Veröffentlichung Kurz & knapp: Sammelthread für "kleine" Veröffentlichungen

[Gast Stefan Jania]

Wer den Score immer verpasst hat: Von Königskinder gibt es seit dem 25.6. digital James Horners DER NAME DER ROSE.

https://open.spotify.com/album/1CaX6rIqNlFzu8Ntryo5Ww

https://www.qobuz.com/de-de/album/der-name-der-rose-original-soundtrack-james-horner/nraoszkt6wqpb

[Oliver79]

Cinema Kan kündigen für den 18. August zwei neue Alben an: Eine anscheinend nicht erweiterte Neuauflage von Kaoru Wadas Musik für den Anime Ninja Scroll sowie eine CD mit Jazz-Kompositionen von Chumei Watanabe, Riichiro Manabe und Seiji Hiraoka (Komponisten-Angaben von CD Baby) für eine japanische TV-Serie von Teruo Ishii aus den 1960er Jahren.

 

 

 

[Gast Stefan Jania]

Für Fans von Lorne Balfe nächsten Freitag von Milan: THE TOMORROW WAR.

Zitat

 1. Multiply (2:54)
 2. Spikes Attack (1:57)
 3. Who's With Us? (4:04)
 4. Reunited (3:07)
 5. Back To The Past (4:03)
 6. The Tomorrow War (5:33)
 7. The Whitespikes (4:01)
 8. The Draft (4:41)
 9. Goodbye (4:15)
10. So It Begins (8:21)
11. Fight (2:47)
12. Message From The Future (2:28)
13. The Nest (2:08)
14. Test Tubes (3:19)
15. The Cube (2:51)
16. Pushing (6:24)
17. Miami Dolphins Still Suck (1:52)
18. Colonel Forester (5:09)
19. Dan Forester (3:16)
20. Homecoming (2:17)

 

[Alexander Grodzinski]

Quartet Records, in collaboration with Gruppo Sugar, presents the CD release of a Philippe Sarde and André Téchiné double-header: BAROCCO and LES SOEURS BRONTË.

BAROCCO (1976) stars Isabelle Adjani and Gérard Dépardieu in a Hitchcock-like thriller, strongly inspired by the doppelgänger plot of VERTIGO. As a blackmailing plot goes south, a young woman finds a strange fascination with a man who looks just like her boyfriend whom he had just killed. Sarde’s score is Herrmann-inspired with repetitive, fragmented thematic material rounding out the mystery of mistaken identities. The soundtrack also includes the original song “On se volt se voir” performed by Marie-France Garcia. Philippe Sarde won the César Award for this score, which is one of his best and most valued works.

LES SOEURS BRONTË (1979) stars Isabelle Adjani, Marie-France Pisier and Isabelle Huppert as the Brontë sisters, whose singular contributions to British literature such as WUTHERING HEIGHTS and JANE EYRE marked a new era for awakening female authors. Sarde’s elegant work for this film was to adapt several classical pieces, especially by Schumann, as an underscore.

This CD release issues complete versions of both scores. BAROCCO was already quite well-represented on the original LP, but the three bonus tracks fill in the remaining gaps in the score. For LES SOEURS BRONTË, an original music-and-dialogue LP was released in 1979; now we present the score in six movements as conceived by Sarde, without dialogue. 

This album has been produced by Edouard Dubois and the composer, and mastered by Chris Malone from first-generation master tapes provided by Gruppo Sugar. The richly illustrated package features liner notes by Gergely Hubai discussing the films and scores.

BAROCCO

1. Générique (1:52)

2. La valise (0:48)

3. Romance (0:45)

4. Les temps modernes (1:07)

5. Vent sur les affiches (1:23)

6. S’en sortir (1:40)

7. La radicale (4:07)

8. On se voit se voir (Vocal: Marie-France) (2:19)

9. Portrait Robot (2:13)

10. La poursuite (1:30)

11. Nocturne (0:48)

12. Les mers du sud (1:28)

13. Romance / Mais vous vivez de quoi? (3:11)

14. Les mers du sud (1:28)

 

LES SOEURS BRONTË

15. Les soeurs Brontë – Mouvement 1 (6:03)

16. Les soeurs Brontë – Mouvement 2 (3:01)

17. Les soeurs Brontë – Mouvement 3 (3:18)

18. Les soeurs Brontë – Mouvement 4 (3:51)

19. Les soeurs Brontë – Mouvement 5 (2:57)

20. Les soeurs Brontë – Mouvement 6 (1:53)

 

Quartet Records, in collaboration with Gruppo Sugar, presents the CD release of a Philippe Sarde and Marco Ferreri double-header: LIZA and LA DERNIÈRE FEMME.

LIZA (1972) is an ultimate and bizarre erotic Italian-French collaboration, starring Marcello Mastroianni as reclusive artist Giorgio who gives shelter to the submissive Liza (Catherine Deneuve) after a boating incident. Sarde’s singularly maniacal soundtrack for this crazy love story incorporates both romantic and jazzy elements, beautifully performed by soloists such as Stéphane Grapelli, Pierre Dutour, Didier Duprez and Hubert Rostaing.

LA DERNIÈRE FEMME (1976) stars Gérard Dépardieu as a single father, who finds new love with his young son’s nurse (Ornella Muti), but the pressures of society take a toll on the relationship which ends with tragic self-harm. The film has a rather brief score with four out of the six cuts used as source music. Both score cues (the opening titles and Valerie’s theme) feature Hubert Rostaing’s clarinet solo, while source cues include two mood pieces for a shopping center and the songs “Si me quieres aún” and “Like a Bird in the Wind.”

Both LIZA and LA DERNIÈRE FEMME were released on LP at the time, although the brief score of the last one included several cues from LIZA to reach a standard length. We present here the complete scores of both for the first time.

This album has been produced by Edouard Dubois and the composer, and mastered by Chris Malone from first-generation master tapes provided by Gruppo Sugar. The richly illustrated package features liner notes by Gergely Hubai discussing the films and scores.

