Announces: the BLUE LAGOON Composed and Conducted By

Total Page：16

File Type：pdf, Size：1020Kb

Announces: THE BLUE LAGOON Composed and Conducted by BASIL POLEDOURIS Intrada Special Collection Volume ISC 365 In 1980, Basil Poledouris' score for The Blue Lagoon became his first soundtrack album. Scored only a couple of years before his massive score for Conan the Barbarian, Lagoon introduced to the record- buying public Poledouris' penchant for sweeping romance, exotic mystery, and his uncanny sense of adventure. It was certainly not his first big work, with Big Wednesday coming two years before, but Big Wednesday's adventurous, and even heroic symphonic splendor remained locked up until decades later, although that score formed the temp track for Lagoon. The Blue Lagoon is a richly thematic score, featuring a love theme introduced on solo piano that blossoms into a sumptuous arrangement for strings and winds in the album's first track. The main title ushers in the majestic principal theme—with its soaring intervals and cresting melodic contours, wonderfully redolent of the open sea. On this new expanded album, this theme returns occasionally, a welcome thread throughout the score. Released on a 34-minute LP by Marlin and then subsequently on CD by the Southern Cross label, this long out of print soundtrack gets a new issue, sourced from the original master elements and expanded to include all of Poledouris' score, including alternates and Poledouris' original jungle drum source music for the natives (and replaced in the movie with stock music). Intrada was provided access to the original three-channel scoring session masters made at the AAV Studios in Melbourne, Australia. Starring Brooke Shields and Christopher Atkins, the film tells the tale of two shipwrecked children who grow into young lovers on a secluded island paradise. Intrada Special Collection Volume ISC 365 Released November 15, 2016 .

Copy Link

Recommended publications

Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S
DOCTORAL Sara MarHn .Alegre -Human than "Human' jAspects of AAonsí F*osHv ÍK\ tke Pilrns ana /Movéis ÍK\ é^ of the 1980s and 1990s Dirigida per: Dr. Departement de Pilologia jA^glesa i de oermanisfica/ T-acwIfat de Uetres/ AUTÓNOMA D^ BARCELONA/ Bellaterra, 1990. - Aldiss, Brian. BilBon Year Spree. London: Corgi, 1973. - Aldridge, Alexandra. 77» Scientific World View in Dystopia. Ann Arbor, Michigan: UMI Research Press, 1978 (1984). - Alexander, Garth. "Hollywood Dream Turns to Nightmare for Sony", in 77» Sunday Times, 20 November 1994, section 2 Business: 7. - Amis, Martin. 77» Moronic Inferno (1986). HarmorKlsworth: Penguin, 1987. - Andrews, Nigel. "Nightmares and Nasties" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney: Ruto Press, 1984:39 - 47. - Ashley, Bob. 77» Study of Popidar Fiction: A Source Book. London: Pinter Publishers, 1989. - Attebery, Brian. Strategies of Fantasy. Bloomington and Indianapolis: Indiana University Press, 1992. - Bahar, Saba. "Monstrosity, Historicity and Frankenstein" in 77» European English Messenger, vol. IV, no. 2, Autumn 1995:12 -15. - Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford Clarendon Press, 1987. - Baring, Anne and Cashford, Jutes. 77» Myth of the Goddess: Evolution of an Image (1991). Harmondsworth: Penguin - Arkana, 1993. - Barker, Martin. 'Introduction" to Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Media. London and Sydney: Ruto Press, 1984(a): 1-6. "Nasties': Problems of Identification" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney. Ruto Press, 1984(b): 104 - 118. »Nasty Politics or Video Nasties?' in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Medß.
