Until the End of the World Tail Credits

Total Page:16

File Type:pdf, Size:1020Kb

Until the End of the World Tail Credits Following are the tail credits for the film, with first the English language version originally released on VHS and DVD, and then the credits in German for the extended version: English-language tail credits: Title: In memory of my father and my brother, for my mother, Barbara, Hella and Michael. With special thanks to NHK and SONY without whose support we could not have produced the HDTV-Images. and to DENTSU who believed in the film. In Order of Appearance: Claire Tourneur Solveig Dommartin Mario Pietro Falcone Doctor Enzo Turrin Chico Rémy Chick Ortega Raymond Monnet Eddy Mitchell Sam Farber, alias Trevor McPhee William Hurt Makiko Adelle Lutz Burt Ernie Dingo Mechanic Jean Charles Dumay Eugene Fitzpatrick Sam Neill Anton Farber Ernest Berk Irina Farber Christine Österlein Phillip Winter Rüdiger Vogler Receptionist Dioga Doria Woman in Street Car Amalia Rodrigues Krasilova Elena Smimova Truck Driver Zhang Jinzhan Custodian Naoto Takenaka Hotel Guest Hiroshi Kanbe Hotel Guest Yuji Ogata Maid Miwako Fujitani Mrs. Mori Kuniko Miyake Mr. Mori Ryu Chishu Bernie, Used Car Dealer Allen Garfield Narcotics Agent Alec Jason Elsa Farber Lois Chiles Heidi Lauren Graham David David Gulpilil Policeman Fred Welsh Buzzer Charlie McMahon Old Man Alfred Alfred Lynch Edith Farber Jeanne Moreau Maisie Justine Saunders Lydia Kylie Belling Ned Bart Willoughby Peter Jimmy Little Henry Farber Max von Sydow Ronda Rhoda Roberts Karl Paul Livingston Nora Oliveira Susan Leith Astronaut Detlef Winterberg AND WITH: Jean-Marie Rase - Carmen and Dolores Chaplin - Sylvette Dommartin - Peter Przygodda - Barbara, Hella and Michael Wenders - Erika Rabau - Lothar Wildhirth - Kazuhika Uemura - Eric Beaver - Jerry Barrish - Michelle Cook - Bob Stewart and the Children, Women and Men of the Aranda from Utopia. BASIC UNIT 1st Assistant Director Marc Jeny 2nd Assistant Directors Thierry Verrier Scott Kirby Script Supervisor Jacqueline Gamard Personal Assistant to Wim Wenders Dagmar Forelle Script Peter Carey Wim Wenders After an Original Idea by Wim Wenders Solveig Dommartin With Many Thanks For His Collaboration Michael Almereyda Script Consultant Walter Donohue Story Consultant Alison Summers Director of Photography Robby Müller Focus Puller Pim Tjujerman Clapper Loader and 2nd Unit Camera Benedict Neuenfels Key Gaffer Christopher Porter Key Make-up Artist Thi Loan Nguyen Key Hair Stylist Agathe Moro Costume Designer Montserrat Casanova Assistant Costume Designer Philippe Schuller Costume Supervisors Germinal Rangel Len Alexander Production Design and Futuristic Objects Thierry Flamand Assistant Production Designer Denis Renault Propmaster Colin Gibson High Definition Video Design Sean Naughton Video Manager Michael Condon 2nd Unit Video Camera Hito Steyerl Special Visual Effects FuturEffects Visual Effects Supervisor Frank Schlegel Production Supervisor Morten McAdams Sound Recorder Jean-Paul Mugel Boom Operator Sophie Chiabaut Sound Effects Matthias Lempert, Solid Sound Foley Artists Hans-Walter Kramski Bernd Schmidl Mixing Engineer Milan Bor Musical Score Graeme Revell Solo Cello and Additional Improvisation David Darling Music Supervision Gary Goetzman and Sharon Boyle Picture and Music Editor Peter Przygodda Assistant Editors Anne Schnee Sandra Schmidt Susan Fortson Sound Editor and Postproduction Supervisor Barbara von Weitershausen Assistant Sound Editor Oliver Gieth Foley Editor Fine Schmidt Assistant Foley Editor Angela Siegmeier Line Producer Mark Monnet Production Coordinators Ghislaine Cauet Catherine Coste Executive Assistant to Jonathan Taplin Françoise Henrard Production Controller Alex Matcham Accountants Samantha Glen Linda Bowen Steffi Hiller ITALIAN UNIT Production Manager Rossana Roditi Unit Manager