LIZA

1. Genérique (3:41)

2. Retour dans l’île (1:23)

3. Le bunker (2:43)

4. Souvenirs (1:37)

5. La nage (3:22)

6. Le gramophone (2:34)

7. Liza (3:05)

8. Liza (Suite) (2:17)

9. Melampo (2:42)

10. L’avion (1:23)

11. Le départ (3:45)

 

LA DERNIÈRE FEMME

12. Générique (2:55)

13. Si me quieres aún (3:52)

14. Tahiti Drink (2:00)

15. Like a Bird in the Wind (Vocal: Bob Martin) (3:25)

16. Centre commercial (4:02)

17. Thème de Valérie (2:26)

Bonus track

18. Liza (Outtakes Medley) (5:12)

 

Dragon’s Domain Records, to be distributed through buysoundtrax.com presents the original motion picture soundtrack to SORCERESS, featuring music composed by Chuck Cirino for the 1995 horror film directed by Jim Wynorski, written by Mark Thomas McGee and starring Linda Blair, Edward Albert, Julie Strain, Michael Parks, Larry Poindexter, Lenny Juliano, Rochelle Swanson, Toni Naples, William Marshall, Antonia Dorian, Kristi Ducati, Melissa Brasselle and Fred Olen Ray in the role of Bill Carson.  GHOULIES IV continues the longtime collaboration between filmmaker Jim Wynorski and composer Chuck Cirino, which includes films such as CHOPPING MALL, DEATHSTALKER II, NOT OF THIS EARTH, TRANSYLVANIA TWIST, RETURN OF SWAMP THING, A DOGGONE CHRISTMAS, A DOGGONE HOLLYWOOD and, most recently, A DOGGONE ADVENTURE.

Julie Strain stars as Erica, a sexy witch married to attorney Larry (Poindexter), who is on the fast track to a partnership in a prestigious law firm. Erica makes a fatal mistake when she tries to kill Larry’s main competition for the partnership, Howard (Albert), instead crippling him for life. It so happens Howard’s wife Amelia (Blair) is also a witch, and she tries to destroy everyone and everything in Larry’s life. When Larry accidentally knocks Erica off their bedroom balcony and she falls to her death, her wiccan spirit and sexual energies remain at large to exact her own revenge.

Continuing their longtime collaboration, composer Chuck Cirino came aboard to score SORCERESS. Looking for a European sound for the score, Cirino used vocalist Alexa Anastasia again, after a successful collaboration on GHOULIES IV. 

Chuck Cirino did not start his career as a composer, but rather as a programmer in Stroudsburg, Pennsylvania for a Public Access cable TV station, where he learned how to create TV shows by himself, without a crew. In his spare time, he experimented with the station’s video equipment and created a series of genre productions that allowed him the opportunity to learn how to incorporate special effects into his work. After relocating to California, Cirino transitioned into directing high-end special effects television commercials.  His first work as composer was for the 1980 cult film GYPSY ANGELS, which starred Vanna White and Richard Roundtree.  Since then he has scored films for Roger Corman, directed music videos for bands like Earth, Wind & Fire and The Dickies’ KILLER KLOWNS FROM OUTER SPACE, and has recorded over 40 music soundtracks for feature films including SORCERESS, HARD TO DIE, TRANSYLVANIA TWIST, and many others. Most recently, he has scored A DOGGONE CHRISTMAS, A DOGGONE HOLLYWOOD and A DOGGONE ADVENTURE.

Chuck has worked as a producer, director, filmmaker, videographer, animator, special effects technician, editor, and composer. He executive produces and directs WEIRD TV, a television series featuring weird Americans, bizarre news, unbelievable events and outlandish skits.  Chuck’s credits also include executive producer and director of the Sci Fi Channel projects, WORLDWIDE WEIRD and WARPED IN SPACE, and BABERELLAS, an independent Sci Fi feature distributed by Xenon Pictures.

Dragon’s Domain Records is excited to bring SORCERESS to compact disc for the first time, mastered by James Nelson at Digital Outland with exclusive liner notes by author Randall Larson, with the participation of the composer and the director.

SORCERESS is a limited edition release of 500 units. As a special offer, the first 50 people to order the album from the record label’s website will have their copy autographed by the composer at no additional charge.

SORCERESS is expected to begin shipping the week of July 28th, 2021.

1. Prologue and The Accident (3:38)
2. You’ll Never Be Rid of Me / Main Title (4:52)
3. Larry Comes Home / The Murder / Stan Runs (3:43)
4. Larry Finds Maria In Bed (W/Vocals) (1:53)
5. All the Way / Stan in the Shadows / Maria Exits / Stan Dies (3:20)
6. Carol’s Erotic Dream (3:13)
7. Amelia at the Altar / Amelia’s Dark Magic (2:19)
8. Maria Follows Larry (2:27)
9. Shower Time (2:18)
10. Amelia’s Madness (3:49)
11. The Final Rampage / Aftermath / Bad Dream (Finale) (5:39)
12. Sorceress End Credits (4:03)

BONUS TRACKS
13. Short Transitions (0:30)
14. Larry Finds Maria In Bed (W/O Vocals) (1:55)
Total Time: 44:16

 

Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents THE HUMMIE MANN COLLECTION, VOLUME 1, featuring the release of music composed by Hummie Mann for two films from his extensive filmography, THOMAS AND THE MAGIC RAILROAD and the IMAX film CYBERWORLD.

There are few characters in the history of family entertainment that boast a more devoted or passionate fan base than Thomas the Tank Engine. Born in the pages of a British children’s book series penned by Rev. Wilbert Awdry in 1946, Thomas the Tank Engine is an anthropomorphized steam locomotive who clickety-clacks over railroad tracks across the fictional island of Sodor. Released in 2000 and following in the great success of SHINING TIME STATION in the United States, THOMAS AND THE MAGIC RAILROAD finds Mr.  Conductor (Alec Baldwin) running low on his supply of magical gold dust, which allows him to travel from place to place. Not knowing how to get more gold dust, Mr. Conductor must turn to his new friend, Lily (Mara Wilson), her grandfather, Burnett Stone (Peter Fonda) and his own unreliable cousin to find a solution. At the same time, Diesel 10, an evil diesel locomotive, has arrived on Sodor, with the intention of destroying all of the remaining steam locomotives. Can Sodor be saved from the evil diesel engines and can Mr. Conductor find more of the magical gold dust he needs to keep doing his job?

