DOCSLIB.ORG

Download Booklet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Booklet 225268bk Robin Hood 21/7/03 9:44 pm Page 28 Great Film Music on Marco Polo with William Stromberg & John Morgan SIR MALCOLM ARNOLD The Invisible Man Returns 8.223747 David Copperfield • The Roots of Heaven The Ghost of Frankenstein • Son of Dracula 8.225167 Sherlock Holmes and the Voice of Terror ADOLPH DEUTSCH Black Friday • Man Made Monster 8.225124 The Maltese Falcon • Northern Pursuit MAX STEINER The Mask of Dimitrios • High Sierra King Kong 8.223763 George Washington Slept Here 8.225169 The Lost Patrol • Virginia City HUGO FRIEDHOFER The Beast with Five Fingers 8.223870 The Adventures of Marco Polo • The Lodger They Died With Their Boots On 8.225079 The Rains of Ranchipur • Seven Cities of Gold The Treasure of the Sierra Madre 8.225149 8.223857 Son of Kong • The Most Dangerous Game BERNARD HERRMANN 8.225166 Garden of Evil • Prince of Players 8.223841 All This, And Heaven Too • A Stolen Life The Snows Of Kilimanjaro • 5 Fingers 8.225218 8.225168 DIMITRI TIOMKIN BERNARD HERRMANN & ALFRED Red River 8.225217 NEWMAN FRANZ WAXMAN The Egyptian 8.225078 Mr Skeffington 8.225037 ERICH WOLFGANG KORNGOLD Objective, Burma! 8.225148 Escape Me Never • Another Dawn 8.223871 Devotion 8.225038 ROY WEBB Cat People • Bedlam • I Walked With A Zombie ALFRED NEWMAN The Body Snatcher • The 7th Victim 8.223857 The Hunchback of Notre Dame Beau Geste • All About Eve 8.223750 VICTOR YOUNG PHILIP SAINTON The Greatest Show On Earth • Bright Leaf The Uninvited • Gulliver’s Travels 8.223857 Moby Dick (Complete) 8.225050 ‘Murder & Mayhem – Great Horror Scores HANS J. SALTER & PAUL DESSAU from Hollywood’s Golden Age’: House of Frankenstein (Complete) 8.223748 MAX STEINER: The Beast With 5 Fingers HANS J. SALTER & FRANK SKINNER VICTOR YOUNG: The Uninvited Son of Frankenstein • The Wolf Man HUGO FRIEDHOFER: The Lodger 8.225132 225268bk Robin Hood 21/7/03 9:44 pm Page 2 Erich Wolfgang Korngold John Morgan Widely regarded in film-music circles as a master thanks to its spectacular nuclear explosions and The Adventures of colorist with a keen insight into orchestration and powerhouse music.” In addition, Morgan has won the power of music, Los Angeles-based composer acclaim for efforts to rescue, restore and re-record Robin Hood Film Score,1938 John Morgan began his career working alongside lost film scores from the past. Recently, Morgan, such composers as Alex North and Fred Steiner along with Stromberg, composed the score for the Score restorations by John Morgan before embarking on his own. Among other acclaimed documentary, Cinerama Adventure. projects, he co-composed the richly dramatic score Stromberg and Morgan are currently composing Moscow Symphony Orchestra conducted by William Stromberg for the cult-documentary film Trinity and Beyond, music for Sony’s Starship Troopers 2 feature film. described by one critic as “an atomic-age Fantasia, 1 Main Title—Muted Fanfare 1:49 Appearance at the Archery Field— 2 Sir Guy and Robin Hood 1:49 Preparation for the Archery Contest— William Stromberg 3 The Meeting 1:11 Robin Hood Starts to Shoot—Finale of the Archery Contest 6:38 A native of Oceanside, California, who hails from a scores from Hollywood’s Golden Age, including 4 The Banquet 2:14 family of filmmakers, William T. Stromberg several works recorded for RCA with the 5 Robin Hood Outside—Robin Hood’s $ Arrest of Robin Hood 0:47 balances his career as a composer of strikingly vivid Brandenburg Philharmonic. For Marco Polo, he has Entrance—The Fight—The Chase % Tribunal—The Jail 2:27 film scores with that of a busy conductor in Marco conducted albums of music devoted to Max Steiner, Polo’s Classic Film Score Series. Besides Erich Wolfgang