Guido Cerasuolo Production Secretary Gabriella Scarpa Production Assistants Laura Bettanin Fabio Dona Trainee Maria Vianello Assistant Accountant Carla Zacchia Assistant Director Alessandra Bressanello Casting Daniela Foa Crowd Marshall Luigi Gallina Make Up Christiana Bertini Stefania dal Corso Hair Francesco Finottello Art Director Claudio Carrer Assistant Art Director Lucia Nogara Labor for Palace Michele Pizzardello Alberto Riello Riccardo Zuliani Umberto Trevisan Gianni Favin Gaffer Patric Bramucci Electricians Rizzi Arduino Dario Gardi Grip Stefano Biscaro FRENCH UNIT Production Managers Ginette Mejinsky Claude Albouze Unit Manager Olivier Thaon Location Manager (Lozère) Arnaud Dupont Location Manager (Paris) Frédéric Doniguian Trainees Patrick Pinel Dominique Prost Eric Duchene Secretary Stéphanie Brillouet Production Drivers Jean Bursachi Philippe Dupont Christophe Lacau Robert Peres Roland Riallot Pierre Vimont Accountants Nicole Lenfant Danielle Magnier 1st Assistant Art Director Alain Veissier Art Department Trainees Thierry Chavenon Emmanuelle Duplay Set Dresser Jimmy Vanstennkiste Prop Buyer Jean-René Coulon Props Assistant Christine Teullier SFX-Props Georges Demetrau Illustrators Gilles Guerber Dominique Geill Pascal Payeur Construction Manager Luc Compère Construction Bernard Chenevier Patrick Dameron Jean-Philippe Geoffriau Metal Worker Michel Trouvelot Art Department Painter Santiago Isidro-Pin Chief Painter Serge Vassal Painters Jean-Pierre Camus Henri Domergue Charlotte Juilen Jean-Francois Juvanon Props Drivers/Swing Gang Alexandre Cardine Thierry Charpillon Pierre Maury Swing Gang Jean-Claude Dauphinot Patrick Hinaux Patrick Delouteau Luc Veilata Make Up Sylvie Lorthios Thanh Nam Hoang Hair Lolita Isabelle Legay Wardrobe Mistress Francoise Capiaux Assistants Costume Supervisors Viviane Reitzman Fleur-Marie Fuentes-Valdebenito Laurence Guindoilet Dyer Christophe-Henri Giraud Hatmakers Solo Millo Bob Tigana Accessories Caroline Grandpierre Videographic Transfers Muriel Abadie Bernard Vissière Dresser Muriel Foures Trainees Yan Cadran Fabienne Galette Additional 2nd Unit Camera Theo Blerkens Key Grip Jean-Pierre Mas Grips Maria d'Orio Gilles Floquet Gaffer Christian Héreau Electricians Pascal Hénin Mikael Monod Erick Caillet Sylvain Curial Generator Operators Guy Savidan Philippe Pesci Pierre Vergnes Patrick Morsch Camera Car Jean-Claude Bonnichon 3rd Assistant Director Christine Faucannot Extras Casting Luc Etienne Film Researcher Anne-Marie Javerzac Stunt Drivers Rémy Juilene and His Team Action Vehicles Coordination Martin Grangé Stand-ins Eva Leheutre Yannick Van-Hieuwenhove Assistant Editor Annick Hurst ADR Editors Gilbert Crozet Jacques Lévy ADR Sound Engineer Alain Contrault PORTUGUESE UNIT Producer Paolo Branco Production Manager Alexandre Barradas Assistant Director Manuel João Aguas Casting José Maria Vaz da Silva Make Up Teresa Aguas Hair Alice Valente Dressers Kika Aires Lurdes Rocha Wardrobe Driver Elsa Bruxelas Set Decorator Maria José Branco Assistant Prop Master Jeanne Waltz Prop Driver Miguel Mendes Construction Coordinator José Matos Carpenters António José António Guia Key Grip Vasco Sequeira Grip Francisco Vilar Assistant Grip Joaquim Electricians Mario Castanheira Herculano Generator Operator Joaquim Antunes Location Manager Camila Castela Branco Production Office Secretary Dina de Freitas Production Assistants Jaime Campos Joaquim Carvalho Drivers Pedro Bento António Casaleiro Mafaida Salvador Tony Jensen Fernando Parrochinha João Montalverne Accountant Maria João Abelho Stand-Ins Isabel Galvão Manuel Costa GERMAN UNIT Unit Production Manager Barbara von Wrangell Assistant to the Producer Jolanda Darbyshire Location Manager Bories Keidies Production Secretary Dagmar Jacobsen Production Coordinator Uwe Kossmann Production Assistant Tilmann Vierzig Cashier Christoph Bicker 