Hummie Mann’s charming underscore for THOMAS AND THE MAGIC RAILROAD is a fine example of rich orchestral film music bolstered by infectious themes, sumptuous harmony, and kaleidoscopic orchestration. While most films are typically scored in three to six weeks, Mann was given several months to pen all the material for the film. THOMAS AND THE MAGIC RAILROAD was recorded at Manta sound in Toronto, Ontario, with an eighty-five piece orchestra.

During the same year Mann penned his music for THOMAS AND THE MAGIC RAILROAD, he also wrote the score for a curious IMAX film titled CYBERWORLD 3D. CYBERWORLD 3D is a short forty-minute computer-animated IMAX film directed by Colin Davies and Elaine Despins. The story follows a character named Phig (Jenna Elfman) who takes the audience on a tour of CyberWorld—a virtual museum of various 3D animated exhibits. Three unwelcome bugs named Buzzed (Rob Smith), Wired (also Rob Smith), and Frazzled (Matt Frewer), worm their way into the museum and chomp up the outlying computer code. This inadvertently destroys the environment’s digital foundation forcing Phig into a conflict to save CyberWorld from total destruction. Mann’s twenty-two minutes of orchestral underscore was also recorded at Manta Sound in Toronto.

Two-time Emmy-award winning Canadian composer/arranger Hummie Mann has collaborated with some of Hollywood's most celebrated directors in both theatrical and television films.  His motion pictures projects include ROBIN HOOD: MEN IN TIGHTS, YEAR OF THE COMET and WOOLY BOYS. For television, his projects include P.T. BARNUM, IN COLD BLOOD, PICTURE WINDOWS – SOIR BLEU, THE RESCUERS: TALES OF COURAGE – TWO WOMEN, MASTERS OF HORROR )Homecoming and The Screwfly Solution), FIRST DO NO HARM, SUZANNE’S DIARY FOR NICHOLAS and REBEL HIGHWAY.

Born in Montreal, Mann began studying music at the age of seven.  He learned to play not only the piano, but also recorder, guitar, clarinet and oboe.  He graduated magna cum laude in 1976 from Boston's prestigious Berklee College of Music and moved to Los Angeles in 1980, where he began orchestrating and composing for such top-rated series as FAME, MOONLIGHTING, KNOT’S LANDING, ALF and THE SIMPSONS. In early 1998 Berklee Faculty member and world renowned vibraphonist Gary Burton presented Mann with Berklee’s Distinguished Alumnus Award.

Besides his busy composing career, Mann is the creator and lead instructor of the Pacific Northwest Film Scoring Program which 5 years ago became the music department of the Seattle Film Institute.  He was the founding president and a long time board member and of the Seattle Composers Alliance and for 10 years served as a governor of the Northwest Chapter of the National Academy of Recording Arts and Sciences.  Currently he divides his time between Mercer Island, Washington and Santa Monica, CA where he continues to work in the film industry.

While THOMAS AND THE MAGIC RAILROAD did receive a soundtrack release when the film came out, it contained less than 30 minutes of the composer’s score. Dragon’s Domain Records is excited to bring THOMAS AND THE MAGIC RAILROAD in a much expanded presentation and the worldwide release of CYBERWORLD to compact disc for the first time as part of THE HUMMIE MANN COLLECTION, VOLUME 1, newly mastered by James Nelson at Digital Outland. The booklet includes exclusive liner notes written by author and composer Brian Satterwhite with the participation of the composer.

THE HUMMIE MANN COLLECTION, VOLUME 1 is a limited edition release of 500 units. THE HUMMIE MANN COLLECTION, VOLUME 1 will begin shipping the week of  July 28th, 2021.

THOMAS AND
THE MAGIC RAILROAD
1. Main Title (1:44)
2. Here’s Diesel/Diesel Explains his Plan/Rainbow Sun (1:59)
3. Burnett’s Workshop / Patch MeetsLily/Diesel’s Gang (3:16)
4. Mr. C/Mutt Senses Trouble (2:47)
5. Guard Her Well/Lily & Bluebird (1:27)
6. Practical Joke/Sir Topham (1:48)
7. A Night in the Train Shed (3:16)
8. Mr. C’s Nightmare/Mutt Leads Lily On (2:18)
9. Where’s the Windmill?/Brain Veggies (2:48)
10. Lily Arrives/C Jr./Not Really Feeling Useful (2:35)
11. Stacy Drives Lily/Sodor at Night/Diesel Knocks Shed (2:54)
12. Coal Car Through the Buffer/Diesel Threatens Mr. C (2:32)
13. Not Be Stupid (0:38)
14. Lily Meets Patch/Lily Goes to Sodor/Lily Rides Thomas (4:46)
15. Spooky (3:01)
16. Thomas Takes Lily Through (3:20)
17. Lily Meets Lady/Diesel Attacks (2:05)
18. Lady Comes To Life (3:21)
19. Jr. Meets Lady/Diesel’s Final Pursuit (4:06)
20. The Clue Revealed (2:53)

CYBERWORLD
21. Creation Sequence/Metal Monsters/Modern Cities (3:34)
22. Krakkens and Jabberwockys (3:07)
23. Phig Phinds the Bug/Frazzled, Buzzed and Wired (3:07)
24. Tonight’s Performance/ Phig Finds the Bug/Wrong Bug (3:44)
25. More Wrong Bugs/Bugs Watch Antz/Phig’s Got ‘em/Phig Gets Eaten (2:00)
26. Black Hole/Re-Creation Sequence (3:31)
27. End Credits (2:35)
Total Time: 76:21

Dragon’s Domain Records presents a new release of PRISON, to be distributed  through buysoundtrax.com. PRISON features music composed by Richard Band and Christopher L. Stone for the 1987 horror film directed by Renny Harlin (DIE HARD 2, CLIFFHANGER, CUTTHROAT ISLAND, THE LONG KISS GOODNIGHT), written by Irwin Yablans and C. Courtney Joyner, starring Lane Smith, Viggo Mortensen and Chelsea Field.

