted a voyage “to the moon and beyond,” showing the earth continually shrinking while the camera zooms further and further out. Because of its Kubrick connection, we included the score for “To the Moon and Beyond” here. The 41st CD-release of Caldera Records – a world premiere – features a detailed booklet-text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Richard Moore and produced by Stephan Eicke and John Elborg. Music Composed and Conducted by Gerald Fried Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Fear and Desire 1. Opening Credits (1:37) 2. Heading for the River (1:36) 3. All Clear (0:15) 4. Approaching the Cabin (1:12) 5. Madness (3:04) 6. “Girls Always Love Stories” (1:04) 7. Sidney and the Girl (2:48) 8. The House Down the River (0:13) 9. Mac’s Departure (3:43) 10. Waiting to Kill (5:04) 11. Drifting Through the Night (0:51) 12. End Credits (0:50) Day of the Fight 13. March of the Gloved Gladiators (2:48) 14. Examination and Preparation (3:53) 15. Waiting for the Big Fight (2:52) 16. Victory (0:39) 17.-27. To the Moon and Beyond (9:13) Listen to a 5 min clip here: For more information please visit: http://caldera-records.com/portfolio/fear-and-desire/
  12. Caldera
    C6039 Caldera Records is proud to present Andrew Dickson’s music for Mike Leigh’s films “Vera Drake” and “All or Nothing”. “All or Nothing” tells the story of a family whose members spend their days working at essential and yet low-paid jobs. Penny, played by Lesley Manville, is the main breadwinner as a cashier in a supermarket. Her partner Phil, played by Timothy Spall, drives a cab around town after years of unemployment due to his crippling depression. Living in a council flat with their two children Rachel (Alison Garland) and Rory (a young James Corden), Penny and Phil have resigned themselves to their life on the treadmill. With his music, written for violin, viola, double bass, flute, bass flute and two guitars, Dickson chose to enhance the somewhat desolate nature of some of the characters. Although “All or Nothing” was well-received critically, it is Mike Leigh’s most underappreciated film as it stands in the shadow of the director’s next work, “Vera Drake”. Vera Drake (Imelda Staunton) is a cleaner in post-war Britain, while her husband Stan (Phil Davis) works in a garage. Although they don’t have much money, they are optimistic. Having survived – and won – the Second World War, things were looking up for the United Kingdom. The worst seemed to be behind it. However, Vera keeps a secret from their family that eventually threatens to destroy their bond. At the Venice Film Festival, “Vera Drake” won the prize for Best Film before it was nominated for eleven BAFTAs, one Golden Globe and three Oscars. While it is hailed as one of Leigh’s major works, it is also the crowning opus of Andrew Dickson’s film career. By then, he and the director had already worked together for more than 20 years. For the first time in their films, Dickson and Leigh decided to use a choir. For the folk-like main theme of the film, Dickson used the germ of a sinister song about a fairground he had written previously and which had been performed by a 15-year old P.J. Harvey, a Mercury Prize-winning singer with whom Dickson performed in his local band in Bridport. Also included on this CD are selection from Andrew Dickson’s scores for “Someone Else’s America’ and “Oublie-Moi”. The 39th CD-release of Caldera Records – a world premiere – features a detailed booklet-text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Richard Moore and produced by Stephan Eicke and John Elborg. Music Composed by Andrew Dickson Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke All or Nothing 1. Opening (4:31) 2. Alone Again (1:00) 3. Emergency (1:42) 4. Phil is on His Way (0:23) 5. The Long Day’s Journey Into Night (2:56) 6. End Credits (3:52) Vera Drake 7. Opening (1:54) 8. On a Cold Morning (0:43) 9. Cleaning (0:53) 10. It Will Come Away (0:59) 11. Ethel and Reg (0:47) 12. Tea is Brewing (0:31) 13. Happy Family (0:38) 14. A New Day at Work (0:41) 15. The Walls Are Closing in (0:33) 16. Vera is Being Taken Away (0:43) 17. A Night in the Cell (0:48) 18. Sentencing (0:52) 19. End Credits (3:07) 20.-27. Someone Else’s America (14:37) 28.-31. Oublie-Moi (7:47) Bonus: 32. Audio Commentary by Andrew Dickson (8:05) Listen to a 5 min clip here: https://soundcloud.com/alderaecords/vera-drake-andrew-dickson For more information, please visit: http://caldera-records.com/portfolio/vera-drake/
  13. Caldera