Korngold, Alfred Newman, Philip of Robin Hood—The Victims 6:13 ^ The Gallows—The Flight of Robin conducting his own scores – including his recent Sainton, Adolph Deutsch, Hans J. Salter, Victor 6 Robin Hood Meets Little John— Hood 4:40 Robin Hood Fights with Little John— music for the thriller Other Voices, the monster Young and Malcolm Arnold. He has also conducted Jolly Friendship 3:57 & Love Scene 6:25 film, Bugs, and the documentary Trinity and several much-praised albums devoted to concert Beyond – Stromberg serves as a conductor for other works by American composers, including two 7 * Arrest of Lady Marian 0:45 The Oath and The Black Arrow 1:58 film composers. He is especially noted for his albums of music by Ferde Grofé. 8 The Fish—Robin Hood’s Fight with ( Much: The Knife Fight 1:10 passion in reconstructing and conducting film Friar Tuck 3:29 ) Richard Meets Robin Hood—Richard 9 A New Companion (Friar Tuck) 0:56 the Lion-Heart 4:03 Special thanks to … 0 Robin Hood Attacks Sir Guy’s Party— ¡ The Procession 3:09 The Attack 5:12 Danny Gould, Keith Zajic Warner Bros. Music • Randi Hokett, Noelle Carter ™ Prince John 1:33 Warner Bros. Archive, USC • Ned Comstock Cinema-Television Library, USC • ! Flirt—Feast—Poor People’s Feast— Gold 5:59 £ The Battle—The Duel—The Victory 5:36 Stacey Behlmer Academy of Motion Picture Arts and Sciences Library • James V. D’Arc @ The Poor People 4:19 ¢ Epilogue 1:33 Brigham Young University • Ray Faiola • Anna Bonn • Rudy Behlmer • # The Tournament—Robin Hood’s ∞ End Cast 0:35 Peter Boyer • Scott MacQueen • Leith Adams Warner Bros. • Eric Stonerook Eric Stonerook Music • Valle Music 8.225268 2 27 8.225268 225268bk Robin Hood 21/7/03 9:44 pm Page 26 concurrently. However, Friedhofer did orchestrate an amazing ability of making his cues sound as Welcome to Sherwood! the Duel, which was anything but slow, and wrote a natural as through-composed music. Even when he note to Korngold on the last page of score: “FINE. musically caught screen action, one feels a certain Few motion pictures have ever matched the 1938 In addition to all the other ingredients, Warner LAUS DEO!” [End. Praise to God!]. “rightness” and structure housed in the very nature Warner Bros. production of The Adventures of Robin Bros. used the then-new three-strip Technicolor This has been one of our most satisfying projects of his music. It is our hope that this recording will Hood for sheer entertainment. Even today this film process. It was a wise decision, as the legendary in the entire Marco Polo Classic Film Music Series, not only please the many fans of The Adventures of ranks high on any list of all-time favourites. subject with its many lush forest scenes, costumes, which is entering its tenth year and nearing thirty Robin Hood and its music, but will also be a Warner Bros. first considered filming The and pageantry was ideal for full colour. CDs. Listening to the music in sequence and in satisfying musical experience on its own. Adventures of Robin Hood in 1935 with contract The studio shot most of the Sherwood Forest complete renditions gives added context and star James Cagney slated for the title role. But in sequences in Bidwell Park, 475 miles northwest of perspective to even the familiar cues. Korngold had John Morgan November of that year Cagney, in a contractual Los Angeles in the town of Chico. A natural park dispute, walked off the lot and did not return for two filled with giant oaks, sycamores, and a wide creek, years. One month later the studio presented it was a lovely and fresh setting for the film. newcomer Errol Flynn in Captain Blood. After that Some of the favourite incidents of the Robin Moscow Symphony Orchestra film’s extraordinary impact, The Adventures of Hood legend