Released in 1987, PRISON revolves around a death row inmate named Charlie Forsythe (Mortensen) who was sent to the electric chair for a heinous murder he did not commit. Ethan Sharpe (Smith), a prison guard who attended the execution, was aware of Forsythe’s innocence but kept it to himself. Years later, after the condemned prison is reopened by the state, Forsythe’s enraged spirit is awakened and begins slaughtering inmates and guards with the intention of getting his ultimate revenge against Sharpe.

PRISON was filmed almost entirely on location in Rawlings, Wyoming at the former Wyoming State Penitentiary which had been vacated since 1981. The producers approached the state of Wyoming seeking permission to film on location within the jailhouse walls. Since the building was slated for demolition later that year, the state granted production a carte blanche license to do anything they needed to do to the building.

The plot for PRISON revolves around a death row inmate named Charlie Forsythe (Mortensen) who was sent to the electric chair for a heinous murder he did not commit. A prison guard named Ethan Sharpe (Smith)—who attended the execution—was aware of Forsythe’s innocence yet kept silent. Thirty years later after the condemned prison is reopened by the state, the enraged spirit of Forsythe escapes, slaughtering inmates and guards with hopes of seeking his ultimate revenge against Sharpe, who is now the warden.

Richard Band was born in Los Angeles on December 28, 1953. He is the son of film producer-director-writer Albert Band (THE RED BADGE OF COURAGE – screen adaptation), brother to producer-distributor Charles Band and uncle to young rock star Alex Band of the rock group ‘The Calling’. Shortly after his brother Charles had formed his first movie company, Richard decided to take a break from music and began to work as an assistant director on some of his films. He then went from assistant director to production manager, to associate producer and finally producer on over 13 films. Richard has since gone on to score over 75 feature films, including METALSTORM: THE DESTRUCTION OF JARED-SYN, GHOST WARRIOR, RE-ANIMATOR, FROM BEYOND, THE RESURRECTED and more and many television productions including multiple episodes of STARGATE SG-1, WALKER: TEXAS RANGER, MASTERS OF HORROR and Disney's SING ME A STORY series.

Richard has composed the music for more than 10 interactive computer/video games over the years and has had many soundtracks that have been released of his film works. Richard has also scored many documentaries including the award-winning series’ MOST DECORATED, BRUTE FORCE and WEAPONS OF WAR and has also contributed much music to other series’ like THE REAL WEST, CIVIL WAR JOURNALS and BIOGRAPHIES. His experience over the years has brought him to record over 22 film scores with internationally renowned orchestras such as THE ROYAL PHILHARMONIC ORCHESTRA, THE LONDON SYMPHONY and THE ROME PHILHARMONIC. He has also had his music recorded in Prague, Romania, Croatia and Munich.

Christopher Stone began his musical education at the age of 5, in Los Angeles, when he taught himself to play the piano by placing his hands on the keys of his father’s Ampico Player Piano as they moved up and down. He quickly began creating his own compositions. He went on to study piano with Sergei Vladimirovich Tarnowsky, and conducting with Ivan Boutnikoff, Principal Conductor for the Ballet Russe de Monte Carlo. At the age of 15, Stone moved to Paris, France and had the honor of studying composition with Nadia Boulanger who influenced generations of young composers from Aaron Copeland to Phillip Glass. Stone completed his formal music education at the Hochschule für Musik und Darstellende Kunst in Vienna, Austria. Stone has composed music for over 20 feature films including PHANTASM II, TICKS, PHANTASM III: LORD OF THE DEAD, FIST OF THE NORTH STAR and THE STUPIDS and hundreds of television episodes for Disney, Universal, CBS, NBC, and HBO including SWAMP THING, BIOGRAPHY (1994-1998) and WALKER, TEXAS RANGER. Stone also earned the distinction of composing the very first orchestral video game scores for DRAGON’S LAIR (1983) AND SPACE ACE (1983).

Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents a new release of PRISON, with an album sequence that closer matches the music as it is presented in the film, along with new mastering, thanks to James Nelson at Digital Outland, with liner notes written by author and composer Brian Satterwhite, with the participation of the composer.

PRISON is a limited edition release of 500 units. PRISON is expected to begin shipping the week of  July 28th, 2021. The first 50 copies ordered through the buysoundtrax.com website will be autographed by the composer at no extra charge.

 

01 Main Title _ Catherine _ Execution        
02 The Prison Cellar           
03 The Entity Is Released       
04 Death In Solitary       
05 Barbed Wire Unleashed              
06 Stripdown           
07 Rabbit_s Escape And Death        
08 The Inmates Sense The Entity           
09 The Warden's Recurring Nightmare           
10 Sandor Calls Up The Spirit       
11 The Prison Break _ Finale          

[Angus Gunn]

Die Sarde-CDs scheinen ja doch relativ gut zu laufen. Im Fall von BAROCCO habe ich das alte Album nie besessen und die Schwestern Bronte hatte ich mal vor langer Zeit als Kassetten-Überspielung, die auch schon längst verschollen ist. Von daher ist diese Veröffentlichung für mich genau richtig.

Die andere CD reizt mich weniger. LIZA ist ein sehr schöner, nostalgisch-eleganter Score mit solistischen Einsätzen von Klarinette und Klavier. Aber der war auf der Ferreri-CD von Universal schon umfangreich vertreten. Und bei DERNIER FEMME scheint auch nichts Essenzielles hinzugekommen zu sein.

Aber generell toll in welcher Schlagzahl die Sarde-CDs inzwischen rauskommen. Bin gespannt, was da in Zukunft noch alles ansteht.

[Stefan Schlegel]

vor 3 Stunden schrieb Angus Gunn:

Die Sarde-CDs scheinen ja doch relativ gut zu laufen. Im Fall von BAROCCO habe ich das alte Album nie besessen und die Schwestern Bronte hatte ich mal vor langer Zeit als Kassetten-Überspielung, die auch schon längst verschollen ist. Von daher ist diese Veröffentlichung für mich genau richtig.
Aber generell toll in welcher Schlagzahl die Sarde-CDs inzwischen rauskommen. Bin gespannt, was da in Zukunft noch alles ansteht.