    Caldera Records is proud to present Zbigniew Preisner's score for the motion picture "Angelica" from 2015, directed by Mitchell Lichtenstein. “Angelica” also tells a story of female empowerment. It is based on Arthur Phillips’ book of the same name, published in 2007, and adapted for the screen by Lichtenstein. Set in the Victorian age in England, Phillips and Lichtenstein describe the trials and tribulations of Constance (played by Jena Malone), a young woman who falls in love with a successful scientist. Their romance blossoms and leads to marriage. Eventually, a child is born, a girl they name Angelica. The birth is grueling, and Constance nearly loses her life. For her, everything changes in an instant: she is told in no uncertain terms by her doctor that she is to refrain from engaging in vaginal sex (and therefore become a “hortus conclusus”) – otherwise she will risk her health and quite possibly leave her daughter motherless. From this moment Constance goes into a downward-spiral. Zbigniew Preisner’s music pays tribute to the elegant romanticism of the 19th century, while at the same time weaving more experimental elements into it. The composer decided against creating specific leitmotifs for the individual characters. Instead, his music follows the story as it progresses. Hence, Preisner developed variations on the themes as demanded by the story. For example, there is no theme for Constance per se. Preisner follows her journey with various motifs and themes, divided into what the composer calls the “courtly” and the “modern.” The 38th CD-release of Caldera Records – a world premiere – features a detailed booklet-text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Leszek Kaminski and produced by Stephan Eicke and John Elborg. Music Composed by Zbigniew Preisner Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke 1. Main Titles (2:32) 2. Time Transitions (0:32) 3. Spirit Photo (0:46) 4. Microscope (0:54) 5. Home From Honeymoon (1:43) 6. Photo Montage (2:09) 7. Breakfast (1:42) 8. Hairbrush and Bedtime (1:30) 9. Monkey (0:53) 10. To Lab (1:48) 11. Exit Lab (1:49) 12. Ghost Cue I (0:41) 13. Constance Finds Goop (1:32) 14. Ghost Cue II (1:06) 15. Angelica Saw a Man (0:39) 16. Nora Goes to Anne’s (1:02) 17. Consoles Constance at the Wardrobe (1:00) 18. Night Passes Peacefully (0:31) 19. Constance in Bed (1:19) 20. Ghost Cue III (1:05) 21. Piano Lesson (1:08) 22. The Snake (1:20) 23. Escape to Anne (1:03) 24. Constance Wakes Up at Anne’s (0:39) 25. Dr. Miles Arrives (1:44) 26. Dr. Miles Part II (1:55) 27. Dr. Miles Leaves (2:20) 28. Constance Stabs Joseph (1:26) 29. Flashback (0:59) 30. The End Part I (1:14) 31. The End Part II (3:40) 32. End Credits Part I (0:56) 33. End Credits Part II (3:42) Listen to a 5 min clip here: For more information, please visit: http://caldera-records.com/portfolio/angelica/
  14. Caldera
    Caldera Records is proud to present the original score for the motion picture “Man at the Top” from 1973, directed by Mike Vardy, featuring music by Roy Budd. Writer John Braine established Joe Lampton as a ruthless force to be reckoned with when he published his novel “Room at the Top” in 1957. The film rights were snatched up immediately, and only two years later, Jack Clayton’s adaptation premiered in theaters. Following another outing in the cinema and a television series, Anglo-EMI, in collaboration with Hammer Films, decided to let Joe Lampton (now played by Kenneth Haigh) loose on the big screen once more. In 1973, “Man at the Top” premiered. Here, Joe Lampton is appointed Managing Director of ChemExport, a company overseen by Lord Ackerman, played by Harry Andrews. All is not well: six months later, it emerges that Lampton’s predecessor committed suicide. Slowly it becomes clear to Lampton that he might have been appointed to take the blame for a massive marketing blunder that could crush not only him but the whole company. Kenneth Haigh was delighted when he heard that Roy Budd had been contracted to write the music for “Man at the Top” since the actor had admired Budd’s music for a long time, especially “Get Carter”. His score for “Man at the Top” is quite similar to his most beloved composition in that it is equally sparse. The composer devised a simple motif for the titular character which is introduced on a cimbalom and which recurs throughout the whole score. Apart from the Hungarian instrument, Budd employs strings, flute, piano, harp and percussion to create a tense atmosphere fitting for the film. His leitmotif is particularly clever since, in its coldness and restraint, it doesn’t try to make Joe Lampton likeable, and yet manages to underscore the more tender moments in the film with a slight tension that the images lack. Moreover, “Man at the Top” gave Budd the opportunity to provide two memorable jazz pieces as source cues for dinner parties. The 37th CD-release of Caldera Records features a detailed booklet-text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was produced by Stephan Eicke and John Elborg. Music Composed and Conducted by Roy Budd Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Man at the Top 1. Opening (1:21) 2. Main Titles (1:18) 3. End Credits (1:45) 4. The Journey Continues (0:54) 5. Man at the Top (2:26) 6. Night is Falling (2:44) 7. Bedtime (3:58) 8. In the Woods (2:48) 9. Peeping Robin (0:28) 10. Change of Plan (1:12) 11. Bossa Nova (3:26) 12. In the Office (0:22) 13. Joe is Being Followed (1:06) 14. Swept Up in Memories (1:31) 15. In the Woods (alt.) (1:37) 16. Mingle With Me (5:55) Bonus: 17. Demo Jingle (2:20) 18. You Can Never Trust a Friend (2:49) 19. Pipe Tobacco (0:32) Listen to a 5 min clip here: https://soundcloud.com/alderaecords/man-at-the-top-roy-budd For more information please visit: http://caldera-records.com/portfolio/man-at-the-top/
  15. Caldera