[Show full text]
Adventures in Film Music Redux Composer Profiles
Adventures in Film Music Redux - Composer Profiles ADVENTURES IN FILM MUSIC REDUX COMPOSER PROFILES A. R. RAHMAN Elizabeth: The Golden Age A.R. Rahman, in full Allah Rakha Rahman, original name A.S. Dileep Kumar, (born January 6, 1966, Madras [now Chennai], India), Indian composer whose extensive body of work for film and stage earned him the nickname “the Mozart of Madras.” Rahman continued his work for the screen, scoring films for Bollywood and, increasingly, Hollywood. He contributed a song to the soundtrack of Spike Lee’s Inside Man (2006) and co- wrote the score for Elizabeth: The Golden Age (2007). However, his true breakthrough to Western audiences came with Danny Boyle’s rags-to-riches saga Slumdog Millionaire (2008). Rahman’s score, which captured the frenzied pace of life in Mumbai’s underclass, dominated the awards circuit in 2009. He collected a British Academy of Film and Television Arts (BAFTA) Award for best music as well as a Golden Globe and an Academy Award for best score. He also won the Academy Award for best song for “Jai Ho,” a Latin-infused dance track that accompanied the film’s closing Bollywood-style dance number. Rahman’s streak continued at the Grammy Awards in 2010, where he collected the prize for best soundtrack and “Jai Ho” was again honoured as best song appearing on a soundtrack. Rahman’s later notable scores included those for the films 127 Hours (2010)—for which he received another Academy Award nomination—and the Hindi-language movies Rockstar (2011), Raanjhanaa (2013), Highway (2014), and Beyond the Clouds (2017).
[Show full text]
Basil POLEDOURIS
Basil POLEDOURIS Conan the Barbarian transcribed for organ Philipp Pelster Basil Poledouris (1945-2006) Specification and technical details of the organ, Conan the Barbarian Claremont United Church of Christ, Claremont, California, USA Transcribing Basil Poledouris’s About the instrument Completed 1998 by Rosales Organ Builders, Inc., Los Angeles, California, USA, 1982 Conan score for the pipe organ and Glatter-Götz Orgelbau GmbH, Pfullendorf, Germany Philipp Pelster’s vision to transcribe and record the score Mechanical key and electric stop action Conan the Barbarian is a 1982 adventure film, directed of Conan the Barbarian on the Glatter-Götz/Rosales and co-written by John Milius. It was his intention to organ in Claremont, California, fulfills the vision of the create an opera in the form of a film. Since the opera Organ Committee, Consultant and Organ Builders when I. Manual, Positiv C-c'''' II. Manual, Great C-c'''' III. Manual, Swell C-c'''' Pedal C-g' contains very little dialogue, he used the music to support the instrument was conceived and designed in 1995. It the story-line. The music composed by Basil Poledouris was desired that this organ would inspire creativity and Principal 8' Principal 16' Bourdon 16' Untersatz 32' (1945-2006) conveys a sense of power and energy but innovation in compositions, performances and recordings. Gedeckt 8' Principal 8' Diapason 8' Praestant 16' also expresses many tender moments. Philipp Pelster’s new recording has accomplished this at Gemshorn 8' Flûte harmonique 8' Bourdon 8' Flûte 16' Film scores are played by only a few organists. They a very high level of creativity with meticulous technique Octave 4' Rohrflöte 8' Viole de gambe 8' Subbass 16' are usually to be found as encores or excerpts.