1st Assistant Director Gabriele Mattner (in Pre-Production) Dialogue Coach Silva Itscherenska Art Director Berlin Jan Schlubach, SFK Art Director Potsdam Alfred Hirschmeier Prop Buyer Adrian Ochse Prop Driver Jörg Kuschnier Special Visual Effects Optical Printing Stefan Finkenzeller Matte Artists Hubert von Seidlein Leigh Took Modelmakers Simon Weisse Christian Jütte Rotoscope Artist Rino Gouw Dresser Susanne Vierkötter Wardrobe Driver Kaspar Falkenroth Best Boy Dirk Vossmerbãumer Electrician Marco Teuchert Generator Operator Karl-Heinz Bruckert Key Grip Kal Longolius Grips Ralf Dobrick Dieter Dentzer Trainee Svenja Cussler Car Captain Armin Bach Drivers Martin Ritzel Dirk Göbel Eric Michalak Limo Drivers Dirk Ehmen Kai Christoph Lars Michalak Lucian Segura Catering Annette Seggert Detlef Matthes ADR Sound Engineer Lothar Mankewitz U.S. UNIT Unit Production Manager/A.D. Karen McCabe Location Manager Laurie Noll Art Director Steve Burns Set Decorator Hildy Burns Art Dept. Coordinator Bret Lama Swing Gangs Kris Boxell Josh Koral Extra Hair/Make Up Marietta Englebrecht Wardrobe Assistant Bonnie Thomas Camera Assistant John Malvino 2nd Electrician/Local Gaffer Jani Vournas 3rd Electrician Steve Condiotti Key Grip Pat Shellenberger Grip Rob Doumit Additional Grip Charlie Stephens Accountant Kaye McKinzie Production Coordinator Maxine Gracia Production Assistants Greg Walker Tom Bianco Lynnn Goldner Luc Longin Paris Themmen Sarah Hammond Andy Lawless Aaron Kohr Transportation Coordinator Frank Simeone Transportation Captain Frank Gonzalez Drivers Emile Alforque Steve Blaisdell Tom Candrian Otis Chapell Tom Driskill Kenneth Fleish Mark Fraser John Morris Kjell Ness Stephen Pawlonek Wes Phillips David Risaletti Tony Risaletti Catering Rosalind Craft Service Rita McCabe Casting Davia Nelson Talent Coordinator Gwyneth Horder-Payton ADR Editor Darrell Hanzalik JAPANESE UNIT 1st Assistant Director Masaharu Komatsuki 2nd Assistant Director Takeshi Miyasaka
Recommended publications
  • Until the End of the World Music Credits
    (Below are the credits for the music in the English version, followed by the credits, in German, for the extended restored version): English-language music credits: Musical Score Graeme Revell Musical Score Graeme Revell Solo Cello and Additional Improvisation David Darling Music Supervision Gary Goetzman and Sharon Boyle Picture and Music Editor Peter Przygodda MUSIC Music Coordinators Barklie K. Griggs Jennifer Quinn-Richardson Dana K. Sano Music Recording and Mixing Studios Tritonus Studios, Berlin Music Editor (Synch) Dick Bernstein (Offbeat Systems) Music Mixing Engineer Gareth Jones 2nd Sound Engineer Gerd Krüger Assistant Maro Birkner Additional Music Recordings Hansa Tonstudios, Berlin MUSIC TITLES IN ORDER OF APPEARANCE: "GALKAN" Appears on "Les Aborigènes, Chants et Danses de l'Australie du Nord" Phonogramme ARN 64056 Courtesy of Arion "SAX & VIOLINS" Performed by Talking Heads Lyrics and Music by David Byrne Music by Chris Frantz, Jerry Harrison, Tina Weymouth Producer Steve Lillywhite and Talking Heads Mixed by Kevin Killen Publisher Bleu Disque Music Co. Inc./ Index Music admin. by WB Music Corp./ASCAP Courtesy of Warner Bros. Records Inc./Sire Records Company/FLY Talking Heads Appear Courtesy of EMI Records Ltd. "SUMMER KISSES, WINTER TEARS" Performed by Elvis Presley Writers Jack Lloyd, Ben Weissman, Fred Wise Publisher WB Music Corp./Erica Music/ ASCAP Courtesy of RCA Records Label of BMG Music "MOVE WITH ME" Performed by Neneh Cherry Writers Neneh Cherry/Cameron Mcvey Producer Booga Bear/Jonny Dollar Publisher Virgin Music Ltd/Copyright Control/ BMI/PRS Courtesy of Circa Records, Ltd. "IT TAKES TIME" Performed by Patti Smith and Fred Smith Writers Fred Smith and Patti Smith Producer Fred Smith Publisher Druse Music Inc/Stratium Music, Inc./ASCAP Courtesy of Arista Records, Inc.
