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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

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/

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)

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/

C6047 Caldera Records is proud to present Guy Farley’s score for the motion picture “There’s Always Hope”, directed by Tim Lewiston. The drama tells the story of Hope and her parents who split up after her father – Jonathan, played by Colm Meaney – discovers his wife has had an affair with a colleague, smarmy Luke. In her youthful naivety, Hope refuses to accept the termination of her parents’ relationship and makes it her mission to fix it. She does so by joining her father in his holiday home in Portugal to which he has fled. There, she starts playing the good fairy as if in a Shakespearean play. Can she succeed? Director Tim Lewiston had already worked with composer Guy Farley on his directorial debut “The Hot Potato”. Ten years later, they reconnected when Lewiston set out to make his next film. For the composer, it was a dream project, also because he was encouraged to channel some of his musical heroes. In this case, Michel Legrand was an inspiration as Lewiston asked Farley to re-record the classic “The Windmills of Your Mind” from “The Thomas Crown Affair”. But his rich score has much more to offer besides an elegant new rendition of a legendary hit: Freed from the shackles of temp-tracks, Farley developed several themes for the different characters in the film. Chords and inflections from “The Windmills of Your Mind” found their way into the underscore – subliminally, as Farley later noticed when he listened back to his score. Legrand’s suave string-writing is noticeable, for instance, in “Jonathan”, which also introduces Jonathan’s theme. In its elegance and finesse, it perfectly captures the protagonist’s character, the intellectual, often melancholic writer. Hope’s theme is derived from Jonathan’s theme, sweet and old-fashioned, equally gentle and elegant – and remarkably different from Luke’s theme, the leitmotif for Sam’s affair who serves as the antagonist in the film. Recorded at Abbey Road Studios, “There’s Always Hope” is one of Guy Farley’s most refined, elegant scores, and we could not be prouder to offer it on CD. The 47th 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 Guy Farley Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke For more information and sound clips, please visit: http://caldera-records.com/portfolio/theres-always-hope/gallery/soundtracks/ There’s Always Hope 1. The Windmills of Your Mind (2:27) 2. Rodrigo (1:57) 3. Jonathan (1:21) 4. Luke (1:54) 5. Run Off (3:10) 6. Moonlight/Rigo & Hope (2:19) 7. Jonathan’s Side (4:09) 8. I Drove Her Away (2:02) 9. The Hack (1:08) 10. The Car Thing (1:08) 11. Sam & Jonathan (0:55) 12. Let’s Go Outside (2:08) 13. What Love is (1:20) 14. Truth (2:46) 15. Come Back (1:27) 16. Luke’s Theme (1:06) 17. Amelia (1:45) 18. Last Chance (1:02) 19. Luke And Samantha (1:44) 20. Harry (2:00) 21. The Boat (1:55) 22. The Windmills of Your Mind (2:14)