    Caldera Records is proud to present the original scores for the motion pictures “Flame in the Wind” and “Sheffey” from 1971 and 1977 respectively. Both films were produced by Unusual Film, a division of Bob Jones University in Greenville, South Carolina. “Flame in the Wind” is set during the time of the Spanish Inquisition and follows a young man named Carlos who is faced with a conflict throughout the course of the motion picture: should he, horrified by the Inquisition, follow the Bible, or adhere to religious tradition? “Sheffey” was an even bigger undertaking, a lavish and expensive production: Born in 1820, Robert Sheffey was a Methodist evangelist who spent his lifetime taking care of those in need, traveling through Virginia and Tennessee and preaching the word of God. The music for both films was composed by Dwight Gustafson. Born in 1930, Gustafson was named acting dean of the School of Fine Arts at BJU at 24. He served as administrator, taught, composed, conducted and preached until his retirement in 1997. The music for “Flame in the Wind” is based around three themes which recur throughout the score, which was issued on an LP by Unusual Films in 1971. Gustafson wrote a leitmotif for the film’s hero Carlos which is supposed to reveal the pathos and heroism of the young man as he tries to find his way. The second theme, a rather eerie, instrumental melody for the Inquisition expresses the repression and terror for which the inquisitors are responsible, while a triumphant chorale seeks to honor the true believers who have lost their lives due to their faith in Jesus Christ during the Spanish Inquisition. “Sheffey” follows a different musical conception, although Gustafon’s style is unmistakable. Since the film, through the life of Robert Sheffey, tells the story of folk religion, Gustafson decided to employ various folk tunes as seemed appropriate to backbone for his score. Both “Flame in the Wind” and “Sheffey” were composed, orchestrated and conducted by Dwight Gustafson and recorded with the Bob Jones University Symphony Orchestra, composed of students and faculty. LPs of both scores were made available by Unusual Films/BJU to coincide with the film releases. The 35th Caldera CD features a detailed booklet-text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Richard Moore and produced by Stephan Eicke and John Elborg. Music Composed by Dwight Gustafson Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Flame in the Wind 1. Title Music (4:25) 2. The Journey of the Inquisitors (1:59) 3. The Birth of Carlos (2:38) 4. The Monks Escape (2:57) 5. The Dungeon (2:15) 6. The Capture of Carlos (2:38) 7. Processional for the Auto-Da-Fe (3:44) 8. The Tribunal Hall (1:59) 9. The Torture (3:43) 10. The Penitent Returns to Christ (2:47) 11. The Burning of the Martyrs (3:07) Sheffey 12. Title Music (2:03) 13. Disturbance at Revival (1:26) 14. Salvation Hymn (1:35) 15. Young Sheffey in Hills (2:15) 16. Sheffey and Children (0:54) 17. Sheepskin (3:26) 18. Wabash (3:24) 19. Journey in Snow (1:45) 20. Engagement (1:16) 21. The Campground Returns (2:27) 22. Farewell to Gideon (3:54) 23. Tragedy in the Wilderness (2:18) 24. The Campground Burns (3:47) 25. Death of Elizah (2:05) 26. End of the Journey (3:42) Listen to a 5 min clip here: https://soundcloud.com/alderaecords/flame-in-the-wind-dwight-gustafson For more information please visit: http://caldera-records.com/portfolio/flame-in-the-windsheffey/gallery/soundtracks/
  16. Caldera
    Caldera Records is proud to present Zbigniew Preisner’s score for the motion picture “Lost and Love” from 2015, directed by Sanyuan Peng. “Lost and Love” tells a harrowing (and apparently true) story of loves lost. The love described in the film is the love between parents and their children. Andy Lau plays against type by portraying Lei, a poor fruit-grower. For 15 years, he has been searching for his child, traveling through the vast country in the hope of being united with his offspring. On his way from one end of China to the other, he meets up with a young mechanic who goes by the name of Zeng Shuai as played by Jing Boran. The latter is also searching, although not for his child but for his parents. For her feature film debut, Sanyuan Peng chose Zbigniew Preisner as composer who wrote one of his very best works, a delicate and yet passionate score which is rich in themes and variations. Its most prominent theme is – fittingly – a lullaby which opens the album. It is a melody which recurs throughout the score in different metamorphoses. Not only did it fit the images on screen, it also captured the overall topic of the film. The main theme, as already briefly laid out in the prominent lullaby, can be heard most prominently in “Lost and Love – Main Theme”, carried by strings, while echoes of it feature in “Retrospective”. It is reincarnated in a variation for flute, guitar, harp and orchestra in the “End Credits”, which offer a glimpse of hope to the characters in the film and therefore the audience when it is given a passionate coda. The 33rd CD-release of Caldera Records – a world premiere – features a detailed booklet-text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Leszek Kaminski and produced by Stephan Eicke and John Elborg. Music Composed by Zbigniew