    [Show full text]
  • Presskit Ullip 12
    Presskit Ullip 12. August 2021 Ullip Vulkan Suite Single/Digital out : 2021-07-02 Catalog No.:UR0011 Genre: New Age, World The Vulkan Suite was created at a time of great sadness and melancholy. The way out of the volcano (our current world) was processed by me in this piece ISRC : DEH742164926 EAN : 4058765763612 Composing : Ullip © Recording : Ulrich Putsch at Bergtonstudio Andalusien Mix and Producing Ullip the musician Ulrich Putsch "The melody of rhythm" - "Percussion drives emotions": Mastering : Benedikt this is a musical arc of tension that goes far beyond the Wyneken at boundaries of the usual. The percussionist Ullip is on the Greenfloor Studio Witten one hand inspired by diverse influences such as world Germany music and jazz, classical and experimental, but always seeks and finds his own way to express moods in tempos Cover : Katulli Artwork © and feelings in the specific sound of the percussion Promotion : instruments. Whether solo or in an ensemble, the rhythmically driving performance, the versatility of the UlliP.records percussion instruments used or the very own way of playing create sounds and vibrations that are sometimes tel:+34 643640028 perceived as cosmic, sometimes as mystical, very often as [email protected] meditative and almost always as invigorating. A player who Infos : has found his unmistakable style over many musical https://www.ullip.eu/labels stations. Presskit- Ullip 1 Presskit Ullip 12. August 2021 percodrumming Chained music & the power of drum sound Music for speakers as honesty in art Allow music to do what it wants to do with us A project is ended when the new is mandatory Ullip Not, and that characterizes his artistic profile, not Ullip work with many additively, “side by side”.
    [Show full text]
  • Holger Czukay, Köln Juni 2004
    Interview mit Holger Czukay, Köln Juni 2004 ?: Herr Czukay, sie haben schon Ende der 60er Jahre mit Tonband-Loops gearbeitet. Sind Loops für Sie ein relevantes, musikalisches Thema? Holger Czukay: Ja, ganz klar. Wie auch zum Beispiel die Remixe sind die Loops eine Kunstform, die an die Zeit und an die technische Entwicklung gebunden ist. Mit Can haben wir das recht früh angefangen. Weil die Digitaltechnik nicht entwickelt worden war, haben wir Loops mit Analogtechnik, also mit dem Tonband, gemacht. Wir mussten das machen, weil wir als Instrumentalisten nicht gut genug waren. Wir mussten massive Korrekturen anbringen, und mit den Korrekturen fängt eigentlich alles an. Die Aufnahme war eigentlich kein Problem, aber da waren so und soviel Fehler drin, weil wir alles andere als perfekt waren. Wir hätten eine Talentprobe gar nicht bestanden. Was uns groß gemacht hat, war unsere Vision: erstens mit kleinsten Einheiten, also Loops, die Grundlage für unsere Musik zu schaffen. Und zweitens, dass selbst unsere allerersten Aufnahmen, die wir eingespielt haben, alles beinhalten sollte, ohne etwas auszusagen. Das ist ein ganz wichtiges Argument, denn wenn Sie alles beeinhalten und nichts aussagen, dann sind sie cool. Die Musik, die sich daraus entwickelte, muss in dem, was wir das Grundband genannt haben, enthalten sein. ?: Warum soll man als Musiker nichts aussagen? Czukay: Wenn Sie etwas aussagen, dann nehmen Sie sich ja alles weg. Dann fangen sie an, zu interpretieren, und Interpretation ist das letzte, was wir wollen... ?: Das erinnert an bestimmte Aussagen von Künstlern der Minimal Art, zum Beispiel Donald Judd, der in Zusammenhang mit seiner Kunst von „specific objects“ gesprochen hat: Reihen von Objekten, die nur für sich selbst stehen..