[Show full text]
High Desert Horns & UNLV Community Concert Band
Department of MUSIC College of Fine Arts presents High Desert Horns UNL V Community Concert Band BiJI Bernatis, conductor Anthony LaBounty, conductor Zane Douglass, conductor Special Guest Conductors Christopher Golden, graduate conducting assistant Steven Mahpar Ronald W. Hess PROGRAM High Desert Horns Steven Mahpar Ragnarok (b. 1977) Steven Mahpar, special guest conductor Anthony LaBounty Revival ofthe Fittest (b. 1963) Busy Mourning The Crossing Life Abundant Anthony LaBounty, conductor Steven Mahpar Warrior Medley Steven Mahpar, special guest conductor INTERMISSION UNL V Community Band Robert Dwyer Joyce The Boys of Wexford (1830-1883) arr. by Sammy Nestico Anthony LaBounty, conductor Ralph Vaughan Williams Sea Songs (1872-1958) Christopher Golden, conductor Carl Reineke Into the Raging River (1824-1910) Zane Douglass, conductor Steven Mahpar Old West Medley Steven Mahpar, special guest conductor Richard Rodgers The Golden Age ofBroadway (1902- 1979) arr. by John Moss Zane Douglass, conductor Ronald W. Hess Sousapalooza (b. 1956) Ronald W. Hess, special guest conductor Arthur Pryor The Whistler and His Dog (1870- 1942) Zane Douglass, conductor Bill Moffit Armed Forces Salute (1926-2008) Col. Allan Ginsberg, moderator Wednesday, May 1, 2013 7:30p.m. Artemus W. Ham Concert Hall Performing Arts Center University of Nevada, Las Vegas BIOGRAPHIES Special Guest Conductor- Steven Mahpar Los Angeles-based musician and composer Steven Mahpar enjoys a versatile career writing for film, television, and the concert stage. As one of Los Angeles' active composers for television and film, Steven Mahpar has scored numerous animation and independent films including "Red" directed by Hyunjoo Song and "Last Stop Los Angeles" directed by Saied Pousti.
[Show full text]
JAY DUERR Music Editor FILM CREDITS
JAY DUERR Music Editor FILM CREDITS Hala 50 to 1 Director: Minhal Baig Director: Jim Wilson Overbrook Entertainment Ten Furlongs films Composer: Mandy Hoffman Composer: William Ross Fighting with My Family Tim’s Vermeer Director: Stephen Merchant Director: Teller Channel 4 Television Corporation/MGM Sony Pictures Classic Composer: Vik Sharma Composer: Conrad Pope 2:22 – Temp At Middleton (Score Producer) Director: Paul Currie Director: Adam Rogers Lightstream Pictures 8th Day Pictures/Anchor Bay Composers: Lisa Gerrard & James Orr Composer: Arturo Sandoval Sully A Good Day to Die Hard Director: Clint Eastwood Director: John Moore BBC Films/Warner Bros. 20th Century Fox Composer: Christian Jacob Composer: Marco Beltrami Hands Of Stone Warm Bodies Director: Jonathan Jacubowicz Director: Jonathan Levine Fuego Films Summit Entertainment Composer: Angelo Milli Composer: Marco Beltrami The Devil’s Candy Deadfall Director: Sean Byrne Director: Stefan Ruzowitzyky Snoot Entertainment Magnolia Pictures Composer: Mads Heldtberg Composer: Marco Beltrami Kill Me Deadly My Week With Marilyn Director: Darrett Sanders Director: Simon Curtis Kill Me Deadly, LLC. The Weinstein Company Composer: Bill Newlin Composer: Conrad Pope The Giver The Presence Director: Phillip Noyce Director: Tom Provost Asis Productions Khartoum Productions Composer: Marco Beltrami Composer: Conrad Pope Page 1 of 4 In My Sleep The Astronaut Farmer Director: Allen Wolf Director: Michael Polish Morning Star Pictures Warner Bros. Pictures Composer: Conrad Pope Composer: Stuart Matthewman The Wolfman Save the Last Dance 2 (Video) Director: Joe Johnston Director: David Petrarca Universal Pictures Paramount Home Entertainment Composer: Danny Elfman Pulse City Island Director: Jim Sonzero Director: Raymond De Felitta The Weinstein Company CineSon Entertainment Composer: Elia Cmiral Composer: Jan A.P.