Es sieht für mich wirklich so aus als ob Quartet jetzt noch schnell alle Titel aus dem CAM-Katalog herausbringen muß, die sie seit vielen Jahen dort bereits reserviert hatten. Das ist schon sehr, sehr auffällig was da momentan so abläuft,  wenn man sich die vielen CAM-Veröffentlichungen der letzten Wochen so anschaut - von Sugar hat Quartet ja nicht nur die ganzen Sardes der letzten Zeit, sondern auch  FALSTAFF, RATATAPLAN (Mariano) oder SAN PASQUALE BAYLONNE (De Angelis) bezogen.  Möglicherweise hat Sugar Anfang dieses Jahres Quartet ein Ultimatum gesetzt, alle von ihnen  längst reservierten Titel unbedingt in diesen Monaten noch zu veröffentlichen, da neue Titel wohl erst gar nicht mehr lizenziert werden dürfen aufgrund Sugars jetziger Kooperation mit Decca/UMG. Quartets derzeitige Flut von CDs mit CAM-Titeln ist ansonsten kaum erklärbar.

Die LP von LES SOEURS BRONTÉ hatte ich Mitte der 80er mal  für ein oder zwei Jahre und dann wieder abgegeben. Die enthielt ja nicht nur Musik, sondern auch viele Dialoge aus dem Film - und außerdem ist es eh kein richtiger Sarde-Score, da hier im Prinzip ja nur Klassik zu Gehör kommt. Es handelt sich im Grunde nur um Adaptionen von Werken von Schumann (vor allem die Gretchen-Szene aus dem Schumann-Oratorium "Szenen aus Goethes Faust" - mit der Arie "Die Scherben vor meinem Fenster" beginnt übrigens auch der Film selbst und die taucht dann auch im weiteren Verlauf öfters auf) und Schubert (das zweite der drei Klavierstücke D.946 - zu hören z.B. im Hörclip von Track 17 "Mouvement 3" der Quartet-CD). Merkwürdig ist nur, daß schon auf der LP und sogar im Film selbst zwar "Musik adaptiert von Philippe Sarde" dabeistand, aber überhaupt nicht, um welche  ursprünglichen Komponisten es sich eigentlich hierbei handelt - bis auf Rossini und dessen Tancredi-Ouvertüre, die im Abspann vom Film gelistet ist (und desahlb dann auch in der IMDB). Habe ich nie verstanden, warum Schubert/Schumann nirgends angegeben wurden. Von daher weiß es natürich auch so gut wie niemand, was da so erklingt, und manche Sammler werden das alles vielleicht sogar Sarde selbst zuschreiben. 

Bei BAROCCO kommen jetzt aber auch nur noch 2-3 Minuten hinzu gegenüber der alten LP/CD -  und die war ja schon äußerst kurz mit gerade mal 20 Minuten. Abziehen kann man noch zwei Dialogstücke und das nicht so recht zum Rest passende Nachtclubstück "La radicale" mit ganzen vier Minuten. Also bleibt nicht mehr allzuviel übrig. Es reichen von daher schon fast die paar Tracks aus,, die auf dem alten  Sarde/Techiné-Sampler von Milan von Ende der 80er emthalten waren.

 

[Stefan Schlegel]

vor 21 Stunden schrieb Stefan Schlegel:

Die LP von LES SOEURS BRONTÉ hatte ich Mitte der 80er mal  für ein oder zwei Jahre und dann wieder abgegeben. Die enthielt ja nicht nur Musik, sondern auch viele Dialoge aus dem Film - und außerdem ist es eh kein richtiger Sarde-Score, da hier im Prinzip ja nur Klassik zu Gehör kommt.

Nochmals zu LES SOEURS BRONTÉ: Es gibt ein wunderbares halbstündiges Sarde-Porträt von 1979 vom französischen Fernsehen auf Youtube. Zu dem Zeitpunkt war Sarde gerade mal 30, in der Doku ist er schlaksig und voller Elan zu sehen, spielt am Klavier die Themen aus UNE HISTOIRE SIMPLE und LA GRANDE BOUFFE..
Und es gibt auch - der eigentliche Grund, weshalb ich das hier poste - einige Aufnahmen von den  Recording Sessions in London zu LES SOUERS BRONTÉ zu sehen - so ab Minute 7 etwa. Höchst witzig  wie da in allen Sprachen gesprochen wird: Mit Carlo Savina, der ein Streicherensemble aus Mitgliedern des LSO dirigiert, und mit dessen Bruder Federico, der am MIschpult sitzt, geht es nur auf Italienisch, mit dem Pianisten spricht Sarde ein wenig gebrochenes Englisch und mit Regisseur André Techiné natürlich Französisch. Höchst interessant, das alles mal zu sehen wie das damals so ablief. Die Recording Sessions fanden übrigens im Januar 1979 statt:

 

[Angus Gunn]

Danke für den YT-Link. Der Film vermittelt perfekt die Atmosphäre bei den damaligen Aufnahme-Sitzungen. Großartig!

Am 18.7.2021 um 13:19 schrieb Stefan Schlegel:

Bei BAROCCO kommen jetzt aber auch nur noch 2-3 Minuten hinzu gegenüber der alten LP/CD -  und die war ja schon äußerst kurz mit gerade mal 20 Minuten. Abziehen kann man noch zwei Dialogstücke und das nicht so recht zum Rest passende Nachtclubstück "La radicale" mit ganzen vier Minuten. Also bleibt nicht mehr allzuviel übrig. Es reichen von daher schon fast die paar Tracks aus,, die auf dem alten  Sarde/Techiné-Sampler von Milan von Ende der 80er emthalten waren.

Aha, das heißt also die knapp 14 Minuten auf dem Techine-Sampler von Universal sind ausreichend?  Dann überlege ich es mir doch noch mal.