    [Show full text]
  • Keith Carlock
    APRIZEPACKAGEFROM 2%!3/.34/,/6%"),,"25&/2$s.%/.42%%3 7). 3ABIANWORTHOVER -ARCH 4HE7ORLDS$RUM-AGAZINE 'ET'OOD 4(%$25--%23/& !,)#)!+%93 $!.'%2-/53% #/(%%$ 0,!.4+2!533 /.345$)/3/5.$3 34!249/52/7. 4%!#().'02!#4)#% 3TEELY$AN7AYNE+RANTZS ,&*5)$"3-0$,7(9(%34(%-!.4/7!4#( s,/52%%$34/.9h4(5.$%2v3-)4( s*!+),)%"%:%)4/&#!. s$/5",%"!3335"34)454% 2%6)%7%$ -/$%2.$25--%2#/- '2%43#(052%7//$"%%#(3/5,4/.%/,$3#(//,3*/9&5,./)3%%,)4%3.!2%3%6!.34/-0/7%2#%.4%23 Volume 35, Number 3 • Cover photo by Rick Malkin CONTENTS 48 31 GET GOOD: STUDIO SOUNDS Four of today’s most skilled recording drummers, whose tones Rick Malkin have graced the work of Gnarls Barkley, Alicia Keys, Robert Plant & Alison Krauss, and Coheed And Cambria, among many others, share their thoughts on getting what you’re after. 40 TONY “THUNDER” SMITH Lou Reed’s sensitive powerhouse traveled a long and twisting musical path to his current destination. He might not have realized it at the time, but the lessons and skills he learned along the way prepared him per- fectly for Reed’s relentlessly exploratory rock ’n’ roll. 48 KEITH CARLOCK The drummer behind platinum-selling records and SRO tours reveals his secrets on his first-ever DVD, The Big Picture: Phrasing, Improvisation, Style & Technique. Modern Drummer gets the inside scoop. 31 40 12 UPDATE 7 Walkers’ BILL KREUTZMANN EJ DeCoske STEWART COPELAND’s World Percussion Concerto Neon Trees’ ELAINE BRADLEY 16 GIMME 10! Hot Hot Heat’s PAUL HAWLEY 82 PORTRAITS The Black Keys’ PATRICK CARNEY 84 9 REASONS TO LOVE Paul La Raia BILL BRUFORD 82 84 96
    [Show full text]
  • PALERMO SHOOTING a WIM WENDERS Film Starring CAMPINO GIOVANNA MEZZOGIORNO and DENNIS HOPPER
    HanWay Films presents PALERMO SHOOTING A WIM WENDERS film Starring CAMPINO GIOVANNA MEZZOGIORNO and DENNIS HOPPER A Neue Road Movies production in coproduction with P.O.R. Sicilia – REGIONE SICILIANA, AAPIT - Provincia Regionale di Palermo ARTE France Cinéma, ZDF/ARTE in association with Pictorion Pictures, Rectangle, Reverse Angle and Deutscher Filmförderfonds, German Federal Film Board, Filmstiftung Nordrhein-Westfalen, Medienboard Berlin-Brandenburg, MEDIA Program Cast Finn Campino Flavia Giovanna Mezzogiorno Frank Dennis Hopper (in order of apperance) Carla Inga Busch Student Jana Pallaske Hans Axel Sichrovsky Gerhard Gerhard Gutberlet Manager Sebastian Blomberg Erwin Wolfgang Michael Lou Reed lui-même Banker Udo Samel Giovanni Sollima Giovanni Sollima Doctor Alessandro Dieli Crew Written, directed and Wim Wenders produced by Producer Gian-Piero Ringel Executive Producers Jeremy Thomas Peter Schwartzkopff Line Producers Marco Mehlitz Gianfranco Barbagallo Director of Photography Franz Lustig Production Designer Sebastian Soukup Editors Peter Przygodda Oli Weiss Costume Designer Sabina Maglia Original Filmscore by Irmin Schmidt Music Supervisors Milena Fessmann & Beckmann Screenplay co-written by Norman Ohler PALERMO SHOOTING is Wim Wenders most personal film for a long time. Intimate, adventurous and full of surprises. A road movie starring Campino, Giovanna Mezzogiorno and Dennis Hopper. A roman- tic thriller dealing with life and death and the ultimate salvation through love. After 12 years in which Wim Wenders made all his feature