[Show full text]
Christian Andersson – – Craze Music Productions
Christian Andersson – www.craze.se – Craze Music Productions Bio Christian Andersson was born 1974 in Sweden. Being a child of a professional musician, music was a part of everyday life and he learned to play the piano, recorder, trumpet and guitar. In the 1980s, he started to produce music on home computers, and from that time, he has followed the evolution from primitive tools to today’s high end professional virtual instruments and production software. His home studio consists of top-of-the-line equipment and the most powerful virtual instruments available on the market. Today Christian lives with his family in Lund, Sweden, working as a full time composer. Development and Career During 2008, Christian started to work with big orchestral compositions. He founded his company Craze Music while working with his first commercial video game soundtrack which became the start of a career as a professional composer. In 2010, Christian registered 90 new songs at the Swedish Performing Rights Organization, he received a scholarship from the Swedish Musicians’ Union for his unique artistic work. End of 2010 placed one of his songs on 20 TV channels world wide. First half 2011, he sold CD collections of epic music to more than 30 production companies from the Film/TV industry in U.K. April 2011, he reached a finalist position in the Great Americian Song Contest. In May 2011, the prestigious International Songwriting Competition announced that Christian won 3 rd prize out of 15.000 entrants from 115 countries in the yearly competition! In the summer 2011, he earned a place in the exclusive Top-50 Hollywood A-list at one of the world’s biggest music licensing sites with 2900+ composers.
[Show full text]
Download Booklet
225217bk Red River 31/3/03 9:21 pm Page 32 Special Acknowledgment ... Olivia Tiomkin Douglas James Douglas Jovanka Ciares (EMI Music Publishing) Ned Comstock Steve Hanson (USC Cinema-Television Library) Claire (Eddie Brandt’s Saturday Matinee) James V. D’Arc (Brigham Young University’s Film Music Archives) Eric Stonerook (Stonerook Music) Stacey Behlmer (Academy of Motion Picture Arts and Sciences) Patrick Russ Rudy Behlmer Ray Faiola Jackie Smith Bob Fredricks 225217bk Red River 31/3/03 9:21 pm Page 2 Great Film Music on Marco Polo with William Stromberg & John Morgan SIR MALCOLM ARNOLD HANS J. SALTER & FRANK SKINNER David Copperfield • The Roots of Heaven Son of Frankenstein • The Wolf Man 8.225167 The Invisible Man Returns 8.223747 ADOLPH DEUTSCH The Ghost of Frankenstein • Son of Dracula The Maltese Falcon • Northern Pursuit Sherlock Holmes and the Voice of Terror The Mask of Dimitrios • High Sierra Black Friday • Man Made Monster 8.225124 George Washington Slept Here 8.225169 MAX STEINER HUGO FRIEDHOFER King Kong 8.223763 The Adventures of Marco Polo • The Lodger The Lost Patrol • Virginia City The Rains of Ranchipur • Seven Cities of Gold The Beast with Five Fingers 8.223870 8.223857 They Died With Their Boots On 8.225079 BERNARD HERRMANN The Treasure of the Sierra Madre 8.225149 Garden of Evil • Prince of Players 8.223841 Son of Kong • The Most Dangerous Game The Snows Of Kilimanjaro • 5 Fingers 8.225166 8.225168 FRANZ WAXMAN BERNARD HERRMANN & ALFRED Mr Skeffington 8.225037 NEWMAN Objective, Burma! 8.225148 The Egyptian 8.225078 ROY WEBB ERICH WOLFGANG KORNGOLD Cat People • Bedlam • I Walked With A Zombie Escape Me Never • Another Dawn 8.223871 The Body Snatcher • The 7th Victim 8.223857 Devotion 8.225038 VICTOR YOUNG ALFRED NEWMAN The Greatest Show On Earth • Bright Leaf The Hunchback of Notre Dame The Uninvited • Gulliver’s Travels 8.223857 Beau Geste • All About Eve 8.223750 ‘Murder & Mayhem – Great Horror Scores PHILIP SAINTON from Hollywood’s Golden Age’: Moby Dick (Complete) 8.225050 MAX STEINER: The Beast With 5 Fingers HANS J.