Am 18.7.2021 um 13:19 schrieb Stefan Schlegel:

Es sieht für mich wirklich so aus als ob Quartet jetzt noch schnell alle Titel aus dem CAM-Katalog herausbringen muß

Welche Titel wären da denn eventuell noch möglich?

[Stefan Schlegel]

vor 3 Stunden schrieb Angus Gunn:

Aha, das heißt also die knapp 14 Minuten auf dem Techine-Sampler von Universal sind ausreichend?  Dann überlege ich es mir doch noch mal.

Ja stimmt, auf dem zweiten Sarde/Techiné-Sampler ist ja sogar noch etwas mehr drauf als auf dem ersten von Milan. Die 14 Minuten reichen daher auf alle Fälle. Ich will die Musik gar nicht schlecht reden, die ist an sich schon recht gut, aber quantitativ ist dabei eben wirklich nicht viel mehr zu holen. Sarde hat die Musik wie ja in manch anderen Fällen auch damals äußerst sparsam, aber effektiv eingesetzt.

vor 3 Stunden schrieb Angus Gunn:

Welche Titel wären da denn eventuell noch möglich?

Auf alle Fälle möglich ist der äußerst populäre Lino Ventura/Patrick Dewaere-Krimi  ADIEU POULET von 1975 (bei uns als ADIEU BULLE ja sehr bekannt und früher oft im Fernsehen gelaufen). Der Titel ist nun auch schon seit Jahren im CAM-Katalog reserviert - entweder von Quartet oder von Music Box. Der kommt von daher garantiert noch. Und ich gehe davon aus, daß es eine Kopplung mit dem anderen Lino Ventura-Film LA CAGE (DER EHEKÄFIG) aus demselben Jahr geben könnte, da gleicher Hauptdarsteller und gleicher Regisseur (Pierre Granier-Deferre). Beide Scores sind auch nicht allzulang - vermutlich nicht mehr als eine Viertelstunde im Film bei jedem. Könnte aber sein, daß da auch noch ein paar nicht im Film verwendete Stücke auf den Masterbändern dabei sind. Also ich gehe davon aus, daß diese CD in den nächsten paar Monaten bestimmt noch kommen wird, da man das ja auch gut über Lino Ventura vermarkten kann. Würde mich schwer wundern wenn nicht.
Auch der erste Bertrand Tavernier-Film L´HORLOGER DE SAINT-PAUL von 1973 ist schon lange reserviert - hier stellt sich natürlich die Frage, wieviel Musik es da außer den beiden bereits auf CD veröffentlichten Stücken noch gibt. Ich habe den Film schon lange nicht mehr gesehen - früher mal in den 80ern -, aber ich glaube auch hier nicht, daß es insgesamt mehr als 10-15 Minuten sein werden.

Auch die Komödienmusik LA VALISE hat tatsächlich jemand reserviert und hat vermutlich irgendeine Expandierung vor. Mal schauen, ob sich da noch was regt. Möglicherweise gekoppelt mit PAS DE PROBLÈME ebenfalls von Georges Lautner?

Ansonsten sind es neben Robert Bressons herausragendem LANCELOT DU LAC (der aber nur drei Minuten an Musik enthält, nämlich Vorspann- und Abspannmusik  mit dem späteren, hier etwas anders instrumentierten  LE CHOC-Thema) überwiegend weniger bekannte Sarde-Titel, die im CAM-Katalog noch vorhanden sind. Von ein paar gabs in den 70ern Singles wie von UN DIVORCE HEUREUX, LE DROIT D´AIMER oder LE MARIAGE Á LA MODE. Oder eine ganze Seite einer CAM CML-Library-LP wie beim kanadischen LES CORPS CÉLESTES von Gilles Carle von 1973. Sind eigentlich alles eher unbekanntere Regisseure - von daher darf man gespannt sein, was für Kopplungen hier eventuell noch gemacht werden oder auch nicht.

Witzigerweise hat Sugar auch noch Sardes Musik für Peter Fleischmanns berüchtigten und damals skandalumwitterten Softo-Porno bzw. eigentlich eher Soft-Porno-Parodie DOROTHEAS RACHE von 1974. Eigenartig wie es damals dazu kam, daß Fleischmamnn ausgerechnet Sarde als Komponist gewinnen konnte - vielleicht durch Ferreris ähnlich skandalösen DAS GROSSE FRESSEN aus dem Jahr davor.
Ich habe da mal reingeschaut in den Film - überwiegend sind da eigentlich die ganze Zeit über nur deutsche Schlager der frühen 70er drin und erst gegen Ende gibt es vielleicht so 3-4 recht melancholische kammermusikalische Sarde-Tracks, sogar mit Chor, die geradezu im Kontrast zum Gebotenen stehen. Aber in Sardes sonstiger Filmographie paßt gerade dieser Titel nicht wirklich rein. Ob sich da jemand rantraut?

[Oliver79]

Beat Records veröffentlichen am 25. Juli Gianni Ferrios Musik für Sergio Corbuccis Komödie Mi Faccia la barca (1980) erstmals auf CD.

Zitat

 

We release in our DDJ series an unreleased score by Maestro Gianni Ferrio, for a Summer movie, the ideal choice for this sun dominated season!

An eclectic OST heralded by the main theme "Sciacqua l'acqua", a sparkling theme sung by Johnny Dorelli that, together with divine Laura Antonelli is protagonist of the story. A wonderful album with bossa, jazz, lounge and upbeat tunes featuring also an astonishing cue in The Bee Gees style, everything in a great stereo.

The CD is released in jewel case, liner notes by Fabio Babini, mastering by Claudio Fuiano, graphic layout by Daniele De Gemini.

 

 

[Gast Stefan Jania]

Am 3.6.2021 um 14:22 schrieb Oliver79:

Am 20. Juni erscheint bei Beat Records Alessandro Alessandronis Score für den Rennfahrer-Streifen Formula 1 nell' inferno del Grand Prix (1970) auf CD und LP.

 

Und nun digital.

https://open.spotify.com/album/4PK0LgcXt3MDm3JnmVYDJW

Meine ich das nur oder ist da am Anfang wirklich recht viel Peter Gunn?