    [Show full text]
  • Dan Dechellis Trio
    ada–music.com @ada_music NEW RELEASE GUIDE February 19 February 26 ORDERS DUE JANUARY 15 ORDERS DUE JANUARY 22 2021 ISSUE 5 February 19 ORDERS DUE JANUARY 15 OVERVIEW: NECTAR TRACKLIST: Japan-born singer and producer Joji is a multi-talented visionary, with a cult following from every corner of the inter- net. Joji is one of the most enthralling artists of the digital age. He has a total vision for his work, not just in the writ- 1. Ew ing and producing of his music, but artwork, videos, merch, and live performances as well. It’s a fully realized world 2. MODUS that his fans can inhabit and explore—and see themselves in. “My music is not biographical,” he says, but even still, 3. Tick Tock the deep, heavily shaded emotions in his songs are genuine and they speak to anyone who has ever felt stuck on 4. Daylight (w/ Diplo) the outside looking in, who knows what it means to not belong. In 2019, Joji sold-out his North America tour within 5. Upgrade minutes and performed at some of the most coveted festivals across the world, including Reading & Leeds in the UK 6. Gimme Love and Lollapalooza. As Joji surpasses 5 billion global streams, 2020 promises to be his biggest year to date. 7. Run 8. Sanctuary Joji’s sophomore studio album, Nectar, arrives September 25. With a star-studded cast of features across the 9. High Hopes (feat. Omar Apollo) 18- track album, Nectar is Joji’s most ambitious project to date. From the first 4 singles alon , Nectar has already 10.
    [Show full text]
  • Krautrock and the West German Counterculture
    “Macht das Ohr auf” Krautrock and the West German Counterculture Ryan Iseppi A thesis submitted in partial fulfillment of the requirements for the degree of BACHELOR OF ARTS WITH HONORS DEPARTMENT OF GERMANIC LANGUAGES & LITERATURES UNIVERSITY OF MICHIGAN April 17, 2012 Advised by Professor Vanessa Agnew 2 Contents I. Introduction 5 Electric Junk: Krautrock’s Identity Crisis II. Chapter 1 23 Future Days: Krautrock Roots and Synthesis III. Chapter 2 33 The Collaborative Ethos and the Spirit of ‘68 IV: Chapter 3 47 Macht kaputt, was euch kaputt macht: Krautrock in Opposition V: Chapter 4 61 Ethnological Forgeries and Agit-Rock VI: Chapter 5 73 The Man-Machines: Krautrock and Electronic Music VII: Conclusion 85 Ultima Thule: Krautrock and the Modern World VIII: Bibliography 95 IX: Discography 103 3 4 I. Introduction Electric Junk: Krautrock’s Identity Crisis If there is any musical subculture to which this modern age of online music consumption has been particularly kind, it is certainly the obscure, groundbreaking, and oft misunderstood German pop music phenomenon known as “krautrock”. That krautrock’s appeal to new generations of musicians and fans both in Germany and abroad continues to grow with each passing year is a testament to the implicitly iconoclastic nature of the style; krautrock still sounds odd, eccentric, and even confrontational approximately twenty-five years after the movement is generally considered to have ended.1 In fact, it is difficult nowadays to even page through a recent issue of major periodicals like Rolling Stone or Spin without chancing upon some kind of passing reference to the genre.