[Show full text]
Film Music: History and Function from 1930 to Present
Film Music: History and Function from 1930 to Present Units: 4 Term—Day—Time: Fall 2020—Tuesdays and Thursdays—4:00–5:50pm (Pacific Time) Location: ONLINE Instructor: Tim Greiving Office: Virtual Office Hours: Virtually anytime Contact Info: [email protected] Course Description Music is the soul of film. Film scores can animate, enhance, pump blood into, subvert, and often transcend their movie. This underlooked, underappreciated art form is almost 100 years old—still an infant compared to its predecessors like opera, ballet, and theatre music, but old enough to have a rich, fascinating history worth exploring. In this course we’ll take a trip through that history, at times skimming along the surface, at times diving deep. With the aid of film clips, live watch parties, and the occasional special guest, you’ll gain a solid knowledge of and appreciation for the most-heard, least-noticed art form of the past century. (Because we’re cramming one hundred years of history into a single—shortened!—semester, we’ll primarily focus on Hollywood film music, although a few classes will be devoted to international films and composers. We’ll also limit our study to feature films, without spending time on television or videogame music.) Recommended Reading • King Kong chapter from Music by Max Steiner, by Steven. C. Smith (Blackboard / Content) • “The sound of movie music,” New York Times, March 28, 1976 • “Underscoring Richard Wagner's influence on film music,” L.A. Times, June 17, 2010 • “John Williams’ early life: How a NoHo kid and UCLA Bruin became the movie music man” L.A.
[Show full text]
Pdf, 393.18 KB
Note: This show periodically replaces their ad breaks with new promotional clips. Because of this, both the transcription for the clips and the timestamps after them may be inaccurate at the time of viewing this transcript 00:00:00 Music Music “Flight of the Intruder: The Bomb Run,” composed by Basil Poledouris from the Flight of the Intruder soundtrack. Dramatic military drums and brass against symphonic background plays in background of dialogue. 00:00:04 Adam Host I was up late flipping the channels the other night, which is the best Pranica time for a local PBS station to put on their premium shit. If you’re lucky, you’ll get that Alone in the Wilderness show about Dick Proenneke and the sledding wolverines, or a mini-marathon of Joy of Painting, which is just the perfect way to fall asleep. And sometimes, one of a treasure trove of classic concert films. Now I know I present myself as the very hip and “now” host of Friendly Fire, but I’ll have you know that my musical interests have always been before my time. The very first concert I ever went to was Jimmy Page and Robert Plant at the Tacoma Dome, the giant concert venue with the acoustics of a shipping container south of Seattle. I was in middle school and let me tell you: wearing that concert T-shirt the next day did not have the “making me cool” effect that I had hoped for. Except with the teachers, which—as you could guess—had the opposite effect.
[Show full text]
Students in This Guide, Providing Another Source of Information About a Particular Jazz Program
JAZZ THRIVES AT PORTLAND STATE UNIVERSITY INSIDE FIND YOUR FIT—207 SCHOOL LISTINGS! • Choosing the Right School • Building Your High School Portfolio • Careers off the Bandstand Portland State University student Nicole Glover (Photo: Daniel Sheehan) Student musicians in the York University Jazz Orchestra in Toronto IF YOU WANT TO PURSUE A CAREER AS A JAZZ MUSICIAN, FEATURES YOU’VE COME TO THE RIGHT PLACE. OUR ANNUAL STUDENT 76 Choosing the Right School MUSIC GUIDE PROVIDES ESSENTIAL INFORMATION ON THE Factors to consider when seeking WORLD OF JAZZ EDUCATION. the perfect fit At the heart of the guide are detailed listings of jazz programs at 207 schools. Our listings have been organized by region, including an International section. Throughout the listings, you’ll 120 Portfolio Prep notice that some schools’ names have a colored banner. Those schools have placed advertisements Tips to help high school students in this guide, providing another source of information about a particular jazz program. build their portfolios We’ve also included four features that are chockfull of commentary by leading experts. If you’re a high school student who wants to study jazz at the collegiate level, the feature “Portfolio Prep” (page 120) will help you build your portfolio so that you’ll be a stronger candidate who is 146 PSU Expands Horizons better prepared to submit applications and go on auditions. A profile of Portland State The title of our feature “Choosing the Right School” (page 76) says it all. This article will help University’s jazz studies program you narrow down key criteria as you focus in on the programs you want to pursue.