C6045 Caldera Records is proud to present Zbigniew Preisner’s score for the motion picture “Man of God” from 2021, directed by Yelena Popovic. Popovic’s biopic chronicles the most turbulent years in the life of a man who had made it his mission to serve others and improve the conditions of those in need: Saint Nektarios. Popovic’s film shows how Nektarios helps the poor and destitute, provoking three objectors within the church turn to the bishop’s patriarch Sophronios. No longer wiling to hide their anger at Nektario’s servitude towards sinners and harlots, his enemies claim he will bankrupt the church and usurp the patriarchy. Without trial, Nektarios is convicted and exiled from Egypt in 1891. Particularly because of his deep love for Greece, its culture and people, Zbigniew Preisner was delighted to score “Man of God” – and agreed to do so without having read the script. From the beginning, it was clear to Preisner he wanted to use a choir – a Byzantine one. After some searching, he collaborated with the Choir of Chanters, “The Maestros of the Psaltic Art” (?? ?a?st??e? t?? ?a?t???? ??????), one of the most famous Byzantine Choirs. Following their collaboration of “Valley of Shadows”, Zbigniew Preisner and Lisa Gerrard worked together again. The latter recorded her sung parts – written by her – in Australia. Furthermore, Preisner felt it the right choice to use Greek instruments. It was obvious and necessary for a film about a Greek saint. The local color is provided by a qanun, a string instrument not dissimilar to the zither and often associated with Greece and its culture. “Man of God” is also notable for its mix of symphonic and electronic music, used to achieve spiritual metaphysics. “Man of God” is one of Zbigniew Preisner’s richest scores, a unique exploration of symphonic music infused with local, Greek, colour, electronics and Byzantine elements, particularly in the employment of Lisa Gerrard’s special talent, used to powerful effect. The 45th 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 John Elborg. Music Composed by Zbigniew Preisner Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke 1. Man of God – The Beginning of a Story (0:45) 2. Searching for Values (1:14) 3. Conversation (1:46) 4. Evia (1:11) 5. In the Darkness (2:15) 6. Serenity (2:14) 7. Kyrie Eleison (1:42) 8. Aegina (1:15) 9. New Life (2:16) 10. Conversation of God (2:02) 11. Kyrie Eleison (Byzantine Version) (1:27) 12. Beauty of Aegina (2:01) 13. Deceptive Calm (1:43) 14. Kyrie Eleison (Prayer) (2:01) 15. Misery (1:33)* 16. Serenity (Orchestral Version) (1:54) 17. Humiliation of the Priest (0:51) 18. Loss (1:55)* 19. Final Breath (2:04) 20. Song for Saint Nectarios (0:52) 21. Man of God – End Credits (4:53) *Music Composed by Zbigniew Preisner and Lisa Gerrard For more information, and to listen to sound clips, please visit our homepage: http://caldera-records.com/portfolio/man-of-god/

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/

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/

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/

DOLPHINS (Soundtrack, 16 Titel/52 Min). Seit 12.10.20 weltweit im digitalen Handel erhältlich. Die Musik, komponiert von Marcel Barsotti wurde eingespielt von den Starsolisten Daniel Hope (Violine), Adrian Brendel (Cello), Sebastian Knauer (Piano), dem NDR Radio Sinfonieorchester und dem Brahms Chor. Der Score zu dem gleichnamigen Film des verstorbenen Regisseur Farhad Yawari wurde von Marcel Barsotti komponiert und ist lief zwei Wochen auf der Bestenliste CLASSICAL NEW RELEASES von Spotify . Der Film erhielt viele weltweite Auszeichnungen, u.a. den Palmsprings Award und den Slamdance Award.

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/

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/

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/

Die aus der Feder stammende Filmmusik von Marcel Barsotti zu dem Action-Fantasy Spielfilm „OH SHIT!“ des Starregisseurs Christoph Schrewe (Borgia) wurde vom Records TFM veröffentlicht. Die 61 minütige, temporeiche Action/Comedy-Filmmusik mit 28 Tracks wurde 2009 im orchestralen- und Bigband Stil komponiert. Der Film findet im Ausland große Beliebtheit und ist eine SciFi Persiflage auf Murphys Gesetz. Die aus der Feder stammende Filmmusik von Marcel Barsotti zu dem Action.docx

Hallo, liebe Community! Anbei findet ihr den Link zu meinem Blog, wo ihr meine Review zum Captain Marvel-Score lesen könnt. Viel Spaß und ich freue mich über Feedback! https://scoregeek.wordpress.com/2019/03/15/captain-marvel-pinar-toprak/

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/

THE POET Neuer Digital Soundtrack Release Die Filmmusik zu dem internatioanlen Kinofilm THE POET schrieb der Schweizer Filmkompoinist Marcel Barsotti. Soundtracks TFM hat sich zur Aufgabe gemacht viele verschollene Soundtracks digital wieder zu veröffentlichen, darunter auch THE POET von Regisseur Paul Hills.In der internationalen Thriller-Kinoproduktion spielen die Hauptrollen Dougrey Scott (Mission Impossible) und Laura Harring (Mullholland Drive). Die Musik von Marcel Barsotti wurde mit dem Berliner Filmorchester Babelsberg aufgenommen. Das Thema "Drive through the Rain" läuft erfolgreich weltweit in den Radiostationen, Richtung Love Jazz Score. Das Album ist erhältlich u.a. auf iTunes, spotify, cd baby, amazon, YouTube, YouTube Music, Shazam, Apple Music... https://open.spotify.com/album/4qysMmu7H9oO1Q49VPgLN4?si=k4NbZzOhRzCLd5DwWY-rBg