[Angus Gunn]

vor 5 Stunden schrieb Stefan Jania:

Meine ich das nur oder ist da am Anfang wirklich recht viel Peter Gunn?

Sowas begegnet einem bei Alessandroni öfters. Sangue di Sbirro beginnt mit einem Shaft-Rip-Off, der Titeltrack von El Puro unterscheidet sich nur geringfügig von Morricones Fistful of Dollars und es gäbe noch mehr Beispiele. Jo mei, klingt aber trotzdem ganz gut.

[Gast Stefan Jania]

vor 17 Stunden schrieb Angus Gunn:

Jo mei, klingt aber trotzdem ganz gut.

Dem kann ich zustimmen. Viel Lounge, aber auch doch einige Spannungstracks. Sehr unterhaltsames Album. Sehr schön, dass es das digital gibt. Wieder etwas entdeckt!  ?

[Oliver79]

Von Howlin' Wolf Records kommt ein Doppelalbum mit zwei Scores des Regisseurs und Komponisten Jamie Blanks: Storm Warning und Crawlspace.

Zitat

 

Howlin' Wolf Records proudly presents a 2-CD set with music composed and performed by accomplished Director and Composer Jamie Blanks - STORM WARNING (2007) and CRAWLSPACE (2012) - Both scores won "Best Musical Score" at Screamfest the only two years Blanks entered scores for competition at the festival. Renowned and award-winning for both directing and composing, Jamie Blanks is best known as the director of both URBAN LEGEND (1998) and VALENTINE (2001), and the director, composer, and editor of both STORM WARNING (2007) and LONG WEEKEND (2008). STORM WARNING and LONG WEEKEND were both written by legendary screenwriter Everett DeRoche, who Blanks kept as a treasured friend up until DeRoche's death. CRAWLSPACE (2012) is the directorial debut of Justin Dix, Blanks' practical effects and make-up wizard for both STORM WARNING and LONG WEEKEND. Like Blanks with his two wins for "Best Musical Score," Dix won "Best Makeup and Effects" at Screamfest in 2007 and 2012.

Blanks' reputation in both Hollywood and Aussie Cinema is remarkable. Mike Thorn (Author of "Shelter for the Damned" and "Darkest Hours") writes about Blanks, "Jamie Blanks is an auteur, plain and simple, and this fact has been clear from the very beginning of his career." In addition to accomplished skills as a broad-ranged filmmaker, in the mold of John Carpenter, Jamie Blanks is also known as one of the most good-natured men in the entertainment industry. A key cast member on his first feature film (URBAN LEGEND, 1998) commented in an interview that were it not for how "nice" he was, she would have thought he was a seasoned director of many films. To Blanks' credit, the mix of artistic creativity, technical excellence, topped off with kindness and generosity, has blossomed more as his career advanced to the stature of one of the great filmmakers of his generation, with the talent to direct, compose, and edit visually stunning films with rich narratives.

Concerning STORM WARNING, Adrian Roe (Author of "First Scream to the Last" and "Final Scream") writes: "Blanks’ expertly crafted use of music, visuals, and striking imagery ramp up the atmosphere and tension to a visceral level that becomes almost unbearable, and only has one way to go—breaking point." Blanks is accomplished stylistically from synth-based to orchestral. The score for STORM WARNING is that of a brewing storm - when it reaches its peak fury - all "Hell Breaks Loose."

With a foreword by author Mike Thorn, detailed notes on both scores by Jamie Blanks, and an epilogue by author Adrian Roe, STORM WARNING/CRAWLSPACE features Howlin' Wolf Records' most extensive packaging to date with a 32-page, full-color booklet, stunning photography by both Terry Hope and Hugh Fleming, and gorgeous original artwork by Hugh Fleming, all gloriously crafted and designed by longtime Howlin' Wolf Records Art Director, Luis Miguel Rojas.

 

 

[Oliver79]

Von Music Box Records kommt an diesem Freitag eine CD mit Oliver Cussacs Musik zu dem aktuellen Animationsfilm Pil. 

Zitat

 

In collaboration with TAT Productions, Music Box Records is pleased to present on CD the original motion picture soundtrack of the feature-length animation Pil (Young Thief Pil, 2021) composed and orchestrated by Olivier Cussac, and performed by the Orchestre National d’Île-de-France.

Pil, directed by Julien Fournet, tells the story of a young orphan who lives along with her three tamed weasels, on the streets of Roc-en-Brume, a medieval city. She survives thanks to the food she steals from the castle of sinister regent Tristain, usurper of the throne. One day, chased by some guards, Pil disguises herself as a princess to avoid them and is unwillingly onboard for a crazy and delirious adventure, together with Crobar, a big clumsy guard who thinks Pil is a noble girl, and Rigolin, a young loony jester. Pil will have to save Roland, heir to the throne and victim of a spell. This adventure will upset the whole kingdom and will teach Pil that nobility can be found in each one of us.

After The Jungle Bunch and Terra Willy, Unexplored Planet (also released by Music Box Records), Olivier Cussac provides an exciting and classic fully orchestral adventure score.

Pil is released in French theaters on August 11, 2021. The album is available on CD and digital version.

 

 

[Oliver79]

Gleich sechs neue CDs haben Keepmoving Records in dieser Woche veröffentlicht, darunter Arbeiten von John Cameron, Anna Drubich und gleich vier Scores von Yuri Poteyenko.

Hipnosis / Odessa - Anna Drubich

Alaska Kid - John Cameron

Devyatayev - Yuri Poteyenko

The Last Frontier - Yuri Poteyenko

Frontier - Yuri Poteyenko

Battalion - Yuri Poteyenko

[Alexander Grodzinski]

Quartet Records, in collaboration with Gruppo Sugar, presents a Philippe Sarde and Claude Sautet double-header, including the first and last collaboration between the composer and director, celebrating perhaps the most important and influential professional relationship in the composer’s career.