    [Show full text]
  • Booklet Gormenghast
    A FANTASY OPERA BY IRMIN SCHMI DT Irmin Schmidt, founder of the legendary group CAN, has written an opera: GORMENGHAST. Commissioned by Wuppertaler Bühnen, the work was performed in the English language and premiered at the Operahouse Wuppertal on 15. November 1998. Inspired by Mervyn Peake’s masterpiece of gothic fantasy, English novelist Duncan Fallowell wrote the libretto in St. Petersburg, combining romance, comedy and futurism into an adventure of epic strangeness peopled by unforgettable characters. The opera is in 3 acts and centres on the rise and fall of Steerpike, a courageous, clever and charming kitchen-boy who becomes by degrees the murderous tyrant of Gormenghast Castle and its domain. In the process he bewitches and destroys Fuchsia the daughter of Gormen ghast’s opium-addicted ruler. Finally he meets his own dramatic death. The other inhabitants of this vivid decaying realm are drawn into the terrible tale. Irmin Schmidt, who studied under Ligeti and Stockhausen, not only created in CAN one of the most influential of avant garde groups, but is also a classical conductor and pianist and has com- posed music for over 70 film productions. His work transforms elements of the popular, ethnic and classical into a wholly original musical language . In both libretto and music, this integration of high culture and popular culture is not like any- thing which has gone before: it is achieved with perfect naturalness, carrying the art of opera forward into a new phase. The result is both accessible and magically unexpected: GORMENGHAST is a major addition to the world of musical theatre.
    [Show full text]
  • CAN – TAGO MAGO 40Th ANNIVERSARY 2CD EDITION Veröffentlichung: 18
    CAN – TAGO MAGO 40th ANNIVERSARY 2CD EDITION Veröffentlichung: 18. NOVEMBER 2011 Plus HALLELUWAH! Ausstellungen in Stuttgart und Berlin Vorankündigung für Frühjahr 2012: DELUXE VINYL BOX SET und LOST TAPES BOX SET (unveröffentlichtes Material aus dem Can Archiv) A “landmark release in the history of rock ‘n’ roll” – MOJO Honours List winner of Classic Album Award “stunning” – John Lydon “sounds only like itself, like no-one before or after” – Julian Cope “mind expanding” – Q “The music was like nothing I'd ever heard before, not American, not rock & roll but mysterious and European." – Bobby Gillespie, Primal Scream Warner Music Group Germany und Spoon Records präsentieren, in Zusammenarbeit mit Mute Records, die Veröffentlichung der „40th Anniversary Edition“ des Can-Albumklassikers „Tago Mago“ am 18. November 2011. Die Neuausgabe dieses Genres definierenden Albums erscheint erstmals im Original- Artwork der englischen Erstausgabe und enthält auf einer zweiten CD 50 Minuten bislang unveröffentlichtes Live-Material aus dem Jahre 1972 (remastert 2011). „Tago Mago“ war das erste Can-Album mit Sänger Damo Suzuki, begleitet vom Gründungs-Lineup bestehend aus Holger Czukay (Bass), Michael Karoli (Gitarre), Jaki Liebezeit (Schlagzeug) und Irmin Schmidt (Keyboards). Das Album wurde 1971 auf Schloss Nörvenich aufgenommen und im selben Jahr erstmals veröffentlicht. Can's Einfluss auf die heutige Rockmusik ist sowohl bekannt wie nachhaltig und auch 40 Jahre später noch immer intensiv spürbar. Besonders das Album „Tago Mago“ wird wieder und wieder als Quelle genannt. John Lydon, Radiohead, The Fall, Sonic Youth, Julian Cope, Queens Of The Stone, Red Hot Chili Peppers und viele andere nennen Can immer wieder als einen der wichtigsten Einflüsse auf ihre Musik.