Hey Leute, ich habe zusammen mit einem guten Kumpel einen Youtubechannel aufgemacht, in dem es um Filme und Serien geht. Enthalten ist ein Podcast alle 2 Wochen und auch Specialvideos über verschiedene Themen. Unser letztes drehte sich um Soundtracks und deren Geschichte. Vielleicht schaut ihr mal vorbei https://www.youtube.com/watch?v=plwuzWe8c4s&t=6s

THE POWER. Brandneuer Release Original Motion Picture Soundtrack, 33 Titel, 83 Minuten Zum ersten Mal wird weltweit die Indie Alternative Horrorfilmmusik zu dem gleichnamigen englischen Kinofilm THE POWER von Regisseur Paul Hills veröffentlicht. Die Musik dazu schrieb Marcel Barsotti, der u.a. neben Gitarren, Bass und Schlagzeug auch ethnische Instrumente wie die DraNgen oder die Zheng Harp für den Film einspielte. Die Streicher wurden mit dem Bratislava Sinfonieorchester unter der Leitung von Ferran Cruixant aufgenommen.

Original Soundtrack THE BIBLE CODE. Seit heute steht der Soundtrack zum ersten Mal weltweit auf allen Download- und Streaming Plattformen zur Verfügung, u.a. spotify, itunes, apple music, youtube music, cd baby oder napster. Der 180 minütige, internationale SciFi-Fantasy Thriller von Mr. Robot Regisseur Christoph Schrewe wurde komplett neu gemastered, mit neunem Cover und läuft seit 2008 weltweit in über 50 Länder und wurde in über 10 Sprachen übersetzt. Die knapp 80 minütige, mystische Orchestermusik von Marcel Barsotti unterstreicht das mystische Fantasy-Epos um die Entschlüsselung des Bibel Codes.

C6034 Caldera Records is proud to present a selection of Andrew Dickson’s music for Mike Leigh’s films, most notably “Naked” from 1993. Mike Leigh is one of the most revered film-makers in British cinema. Over a span of nearly 50 years, he has garnered 7 Oscar nominations, 14 BAFTA nominations (winning four), a Palme d’Or, a Golden Lion, and countless other prestigious awards. He had already shot “Bleak Moments” and several BBC productions when, in 1981, he met Andrew Dickson. Their collaboration would become one of the most fruitful ones between composers and directors: For “Meantime,” broadcast in 1983, Dickson chose to use a tack piano and a saxophone. The composer has always liked the idea of different instruments representing different people, and piano and saxophone somehow seemed perfect for a film about two brothers in a housing project. His music for “High Hopes” with its prominent use of blues harmonica, recorder, viola and bass won Dickson the European Film Award in 1989 – and deservedly so. But, undoubtedly, their most well-known film is “Naked”, a raw and painful portrait of a young man (played by David Thewlis in a career-defining performance) wandering through London’s night life. “Naked” is a relentless score, driven by a recurring ostinato played on harp. The music is as relentless as the character of Johnny, driving him forward, onward, downward. Like “Naked,” “Secrets & Lies” is in an incredibly rich film, giving Dickson a lot to draw on. His music, composed for strings and brass, is heart-rending and yet far from being sentimental. Andrew Dickson’s music for Mike Leigh’ films has never been released commercially in any format, despite several attempts by various labels. Thanks to the support of both Mike Leigh and Andrew Dickson, we were able to finally license selected cues for this unique compilation, the 34th CD-release of Caldera Records. This world premiere features a detailed booklet-text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Richard Moore and produced by Stephan Eicke and John Elborg. Music Composed by Andrew Dickson Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Meantime 1. End Credits (3:20) High Hopes 2. Suite (11:15) Naked 3. Opening Titles (3:56) 4. Tribal Initiation (0:30) 5. On a Cold, Grim Night (1:49) 6. The Mysteries of His Trade (1:22) 7. The Party’s Over (2:40) 8. Jeremy is Angry (0:44) 9. Friendly Visit (0:44) 10. Brian in the Window (1:31) 11. Sneaking Out (0:56) 12. Taking a Bath (0:39) 13. Blank It All Out (2:38) 14. Johnny Returns Home (0:43) 15. Bad Quartet (1:24) 16. Sandra (0:45) 17. More Heartbreak (0:47) 18. Escape to Nowhere (2:08) 19. End Credits (1:36) Secrets & Lies 20. Opening Credits (0:31) 21. Burial/Wedding Photos (1:52) 22. Office of Population Censuses and Surveys (1:46) 23. Maurice and Monica (1:22) 24. I’ll Be Thinking Of You (1:42) 25. A Night Out (1:12) 26. End Credits (2:21) Bonus: 27. Interview with Mike Leigh (6:07) Listen to a 5 min clip here: https://soundcloud.com/alderaecords/naked-andrew-dickson For more information, please visit: http://caldera-records.com/portfolio/naked/gallery/soundtracks/