LES CHOSES DE LA VIE (1970) stars Michel Piccoli, Romy Schneider and Lea Massari. The plot begins when Pierre (Piccoli), a successful highway engineer, has a traffic accident. Seriously hurt, he lies waiting for death and remembering his past love with two women in flashbacks. The film was a resounding commercial success, and much of it was thanks to the brilliant, delicious score by Philippe Sarde. It was only his second score (just after SORTIE DE SECOURS, also in 1972) and he was only 22 years old. Romantic and melancholic, with one of the most famous and catchy melodies in French cinema history (“La chanson d’Hélene,” performed by Romy Schneider and Michel Piccoli), the score by Philippe Sarde for LES CHOSES DE LA VIE is a timeless classic.

Due to the success of the film and its music, a soundtrack album was issued by Philips in France and CAM in Italy when the film was released internationally. Reissued several times on both CD and LP, this new edition has been slightly expanded to include a seven-minute suite with the original version of “L’accident” and some short cues omitted from the original LP, as well as the original Italian and German versions of “La chanson d’Hélene” (also performed by Schneider and Piccoli).

NELLY ET MR. ARNAUD (1995) stars Emmanuelle Béart, Michel Serrault, Jean-Hugues Anglade and Michael Lonsdale. The simply, intimate story is about the strange and special relationships that develops between Nelly, a recently divorced woman, and M. Arnaud, a mature salesman just retired. This film was the last by masterful director Claude Sautet, and his final collaboration with Sarde, with whom he had been working since LES CHOSES DE LA VIE—a relationship spanning more than twenty years and ten films. The delicate, subtle score for NELLY was conceived by the composer as a 12-minutes suite, here receiving its complete premiere release. Not one more second of music was recorded for this film.

This album has been produced by Edouard Dubois and the composer, and mastered by Chris Malone from first-generation master tapes courtesy of Gruppo Sugar, without the annoying Dolby Surround afflicting all previous CAM editions. The richly illustrated package features liner notes by Gergely Hubai discussing the films and scores.

Les choses de la vie

1. La chanson d’Hélène (Vocal) (2:53)

2. La chanson d’Hélène (Instrumental) (2:04)

3. Générique (0:23)

4. Pierre et Hélène (0:58)

5. La Rochelle (1:53)

6. Soirée (Mozart) (4:40)

7. Prélude à l’accident (1:15)

8. L’accident ralentí (1:58)

9. L’isolement (1:06)

10. Vision de la noce et cauchemar (2:20)

11. Les choses de la vie (2:28)

12. La mort (1:39)

13. Les choses de la vie (Final) (1:28)

14. La chanson d’Hélène (Vocal – Italian version) (2:53)

15. Les choses de la vie (Suite) (6:27)

16. La chanson d’Hélène (Vocal – German Version) (2:53)

Nelly et Mr. Arnaud

17. Nelly et Monsieur Arnaud (Suite) (12:15)

[Stefan Schlegel]

Es ist schon absolut verrückt mit welcher Rasanz Quartet diese von Sugar lizenzierten Sarde-CDs nun auf einen Schlag raushaut. Das hats ja noch nie gegeben in der Art. Man merkt wirklich wie  bei dem Label die Zeit drängt - das muß anscheinend jetzt alles noch schnell gebracht werden, obwohl sie die Titel doch schon jahrelang bei Sugar reserviert hatten. Irre, was da vor sich geht!

Leider halt auch wieder ohne UNE HISTOIRE SIMPLE, der hier musikalisch an sich sehr gut reingepaßt hätte, aber eben nicht Sugar gehört, und mit wenig neuem lohnendem Material gegenüber der alten CD von LES CHOSES DE LA VIE und gegenüber der 5 1/2 Minuten-Suite, die es von NELLY bereits auf dem Sarde/Sautet-Sampler von Universal gab.

Zwei Fehler sind in dem Text oben übrigens auch noch drin: SORTIE DE SECOURS ist nicht von 1972, sondern von 1970. Und SORTIE war natürlich nicht der erste Spielfilm, den Sarde vertont hat, sondern das war natürlich schon LES CHOSES DE LA VIE. LES CHOSES ist ja auch ein rundes halbes Jahr früher in Frankreich gestartet als SORTIE.

[Oliver79]

Am 11. August erscheint beim japanischen Label Soundtrack Pub eine CD mit Takeo Watanabes Musik für die Samurai-Serie Nemuri Kyoshiro (1972 - 1973) auf CD. Bei Arksquare kann man in gut 8 Minuten der den Popstilismen der 1970er verpflichteten Komposition reinhören.

[Oliver79]

Und mehr Musik von Télé 80 für TV-Nostalgiker: Im Laufe des Monats bringt das Label eine CD mit Karel Svobodas Musik für die Zeichentrickserie Pinocchio, inklusive der Titelsongs für die französischen und deutschen Fassungen, interpretiert von Dorothée bzw. Mary Roos.

 

[Gast Stefan Jania]

Die Marvel-Kuh wird auch gemolken bis es nicht mehr geht...

Laura Karpman: What If...?

https://open.spotify.com/album/3qM3cpdzSfmcjpjDxayH7o

 

[Gast Stefan Jania]

EDIT: Erster Eindruck vergessen: für eine Animationsserie eine beachtlich große orchestrale Musik mit reichlich Hints an Silvestris Score. Macht Spaß!

[Gast Stefan Jania]

Morgen von Lakeshore. Nine Perfect Strangers (Marco Beltrami & Miles Hankins)

https://filmmusicreporter.com/2021/08/18/nine-perfect-strangers-soundtrack-album-details/

[Gast Stefan Jania]

Von Watertower gibt es Ramin Djawadis Reminiscence. Recht cooler, aber langatmiger "Neo-Western"-Score.

ttps://open.spotify.com/album/6eyrmkH16YkwGFyWanYa82

 

[Gast Stefan Jania]

Am 13.8.2021 um 13:48 schrieb Stefan Jania:

Die Marvel-Kuh wird auch gemolken bis es nicht mehr geht...

Laura Karpman: What If...?

https://open.spotify.com/album/3qM3cpdzSfmcjpjDxayH7o

Nach What If... Captain Carter Were The First Avenger nun What If... T'Challa Became A Star-Lord!

https://open.spotify.com/album/2MYSnenXp8RIchyqzjf87d