FSM veröffentlicht: Telefon/Hide in Plain Sight (1977/1980) Music by Leonard Rosenman, Lalo Schifrin

[Bastet]

This Film Score Monthly release premieres two Silver Age scores for films which take very different approaches to their respective stories. Telefon is a taut cold war thriller which plays out on an international stage; Hide in Plain Sight is a moving personal drama which focuses on family. To some extent, these differences are reflected in the music for each film.

Telefon (1977) features Charles Bronson as a KGB agent charged with heading off an international crisis by finding and killing a rogue Stalinist who is activating sleeper agents planted in the United States during the 1950s. Lee Remick co-stars as his helpmate (actually a double agent). The brooding and atmospheric score by Lalo Schifrin contributes greatly to the films tension. Apart from a deceptively peaceful folk-like melody for the rogue Russian agent and a would-be love theme (not developed until the end credits), the score is essentially devoid of expansive melodies.

Schifrins music relies instead on carefully inflicted motives (à la Bernard Herrmann) and a vaguely Russian harmonic and melodic basisreinforced by prominent use of a cimbalom in the orchestrationto provide atmosphere and a sense of menace where appropriate. The original multi-track recordings of Telefon do not survive, but FSM has created a convincing stereo image from a ½" three-track monaural mix preserved by the studio.

Hide in Plain Sight (1980) is based on the true story of a New Jersey factory worker whose children are whisked away by the Federal Witness Protection program when his ex-wifes mobster husband turns states evidence against his former associates. James Caanwho also directed the filmplays Thomas Hacklin, a man who takes on powerful governmental forces in an attempt to find and re-unite with his kids.

Leonard Rosenman composed a relatively brief score for the film, of which Caan ultimately used only four cues (two of which are source music), retaining Rosenmans soaring, lyrical theme for Hacklins relationship with his children (including the touching finale), while eliminating the more dramatic, suspense oriented material. This FSM CD reveals for the first time the much broader range of Rosenmans effort since it includes all the music the composer recorded for the picture, newly remixed from ½ three-track stereo masters.

The accompanying 20-page booklet includes essays on both titles by film historian Scott Bettencourt, FSMs customary track-by-track analyses, film stills and promotional materials. Longer, more detailed versions of Bettencourt's essays will soon be available here, along with FSM's other free online notes.

Limitierung auf 2.000 Exemplare

Line: Silver Age

CD Release: March 2011

Catalog #: Vol. 14, No. 4

# of Discs: 1

Price: $19.95

Telefon

Music Composed and Conducted by Lalo Schifrin

Main Title 3:07

If That Is So 1:05

Remember Nikulin 2:41

Dalchimsky/Remember Sobolev/Winter in Moscow 3:08

KGB Headquarters 1:35

Memorizing Montage/Father Diller 1:46

The Outer Leaf/Plotting in the Dark 0:52

I Killed for You 1:23

Remember Guriyeva/Detonating Device 7:20

Phone Booth/A Question of Credibility 1:24

Callender 2:10

After the Explosion 0:44

Lucky Girl 2:40

Remember Melikyan 1:25

The Woods Are Lovely/The Purse 1:54

Ten More Miles/End Credits 2:15

Cartoon Source 2:27

Total Time: 38:34

Hide in Plain Sight

Music Composed and Conducted by Leonard Rosenman

Untouchables (TV Source) 1:01

Flipper (TV Source) 1:15

Lets Go 1:47

Followed on the Freeway 4:05

Mazs Car 0:57

Tom Hides 1:31

Finale 7:31

Trailer 2:10

Teaser 1:23

Total Time: 22:01

Total Disc Time: 60:43

Quelle: Film Score Monthly CD: Telefon/Hide in Plain Sight und TELEFON / HIDE IN PLAIN SIGHT -- SCREEN ARCHIVES ENTERTAINMENT

[Gast Stefan Jania]

Fast vier Wochen nach Veröffentlichung noch kein weiterer Beitrag? Noch nicht einmal eines der hochinformativen "Brauch ich nicht"-Postings? Sowas!

Telefon ist ein prima Score - aber nur verknüpft mit den Bildern. Ich habe mich auf das FSM-Album gefreut, aber losgelöst vom Film ist das Album überraschenderweise kein gelungenes Hörerlebnis. Ziemlich dröge und zäh.

Rosenmans Hide In Plain Sight gefällt mir da, trotz (oder wegen) der Kürze, sehr viel besser. Teilweise zwar typische pyramidale Rosenman-Musik, aber die Highlights sind die sehr lyrischen Passagen ("Flipper (TV Source)" oder insbesondere das über siebenminütige "Finale"). Was für Fans des "anderen" Rosenman wie z.B. aus Cross Creek. Ich wünschte mir, FSM hätte den Mut zur Wiederveröffentlichung von Rosenmans Konzertwerken (siehe dazu, mit langen Audiobeispielen, hier). Aber da schon das FSM-Album mit frühen Konzertwerken von Jarre ein völliger wirtschaftlicher Rohrkrepierer war, wird sich das Lukas Kendall leider bestimmt nicht trauen.

[Boneking]

Hab se jetzt auch. Der Rosenman ist wesentlich besser anzuhören als der Schifrin.