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/

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/

C6029 Caldera Records is proud to present the score for the motion picture “The Baby” from 1973, directed by Ted Post, featuring music by Gerald Fried. The motion picture, marketed as a horror film, tells the story of a dedicated social worker takes on a case involving a grown-up man still in diapers. It doesn’t take long for the disturbed social worker to figure out that ‘Baby’s’ family deliberately keeps the retarded man-child from maturing. There are even more disturbing facts to note: the disappearance of previous social worker being the most unsettling. But lo and behold, the new social worker finds herself confronted with the ‘Baby’s’ family who, so it seems, is out to silence her. Gerald Fried’s music provides a phonic reminder that things may not be as presented; a harmonic harbinger of hidden dread. Fried’s resonantly descriptive dissertation is centered around a somber and melancholy etude, offered first in cello solo (performed by the esteemed Edgar Lustgarten), and expanded into a dreamlike lullaby, which sustains the film’s emotional capital throughout. This forlorn, needful melody acts as a guiding constant with the netherworld atmosphere created by Gerald Fried’s eerily sublime orchestration – a creepy and unsettling realm of threatening rattles, hypnotic chimes, and nightmarish music box tinkling. The 29th CD-release of Caldera Records features a detailed booklet-text by David Fuller and Stephan Eicke and elegant artwork by Luis Miguel Rojas as well as an exclusive audio commentary by Gerald Fried. The CD was produced by Stephan Eicke and John Elborg. Music Composed and Conducted by Gerald Fried Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke The Baby 1. Main Title (2:49) 2. Meet the Baby (0:37) 3. Sitter (0:54) 4. Evil Eye (0:55) 5. Hatchet Wielders (0:37) 6. Slides (1:39) 7. Maloche (0:30) 8. Germaine (1:06) 9. Anne’s Closeup (0:53) 10. Ruth Complains (0:32) 11. Anne and Baby Gone (1:17) 12. Baby Dressed Older (1:11) 13. Night Approach (2:28) 14. See You in Court (0:57) 15. Knife Job (0:44) 16. Sneak Racy/DOA (6:30) 17. Second Hatchet (0:39) 18. Excavation (1:44) 19. Pool Games (1:41) 20. The Baby (Guitar) (1:49) 21. The Baby (Piano) (3:51) 22. Party Music (2:52) 23. Dance Music (4:32) 24. Dennis (4:39) Bonus: 25. Audio Commentary by Gerald Fried (7:14) Listen to a 5 min clip here: https://soundcloud.com/alderaecords/the-baby-gerald-fried For more information, please visit: http://caldera-records.com/portfolio/the-baby/gallery/soundtracks/

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/