Preisner Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Lost and Love 1. Lullaby (1:44) 2. The Beginning of the Story (1:07) 3. Missing (0:55) 4. On the Journey (2:02) 5. Friendship (2:55) 6. Memories from Youth (3:23) 7. Woman in the Rain (1:11) 8. Retrospective (0:55) 9. False Hope (2:01) 10. Lost and Love – Main Theme (1:04) 11. Last Hope (1:39) 12. Dinner (0:51) 13. First Bridge (0:48) 14. Swathe I (0:34) 15. Village (1:40) 16. Dreams (1:01) 17. Swathe II (1:00) 18. Night (2:27) 19. Bus Stop (3:09) 20. Flashback (5:47) 21. Lost and Love – Main Theme II (0:59) 22. Lady’s Death (3:51) 23. Lullaby II (1:41) 24. In the Car (2:31) 25. Lost and Love – Main Theme III (2:40) 26. End Credits (2:49) Listen to a 5 min clip here: https://soundcloud.com/alderaecords/lost-and-love-zbigniew-preisner For more information, please visit our homepage: http://caldera-records.com/portfolio/lost-and-love/gallery/soundtracks/
  17. Caldera
    Caldera Records is proud to present the score for the motion picture “Valley of Shadows” from 2017, directed by Jonas Matzow Gulbrandsen, featuring music by Zbigniew Preisner. The story of “Valley of Shadows” was inspired by a wide variety of sources, mostly going back to the director’s childhood: “I am interested in fables and allegories, in mythology and children’s tales, these stories that we often believe are regional but are actually extremely universal, sometime with a moral and often with joyful gravitas. One example is Draumkvedet (The Dream Poem), a Norwegian ballad from the Middle Ages. I read a lot when I was a child – traditional stories of course – but especially Swedish literature for children. As a child, I thought a lot and was hungry to learn. Reading Bruno Bettelheim was also something that I draw greatly from.” When it came to selecting the composer for the film, Gulbrandsen used his familiarity with the Polish film industry to get in touch with a living legend of the field. Born in Bielsko-Biała in 1955, Zbigniew Preisner has been composing music in his native Poland since the early 1980s. He is best-known for his work with Polish director Krzysztof Kieślowski on his epic “Three Colors” trilogy. The collaboration with Gulbrandsen was ground-breaking in more than one sense for the composer – it wasn’t only the fastest score he has ever realized, but it also introduced him to new concepts as he explains: “Jonas had the vision of having mostly electronic music, that it should be narration in film, and that it should be played from the beginning to the end. I am not fan of such usage of music in film but in this case, the director turned out to be right. The combination of symphonic and electronic music gave an amazing effect, though this was the first time I used so much electronics for a picture.” For the highlights of the score, the combination of electronic and symphonic elements is augmented by the voice of Lisa Gerrard who appears in both Valley of Shadows and Valley of Shadows – Wake Up. Connected by the middle passage entitled Odyssey, this 18-minute long, almost continuous segment underscores the moments as Aslak finds something he cannot comprehend. The 28th CD-release of Caldera Records features a detailed booklet-text by Gergely Hubai and elegant artwork by Luis Miguel Rojas. The CD was produced by Stephan Eicke and John Elborg. Music Composed by Zbigniew Preisner Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke 1. Aslak's Dream (1:16) 2. The Calling (9:47) 3. The Shadow (3:10) 4. The Forest Gate (3:13) 5. Alas (3:38) 6. Search of Lost Time (4:22) 7. Moon (1:16) 8. Journey in the Woods (7:24) 9. Before Dawn (6:59) 10. Valley of Shadows (3:52)* 11. Odyssey (12:07) 12. Valley of Shadows – Wake Up (1:20)* 13. Metamorphosis (7:22) 14. Afterlife (3:59) * Vocals by Lisa Gerrard Listen to a 5 min clip here: https://soundcloud.com/alderaecords/valley-of-shadows-zbigniew-preisner Fore more information please visit: http://caldera-records.com/portfolio/valley-of-shadows/
  18. Caldera
    Caldera Records is proud to present the score for the motion picture “Ambition” from 1991, directed by Scott Goldstein, featuring music by Leonard Rosenman. Actor and writer Lou Diamond Phillips developed a story about an aspiring writer who has trouble finding a job, and has to support himself – as most aspiring writers do – by working odd jobs. His character Mitchell Osgood runs a bookstore when one day he stumbles across a potentially interesting story. If he can investigate and write it down, so Mitchell thinks, it could be his big break as a journalist. The subject of his investigation is a man named Albert Merrick, a serial killer who is up for parole. Who is this man, Mitchell wonders, and what motivated him to commit the awful crimes he was sentenced for? One of the stars of the film is, undoubtedly, a man behind the scenes: Leonard Rosenman. It was clear to Rosenman and Scott Goldstein that the score should have a progressive, rather than conventional harmonic structure. They agreed that this would help to underscore Merrick’s (the antagonist) horrific, troubling visions and this approach would help capture his state of mind musically. Goldstein suggested Rosenman play him some of his concert music as a blueprint for “Ambition”. Encouraged to be able to draw upon his “progressive” work for the concert stage, Rosenman presented Goldstein with “Foci”, a work for chamber orchestra that the composer had written in 1981 and revised in 1983. Goldstein loved what he heard and commenced to use “Foci” as temp music for “Ambition”. “Foci” is an atonal piece, complex and full of anxiety – exactly what Goldstein needed for his motion picture. The 31st CD-release of Caldera Records – a world premiere – features a detailed booklet-text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was produced by Stephan Eicke and John Elborg. Music Composed and Conducted by Leonard Rosenman Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Ambition 1. Main Titles (3:23) 2. A New Project (1:31) 3. A Sleepless Night (1:40) 4. Albert Merrick (0:27) 5. The Worst Nightmare of the Day (1:48) 6. Confrontation (1:24) 7. What Makes Him Tick? (1:01) 8. Visions (0:41) 9. Room 301 (1:51) 10. Brave and Brutal (1:02) 11. A Good Friend of Mine (0:37) 12. Cancer, Psychosis, Anything (0:49) 13. Does It Hurt? (1:22) 14. A Matter of Timing (1:40) 15. Where is Mitchell? (0:45) 16. Cat and Mouse (2:02) 17. On Knife’s Edge (1:20) 18. Help Me Out (3:35) 19. On a Sinister Mission (1:26) 20. Jordan (1:04) 21. A Tasty Drug (0:54) 22. Against the Clock (4:12) 23. The Final Duel (0:55) 24. End Credits (3:51) Listen to a 5 min clip here: https://soundcloud.com/alderaecords/ambition-leonard-rosenman For more information please visit: http://caldera-records.com/portfolio/ambition/
  19. Caldera
    THE FIRST 100 COPIES ARE SIGNED BY JOE KRAEMER! (Check your retailer!) Caldera Records is proud to present the new score for the motion picture “Sunrise” from 1927, directed by F.W. Murnau, featuring music by Joe Kraemer, commissioned by the Dallas Chamber Symphony. Featuring enormous stylized sets in order to create an idealized view of the world, “Sunrise” tells the story of three characters with no real names given. The Man and The Wife had been living happily on their farm until the appearance of The Woman From The City, who seduced the husband prior to the beginning of the story. In order to get rid of the farm that is tying The Man to country life, The Woman From The City convinces him to get rid of The Wife by staging a boating accident. When The Man realizes he is unable to commit the deed, The Wife flees to the City. He follows her and they rediscover their love for each other in the exotic world of the City. In 2016, Joe Kraemer got the chance to prove himself as a masterful composer for silent film when he was commissioned by the Dallas Chamber Orchestra to write an original score for Murnau’s masterpiece. In terms of the overall picture, Kraemer shares his inspirations: “I created themes for each of the major characters and concepts in the film, and then used those themes to carry out the plot of the film. It is a highly programmatic composition. I was influenced by composers like Copland, Gershwin, and Strauss. Additionally, I had just finished a three-week stay in Austria when I began writing the score, and I was very influenced by the culture I experienced in the wonderful town of Baden.” The score had its world premiere, live-to-picture, in Dallas in October 2016, where it was conducted by Richard McKay. It had a second performance in August 2017 in Baden, Austria, where Kraemer himself conducted it live-to-picture with members of the Synchron Symphony Orchestra. A few weeks after the live performance, the orchestra reconvened at the Synchron Stage in Vienna to record selections from the score for this CD release. The 26th CD-release of Caldera Records features a detailed booklet-text by Gergely Hubai, an exclusive audio commentary by the composer, and elegant artwork by Luis Miguel Rojas. The CD was produced by Stephan Eicke and John Elborg. Music Composed and Conducted by Joe Kraemer Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Sunrise 1. Sunrise (2:23) 2. The Train Sequence (1:50) 3. The Other Woman (2:15) 4. Whistle (1:52) 5. The Husband Sneaks Away (3:26) 6. The Marsh Sequence and City Song (4:27) 7. Gathering Reeds (2:27) 8. To Bed (2:23) 9. Off to the City (2:16) 10. The Dog Scene (2:47) 11. A Man Posessed (4:34) 12. City Arrival (1:36) 13. Buying Flowers (2:28) 14. The Wedding Scene (3:26) 15. Traffic Jam (2:02) 16. Pictures in a Window (1:19) 17. The Photo Session (2:01) 18. Antics in the Studio (2:41) 19. Night in the City (2:22) 20. Pig on the Loose (3:53) 21. The Dance (2:54) 22. Storm at Seam (4:24) 23. Salvation (4:53) 24. Finale (1:43) Bonus: 25. Audio Commentary by Joe Kraemer (13:09) Listen to a 5 min clip here: https://soundcloud.com/alderaecords/sunrise-joe-kraemer For more information please visit: http://caldera-records.com/portfolio/sunrise/gallery/soundtracks/
  20. Caldera
