Oscar and Lucinda Music Credits

Music by Thomas Newman Music Editor Bill Bernstein Music Scoring Mixers Shawn Murphy Tom Winslow Music Mixed By Tom Winslow Orchestrator Thomas Pasatieri Music Contractor Leslie Morris Music Preparation Julian Bratolyubov Music Consultant (Aust.) Christine Woodruff Music Recorded At Village Recorder Paramount Scoring Stage Music Mixed At Village Recorder MUSIC Motet - Os Justi Written by Anton Bruckner Performed by La Chapelle Royale /Collegium Vocale/ Ensemble Musique Oblique Dir. Philippe Herreweghe Courtesy Harmonia Mundi S.A. France Haec Dies Written by John Sheppard Performed by The Choir of King's College Cambridge Conducted by Philip Ledger Courtesy EMI Records UK and EMI Music Australia Pty. Ltd. Motetten - Lobet de Herrn, Alle Heiden BWV 230 Written by Johann Sebastian Bach Performed by Rostocker Motettenchor /Capella Fidicinia Leipzig Hartwig Eschenburg Courtesy Capriccio Digital Fantasia in C Minor for Piano, Chorus & Orchestra, Op. 80 Written by Ludwig van Beethoven Performed by Jan Panenka - Piano Prague Radio/Chorus/Milan Maly Prague Symphony Orchestra Conducted by Vaclav Smetacek Soundtrack Album available on Sony Classical Sony Classical - logo Music in the film: Music in the film is generally underscore, but occasionally performed music turns up, as when a band plays a welcoming number on the wharf: CD: A CD of the soundtrack was released: CD Sony Classical SK 60088 1997 Music composed and conducted by Thomas Newman Produced by Thomas Newman and Bill Bernstein Recorded by Tom Winslow, Shawn Murphy Mixed by Tom Winslow (Featuring the Paulist Boys Choristers of California) 1. Prince Rupert’s Drop (Main Title) (2’37”) 2. Throwing Lots (0’48”) 3. Dutch Hazards (0’50”) 4. Sydney Harbor (1’57”) 5. Rumors (1’26”) 6. The High Downs and the Sea (1’52”) 7. Forgive Me (1’02”) 8. Bruckner: Os Justi (4’39”) 9. Six Rivers to Cross (1’14”) 10. Two Gamblers (2’22”) 11. The Murder of the Blacks (1’42”) 12. Never Never (1’16”) 13. Floorwashing (0’40”) 14. Cards and Dogs (1’02”) 15. One Obsessive (1’09”) 16. The Church of Glass (3’50”) 17. Letters on the Mantel (1’25”) 18. Odd Bod (1’05”) 19. Prayer Wounds (2’11”) 20. Leviathan (1’08”) 21. Magic Boxes (White Man’s Dreaming) (1’49”) 22. The Other Compulsive (1’02”) 23. A Broken Thing (0’59”) 24. The Seduction of Mrs. Chadwick (2’31”) 25. Wesley: Blessed Be the God and Father (1’19”) 26. Aqua (4’10”) 27. The Caul (1’22”) 28. Oscar and Lucinda (End Title) (2’49”) 29. Excerpt from the Random House AudioBook (Read by Ralph Fiennes) (5’10”) Composer Thomas Newman: Newman is an American composer who has mainly worked on US films. He has a detailed wiki here, and the USC Thornton School of Music here, provided this short CV: Thomas Newman is widely acclaimed as one of today’s most prominent composers for film. He has composed music for more than 50 motion pictures and television series and has earned thirteen Academy Award nominations and six Grammy Awards. He is the youngest son of Alfred Newman (1900-1970), the longtime musical director of 20th Century Fox and the composer of scores for such films as Wuthering Heights, The Hunchback of Notre Dame, The Diary of Anne Frank and All About Eve. As a child, Thomas pursued basic music and piano studies. However, it was not until after his father’s death that the younger Newman, then age 14, felt charged with the desire to write. Newman studied composition and orchestration at USC with Professor Frederick Lesemann and noted film composer David Raksin, and privately with composer George Tremblay. He completed his academic work at Yale University, studying with Jacob Druckman, Bruce MacCombie and Robert Moore. Newman also gratefully acknowledges the early influence of another prominent musician, the legendary Broadway composer Stephen Sondheim, who served as a great mentor and champion. A turning point in Newman’s career took place while he was working as a musical assistant on the 1984 film, Reckless, for which he soon was promoted to the position of composer. And so, at the age of 27, Newman successfully composed his first film score. Since then he has contributed distinctive and evocative scores to numerous acclaimed films, including Desperately Seeking Susan, The Lost Boys, The Rapture, Fried Green Tomatoes, The Player, Scent of a Woman, Flesh and Bone, The Shawshank Redemption, Little Women, American Buffalo, The People Vs. Larry Flynt, Oscar and Lucinda, The Horse Whisperer, Meet Joe Black, American Beauty, The Green Mile, Erin Brockovich, In The Bedroom, Road to Perdition, Finding Nemo, Lemony Snicket’s A Series of Unfortunate Events, Cinderella Man, Jarhead, Little Children, The Good German, Revolutionary Road and Wall-E. His most recent projects include The Debt, The Adjustment Bureau, The Help, The Iron Lady, The Best Exotic Marigold Hotel, Skyfall, Spectre, Side Effects, Saving Mr. Banks, The Judge and Steven Spielberg’s Bridge of Spies. Newman also composed the music for HBO’s acclaimed 6-hour miniseries Angels in America directed by Mike Nichols. He received an Emmy Award for his theme for the HBO original series Six Feet Under. His upcoming projects include Pixar’s animated sequel Finding Dory. In addition to his work in film and television, Newman has composed several works for the concert stage, including the symphonic work Reach Forth Our Hands, commissioned in 1996 by the Cleveland Orchestra to commemorate their city’s bicentennial, as well as At Ward’s Ferry, Length 180 ft., a concerto for double bass and orchestra commissioned in 2001 by the Pittsburgh Symphony. His latest concert piece was a chamber work entitled It Got Dark, commissioned by the acclaimed Kronos Quartet in 2009. As part of a separate commission by the Los Angeles Philharmonic, the work was expanded and adapted for symphony orchestra and string quartet, and premiered at Walt Disney Concert Hall in December of 2009. In October, 2014, Newman and musician Rick Cox released “35 Whirlpools Below Sound,” an evocative, contemporary collection of avant-garde electronic soundscapes which the two collaborators developed over a period of 25 years, and which constitutes a fascinating departure from Newman’s work in film music. (Below: composer Thomas Newman). .

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