[Show full text]
EMR 42159 Quigley Down Under
Quigley Down Under Monsieur Quigley l’Australien / Quigley der Australier Wind Band / Concert Band / Harmonie / Blasorchester / Fanfare Arr.: Michal Worek Basil Poledouris EMR 42159 st 1 Score 2 1 Trombone + nd 1 Piccolo 2 2 Trombone + 8 Flute 1 Bass Trombone + 1 Oboe 3 Baritone + 1 Bassoon 2 E Bass 1 E Clarinet (optional) 2 B Bass 5 1st B Clarinet 2 Tuba 4 2nd B Clarinet 1 String Bass (optional) 4 3rd B Clarinet 1 Timpani 1 B Bass Clarinet 1 1st Percussion (Glockenspiel / Xylophone) 1 B Soprano Saxophone (optional) 1 2nd Percussion (Cymbals) 2 1st E Alto Saxophone 1 Snare Drum 2 2nd E Alto Saxophone 2 B Tenor Saxophone Special Parts Fanfare Parts 1 E Baritone Saxophone st 1 1st B Trombone 2 1 Flugelhorn 1 E Trumpet / Cornet (optional) nd nd 2 2 Flugelhorn st 1 2 B Trombone 3 1 B Trumpet / Cornet rd 1 B Bass Trombone 2 3 Flugelhorn 3 2nd B Trumpet / Cornet 1 B Baritone 3 3rd B Trumpet / Cornet 1 E Tuba 2 1st F & E Horn 1 B Tuba 2 2nd F & E Horn 2 3rd F & E Horn Print & Listen Drucken & Anhören Imprimer & Ecouter ≤ www.reift.ch Route du Golf 150 CH-3963 Crans-Montana (Switzerland) Tel. +41 (0) 27 483 12 00 Fax +41 (0) 27 483 42 43 E-Mail : [email protected] www.reift.ch Recorded on CD - Auf CD aufgenommen - Enregistré sur CD | Photocopying Quigley Down Under Basil Poledouris is illegal! Arr.: Michal Worek 2A 3 4 5 6 7 8 q = 168 Piccolo mf f Flute mf f Oboe
[Show full text]
Funeral Service
FUNERAL SERVICE a public ceremony of DeMolay International Issued by The Supreme Council of DeMolay International This revision has been prepared under the authority and direction of The Supreme Council of DeMolay International by the Committee on Ritual. Fifth Edition 1995 Issued by the Grand Secretary’s Office GENERAL INSTRUCTIONS It is recommended that all Open Ceremonies be used at every available opportunity. Written Invitations to Masonic and Community dignitaries will be beneficial toward improving community relations. These ceremonies can also increase Chapter enthusiasm for performing our ritual. A good effect can be achieved by combining various ceremonies, but care should be taken to avoid lengthy programs. When more than one ceremony from this monitor is presented on the same occasion, repetitious use of opening prayers, and entrances and exits of Officers can materially detract from the beauty of the occasion. Therefore, it is recommended that only one opening and closing prayer be used and that there be only one formal entrance and exit of Officers on such occasions. Changes in Officers’ stations should be done informally, but in as dignified and graceful a manner as possible. The texts of these ceremonies must be followed to the letter; no additions or deletions are permitted, but they may be amplified with such special features as a musical program, address, presentation of jewels or other token, as may be desired. They should be made as impressive as possible, since they are opportunities for DeMolays to explain and exemplify the purpose of the Order to those who may never learn them otherwise. Room arrangements and paraphernalia Room Arrangement: The Altar, the Councilor’s seats and pedestals, the stations of the officers and chairs for members should be arranged as shown on Diagram One or as close to that arrangement as the circumstances of the room permit.
[Show full text]