    Caldera Records is proud to present the original score for the motion picture “That Good Night” from 2017, directed by Eric Styles, featuring music by Guy Farley. The film, based on the stage play by N.J. Crisp, tells the story of Ralph, a successful writer whose life is full of regrets. With a curious personality that’s both charming and rude, Ralph has built a number of “love him or hate him” relationships over his life – unfortunately, his family seems to fall into the latter group. Now in his seventies and terminally ill, Ralph sets out two goals before entering that good night: he wants to mend his relationship with long-abandoned son Michael and also make sure that he is not a burden to his much younger second wife, Anna. “That Good Night” marks the last screen performance of John Hurt who passed away in January of 2017. Hurt is joined by Charles Dance and Sofia Helin in a stellar cast. The music for “That Good Night” was written by Guy Farley (“Modigliani”, “Maria di Nazaret”). Farley provided an elegant underscore, recorded with a small orchestra of strings, woodwinds, harp, piano, and world instruments such as a Cavaquino, Spanish guitars, an accordion and ethnic percussion which capture the Mediterranean flavour of the Portuguese Algarve, while the chamber orchestra works its magic on the emotional element of the story. The score, one of Farley’s best to date, is filled with memorable themes and motifs that are both uplifting and touching, paying tribute to the character’s struggles and the film’s hopeful message. The 24th CD-release of Caldera Records features a detailed booklet-text by Gergely Hubai and elegant artwork by Luis Miguel Rojas. The CD was produced by Stephan Eicke and John Elborg. Music Composed and Conducted by Guy Farley Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke That Good Night 1. That Good Night (2:22) 2. The Horizon (1:41) 3. The Villa (1:57) 4. Reynaldo (2:14) 5. Try Harder (1:28) 6. I Love Portugal (1:16) 7. The Fee (1:49) 8. An Injection (1:36) 9. Call Your Dad (2:05) 10. Terminal (2:37) 11. Birth (3:07) 12. How Soon? (0:54) 13. You’re Despicable! (1:46) 14. John, Michael and Cassie (2:46) 15. Symposium (1:05) 16. His Beloved Rolex (1:21) 17. You Can Be So Nasty (1:22) 18. Trust Me (2:32) 19. October (1:45) 20. We Call it ALS (1:07) 21. A Grandfather! (1:37) 22. Reformed Character (0:55) 23. Death and Poetry (1:28) Bonus: 24. Audio Commentary by Guy Farley (6:45) For more information please visit: http://caldera-records.com/portfolio/that-good-night/ For an exclusive 5 min audio clip please visit: https://soundcloud.com/alderaecords/that-good-night-guy-farley
  21. Caldera
    Caldera Records is proud to present the original score for the motion picture “The Italian Key” from 2011, directed by Rosa Karo. The film tells the story of 19-year old Cabella who receives a mysterious key as her only inheritance from her recently deceased uncle. The girl decides to literally unlock the secrets of her past by moving to a run-down villa in Italy. She slowly makes friends with three sisters and also befriends the ghost of a nine-year-old chimney sweeper named Angelo who died in the house long ago. Together with her new friends, Cabella starts to learn more about her mysterious past as she also rediscovers her “joie de vivre”… The music for “The Italian Key“ was written by Tuomas Kantelinen who is also the producer of the film and the husband of its director. Since the film has a vintage look about it is meant to be an old-finished film in many respects, Kantelinen decided to pay tribute to that musically by delivering a romantic score for orchestra, filled with several themes and motifs that describe the characters and their surroundings. Like the film, the music is charming, sunny and optimistic without lacking the depth the subject matter requires. After six years, the music for “The Italian Key” finally receives its well-deserved release as one of the best works of Tuomas Kantelinen. The 21st CD-release of Caldera Records features a detailed booklet-text by Gergely Hubai and an elegant artwork by Luis Miguel Rojas. The CD was produced by Stephan Eicke and John Elborg. Music Composed and Conducted by Tuomas Kantelinen Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke The Italian Key 1. Prologue (4:16) 2. Alexander's Piano (1:45) 3. Chiara's Theme (2:26) 4. Max's Theme (1:49) 5. Beginning (1:35) 6. Everyone's Lost Someone (5:55) 7. Beautiful Gestures (1:28) 8. Sister's Pizzicato (2:30) 9. Angelo's Goodbye (3:31) 10. Mother's Tears (3:05) 11. Twins (4:00) 12. Cabella (1:34) 13. Alexander's Piano Variation (1:45) 14. Daydream Swimming (4:30) 15. Ghost Boy (1:05) 16. How Do You Mend a Broken Heart (1:36) 17. In This Life (1:45) 18. Sunflower Field (3:25) 19. Epilogue (4:17) Listen to a 5 min clip here: For more information please visit our homepage: http://caldera-records.com/portfolio/the-italian-key/
  22. Caldera