    [Show full text]
  • Protest Music, Urban Contexts and Global Perspectives
    B. Kutschke: Protest Music, Urban Contexts IRASM 46 (2015) 2: 321-354 and Global Perspectives Beate Kutschke TU Dresden Institut für Kunst- und Musikwissenschaft August-Bebel-Str. 20 01219 Dresden Protest Music, Urban Germany Contexts and Global E-mail: [email protected] UDC: 78.067 Perspectives Original Scholarly Paper Izvorni znanstveni rad Received: February 13, 2015 Primljeno: 13. veljače 2015. Accepted: May 26, 2015 Prihvaćeno: 26. svibnja 2015. Abstract - Résumé This article argues that urban environments in the 1960s and 1970s provided excellent music-cultural and political conditions that stimulated not only protest, but also the crea- I. 1968 – Urbanism and Globalization tion and performance of protest music. It demonstrates this by means of two case studies. The It is evident that urban environments are good music of the Krautrock band CAN in Cologne and the Volks- cradles for protest. Urban environments are marked ambulanz Concert in West by densification and, therefore, offer what protesters Berlin can be considered as emerging from both cities’ and activists need most: the physical presence of unique political and cultural many people – crowds, masses – who express their situations. These were, para- doxically enough, the long-term dissent and forcefully demand change. These densely results of the reorganization of populated urban areas permit the mobilization not Germany after 1945. Both cities possessed lively avant-garde only of protesters, activists, and sympathizers, but music scenes with musicians also journalists and mass media that disseminate the from all over the world, as well as communal grievances that protesters’ message. Furthermore, compact urban triggered protest and protest neighbourhoods compress diverse, heterogeneous music; West Berlin was addi- tionally marked by its specific lifestyles, opinions and value systems opposed to status as a demilitarized zone each other and, thus, catalyze conflicts into protest and immured city.
    [Show full text]
  • Krautrock: the Obscure Genre That Changed the Sound of Rock by Zane Van Dusen
    Krautrock: The Obscure Genre That Changed the Sound of Rock By Zane Van Dusen In 1968, a new genre of music appeared in Germany. This music, which had elements of 1960’s rock and experimental music, received the patronizing nickname ‘Krautrock,’ from the British press.1 Due to the relatively small size of this musical movement and the somewhat offensive moniker, Krautrock was all but forgotten in the 1980s and 1990s. Music critics and historians placed the bands from this movement (like Faust, Neu!, Kraftwerk, Tangerine Dream) in broad genres like “progressive rock” and “psychedelic rock,” and the “press would [not] give such bands more than a jokey note in the 'Where are they now' columns.”2 Then, in 1995, Julian Cope released a book titled Krautrocksampler. The book outlined a history of the Krautrock genre, including reviews of important bands, albums and concerts, and concluded with a list of Cope’s top 50 Krautrock albums. Cope’s book received much praise and started a huge revival of interest within the underground music scene, in addition to introducing “the word 'Krautrock' in a positive, pouting glam rock way.”3 Since the release of Krautrocksampler, Krautrock has become a buzzword in experimental, indie and electronic music publications, like Wire, Pitchfork, and Electronic Musician, and its wide ranging influence is often noted. Although Krautrock was a small and localized movement, this unique genre had a profound impact on modern music, and is just starting to get recognition for it. History and Cultural Background In the 1950s and 1960s, British and American rock music had taken the music world by storm.
    [Show full text]
  • Metal Machine Music: Technology, Noise, and Modernism in Industrial Music 1975-1996
    SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Metal Machine Music: Technology, Noise, and Modernism in Industrial Music 1975-1996 A Dissertation Presented by Jason James Hanley to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philsophy in Music (Music History) Stony Brook University August 2011 Copyright by Jason James Hanley 2011 Stony Brook University The Graduate School Jason James Hanley We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. Judith Lochhead – Dissertation Advisor Professor, Department of Music Peter Winkler - Chairperson of Defense Professor, Department of Music Joseph Auner Professor, Department of Music David Brackett Professor, Department of Music McGill University This dissertation is accepted by the Graduate School Lawrence Martin Dean of the Graduate School ii Abstract of the Dissertation Metal Machine Music: Technology, Noise, and Modernism in Industrial Music 1975-1996 by Jason James Hanley Doctor of Philosophy in Music (Music History) Stony Brook University 2011 The British band Throbbing Gristle first used the term Industrial in the mid-1970s to describe the intense noise of their music while simultaneously tapping into a related set of aesthetics and ideas connected to early twentieth century modernist movements including a strong sense of history and an intense self-consciousness. This model was expanded upon by musicians in England and Germany during the late-1970s who developed the popular music style called Industrial as a fusion of experimental popular music sounds, performance art theatricality, and avant-garde composition.
    [Show full text]