    Caldera Records is proud to present George Kallis’ original score for the motion picture “The Black Prince” from 2017, directed by Kavi Raz. The films tells the touching and exhilarating story of Maharaja Duleep Singh, the last king of Punjab before its British annexation. After the First Anglo-Sikh War, the king sees himself torn between his own country and England and struggles to regain his own kingdom. The title role of the Maharaja is portrayed by Punjabi poet and singer Satinder Sartaaj who delivers a strong performance in the film that also stars Jason Flemyng and Amanda Root. One of the main stars of the film is the music, composed and conducted by George Kallis who has composed music for over 20 films and Emmy and BAFTA award-winning TV programs. With this colourful and highly entertaining score, highlighting tender moments and fierce action, Kallis delivers one of his strongest efforts to date. The score showcases several memorable themes and leitmotifs, such as a main theme for the Maharaja, a theme for his mother and for his first wife, with several other motifs which portray Punjab and its characteristics. There are delicate elements of ethnic music in the score but with its soaring orchestral concept “The Black Prince” has its own universal language that connects all countries. The music was recorded in Hungary, conducted by the composer himself. The 20th CD-release of Caldera Records features a detailed booklet-text by Gergely Hubai and elegant artwork by Luis Miguel Rojas. The CD was produced by Stephan Eicke and John Elborg. Music composed and conducted by George Kallis Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke The Black Prince 1. Opening Titles (3:19) 2. First Trip to India (2:21) 3. The Painting (3:20) 4. Holland Park (1:59) 5. Mother (3:06) 6. Arur Singh Captured (2:45) 7. No Passage to Punjab (1:24) 8. Back to England (2:17) 9. I Know Your Destiny (2:08) 10. The Prophecy (2:35) 11. The Bird (1:49) 12. Dr. Logan Passes (2:32) 13. First Meeting (3:14) 14. Treason! (2:35) 15. I Am Not a Prince (2:10) 16. Letters Intercepted (1:58) 17. Marriage Proposal (1:27) 18. Travelling to Paris (0:42) 19. Assassination Attempt (2:09) 20. Rest in Peace Bamba (1:46) 21. My Childhood (1:44) 22. The Sword of the Maharaja (2:39) 23. Death and Coronation (3:07) Bonus: 24. Audio Commentary by George Kallis (4:39) Listen to a 5 min clip here: https://soundcloud.com/alderaecords/the-black-prince-george-kallis For more information visit our homepage: http://caldera-records.com/portfolio/the-black-prince-2/
  23. Caldera
    Caldera Records is proud to present the original score for the motion picture “A Esmorga” from 2014, directed by Ignacio Vilar. Eduardo Blanco Amor’s novel of the same title is one of the most well known books in Galician language, but although it was already written in 1959, it took 55 years until a film based on the book was made in the Galician language with Galician actors. The book and therefore the film tell the story of three struggling men and accompanies them for 24 hours while they roam through the city, visit the pubs and brothels, before they find their tragic end. The film was a major hit with audiences and critics and became the most successful Galician film to date. Now, three years later, Caldera Records pays tribute to its achingly beautiful score by Zeltia Montes. The Spanish composer, who recently made headlines with her score for the documentary “Frágil Equilibrio”, has been very influenced by the music of Arvo Pärt and it clearly shows in this score. The music was written for a piano only to convey a sense of intimacy to the music and therefore the film, performed by Zeltia Montes herself. She delivers three key themes which are not only memorable in themselves but also receive several variations throughout the melancholy, minimalist score which is Montes’ most personal of all her works. It was high time to make this stirringly emotional and tragic score available on CD. The 19th CD-release of Caldera Records features a detailed booklet-text by Gergely Hubai and elegant artwork by Luis Miguel Rojas. The CD was produced by Stephan Eicke and John Elborg. Music Composed by Zeltia Montes Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke A Esmorga 1. Opening Credits A Esmorga (1:50) 2. I Won’t Hurt You (4:56) 3. Dark Object of Desire (3:37) 4. Taking Care of My Love (1:54) 5. Though My Chest Walls Were Burning (3:48) 6. Tribal Call (2:11) 7. Looks that Say It All (2:05) 8. Impossible Love (1:39) 9. Raining in the Bridge and in the Heart) (3:34) 10. Temptation (1:38) 11. When Love Hurts (2:44) 12. As if I Remembered Them From the Other Shore of Death (3:39) 13. Tragic Destiny (4:42) Bonus : 14. Audio Commentary by Zeltia Montes (11:59) Listen to a 5 min clip here: https://soundcloud.com/alderaecords/a-esmorga-zeltia-montes For more information please visit: http://caldera-records.com/portfolio/a-esmorga/
  24. Caldera
    Caldera Records is proud to present the original score for the motion picture “Adam Resurrected” from 2008, directed by Paul Schrader and starring Jeff Goldblum, Willem Dafoe and Derek Jacobi. Goldblum stars as Adam Stein, a clown who is sent to a concentration camp in WWII. There he meets Commandant Klein, played by Willem Dafoe, whose dog Stein pretends to be by behaving like an animal. After the war, Stein is sent to a mental asylum where he meets a young boy who pretends to be a dog. This encounter brings back old memories for Stein which will haunt him forever. The film is based on a novel by Yoram Kaniuk and was directed by none other than Paul Schrader, the enfant terrible of the New Hollywood and the man behind the scripts for “Taxi Driver” and “Raging Bull”. The music was written by Gabriel Yared who delivered one of his most unusual and daring works and also one of his most satisfying. Yared, who won an Oscar for his work on “The English Patient”, wrote the score for an orchestra but later abandoned the idea to create a score which wouldn’t make the film into a schmaltzy melodrama. Instead, the composer used a solo piano, solo violin, solo guitar and solo cello to come up with the right tone for the film. These instruments are accompanied by electronic textures, bringing back memories of Yared’s earliest scores from the 80s which are developed further here. The French-Libanese musician melts the sorrowful main theme of the film, beautifully played by Bogdan Vacarescu, with sometimes harrowing and sensual electronic counterpoints, fusing score and source music and thus delivering one of his most original and complex works which is deeply touching even outside the film. The music was recorded at Abbey Road in London and is now available for the first time on CD. The 18th CD-release of Caldera Records features a detailed booklet-text by Gergely Hubai and elegant artwork by Luis Miguel Rojas. The CD was produced by Stephan Eicke and John Elborg. Music Composed and Orchestrated by Gabriel Yared Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Adam Resurrected 1. Main Theme (6:57) 2. Tel Aviv (1:03) 3. Gina (1:46) 4. Adam Gets Bit (1:50) 5. Laughter (2:04) 6. Life and Death (3:08) 7. Adam and Gina on the Rooftop (2:06) 8. Desert (1:23) 9. Wolfie’s Story (1:38) 10. Shooting Rex (2:12) 11. Berlin 1950s (0:55) 12. Stand Up Dog (2:59) 13. Adam and Gina in Bed (2:11) 14. Boy Tries to Stand Up (0:50) 15. At the Graveside (2:48) 16. Adam Hallucinates (3:52) 17. Adam and Davey (1:08) 18. Epilogue (1:29) 19. Haifa Arrival (1:07) 20. Adam’s Idea (2:13) Listen to a 5 min clip here: https://soundcloud.com/alderaecords/adam-resurrected-gabriel-yared For more information please visit: http://caldera-records.com/portfolio/adam-resurrected/
  25. Caldera
    Caldera Records is proud to present the original score for the motion picture The Welts (Pregi) from 2004, directed by Magdalena Piekorz and starring Michal Zebrowski and Agnieszka Grochowska. The Polish movie tells the tale of Wojciech who was mistreated by his father at a young age and as a result becomes increasingly troubled when growing up. Although he does not want to repeat the same mistakes his father did, he has problems connecting to people. Then he meets Tania, his chance for redemption. But will he be able to solve his problems and become somebody who can not only love but who can also be loved by others? The music for the directorial debut by Magdalena Piekorz was composed by Adrian Konarski, a highly regarded musician for films, theater and concert in his native Poland. These Polish roots are evident in his music, bearing resemblance to work of his native countryman Wojciech Kilar in their melodic inspiration, thematic development and transparent arrangements. Performed by a small orchestra with haunting instrumental solos for piano and woodwinds, the music for “The Welts” is full of melancholy and yet offering a glimpse of hope for the troubled character of the movie. Konarski works with several themes and motifs such as a love theme which receives its variations throughout the score. Furthermore, Caldera presents several other works by Adrian Konarski, mounting to a running time of 80 minutes in total: Drowsiness and Citizen are two other elegiac scores for movies by Magdalena Piekorz, performed by orchestra and soloists such as a mesmerizing soprano. Several other pieces also assembled on this compilation were written by Konarski for different projects, offering a vast variety of melodies and styles. As a bonus, we included an exclusive audio commentary by the composer where he talks about his work. The 16th CD-release of Caldera Records features a detailed booklet-text by Gergely Hubai and elegant artwork by Luis Miguel Rojas. The CD was produced by Stephan Eicke and John Elborg. The Welts 1. Love Scene (2:43) 2. Prologue (1:18) 3. Music is Healing (1:22) 4. Pigeons (0:57) 5. Windmills and Holy Figures (1:52) 6. Street in the Rain (1:20) 7. Confession (1:12) 8. Escape From Home (1:11) 9. Impossible Escape (1:31) 10. Cave (2:43) 11. Childhood (3:56) 12. Wojciech and Tania (1:22) 13. Returning Home (1:33) 14. Telephone Call to Editorial Office (1:13) 15. The Welts (2:32) 16. Confession of Love (2:11) 17. Mountains (1:24) 18. Inscription on a Mirror (2:18) 19. Final Credits (3:14) Drowsiness 20. Cooking of Hallucinogenic Herbs (1:24) 21. Drowsiness (2:09) 22. Cello (0:57) 23. Ashes to the Sky (2:04) 24. Final Credits (3:47) Obywatel 25. Echo of Her Voice (2:19) 26. Why Me – Why Only Me? (1:52) 27. Beautiful Sweet Epic Reflection (2:28) 28. Woman From the Dark (2:06) 29. Theme of Journey (3:08) 30. Existence no Existence (1:42) 31. Charming and Moving (3:01) 32. Close-Ups (3:38) 33. People Like Pigeons (2:19) 34. Eugeniusz Bodo Lumiere Magique (2:06) 35. Soaring Dreams (3:35) Bonus: 36. Audio Commentary by Adrian Konarski (3:35) Listen to a 5 min clip here: https://soundcloud.com/alderaecords/caldera-september-release Buy the CD here: http://www.musicbox-records.com/fr/cd-musiques-de-films/3921-the-welts.html http://www4.screenarchives.com/title_detail.cfm/ID/32140/THE-WELTS-PREGI/
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