were used on the screen for the first Robin Hood was tailored for Flynn and given a time: the bout with quarterstaves between Robin Home base for Marco Polo’s critically acclaimed recordings, particularly its continuing work with budget of $1,600,000 – the largest sum allotted to a and Little John (Alan Hale) on a log spanning a Classic Film Score Series, the Moscow Symphony conductor William T. Stromberg in Marco Polo’s Warner film up to that time. (The cost eventually stream, Robin’s first meeting with Friar Tuck Orchestra has won plaudits for its versatility, Classic Film Score Series. David Hurwitz of reached $2,000,000.) (Eugene Pallette) and his forcing the rotund cleric to tackling everything from orchestrations of beloved Classics Today recently found much to treasure in Although almost non-stop action was the carry him piggyback across the stream, and the rock classics to soundtracks for movies to such the orchestra’s re-recording of Max Steiner’s The keynote of The Adventures of Robin Hood, there King (Ian Hunter) coming to Sherwood disguised as intriguing projects as the first-ever cycle of Treasure of the Sierra Madre, adding that was also above average dialogue, spirited a monk. Finally, all the various archery contests symphonies by Malipiero. In addition, it has given “Stromberg and his Moscow forces play these performances, and impressive spectacle. An described in the many legendary versions were numerous performances of classic works by colorful cues with their usual aplomb, and they’re important element was the excellent casting, amalgamated into one major archery tournament, Scriabin, Rachmaninov and Tchaikovsky and vividly recorded, too. If you’re into movie music, including the premier swashbuckler Errol Flynn, wherein Robin splits his opponent’s arrow (actually remains the busiest orchestra in Russian recording this latest issue recommends itself.” Franz who at 29 was at his peak and perfect for the role, accomplished by archery champion Howard Hill) studios today, performing everything from Irish folk Waxman’s titanic score for the film Mr.
Load more

Recommended publications
  • 25C Lansing Woman Injured in Sunday Night Crash
    25C Volume 15, Issue 42 Serving Lowell Area Readers Since 1893 Wednesday, August 28,1991 Lansing woman injured in Sunday night crash Lowell and Kent County sing and Wyoming. minor head and neck injuries. McDonald did a U-turn on Weeks said McDonald his 12-yearolddaughter,Kelly, police were called to the scene Kent County Deputy Vic The police report stated that Christopher Street and then would be cited for failing to incurred minor bnrises but did at Lincoln Lake and Hudson Weeks said Lorelee both McDonald and the other proceededtopullbackoutonto yield the right of way. not need medical attention. Sunday evening (a littJeafter9 McDonald, Lansing, was trans- driver, Lawrence Kleck, were HudsonintothepathofKleck's Kleck and his passenger, p.m.) for a two-car accident ported to Blodgett Hospital for southbound on Hudson when vehicle. involving drivers from Lan- -•WyLr - - Both the driver and the passenger of this van received just minor injuries from Sunday Lorelee McDonald incurred minor head and neck injuries Sunday night following night's accident. anaccident at Hudson and Lincoln Lake. Along Main Street Kathy Paroff recognized for her life- saving CPR application on husband Friend's of Kathy Paroff times it's a citizen. This is a from the ambulance and res- stressful time for folks and Y: cue units of the Lowell Area even more stressful when it Fire Departmentrefer lovingly involves a family member." to her husband, John, as the Krohmer added that heavenly reject "Paroff s rescue was a won- As many have read and derful example of a system LOWELL MIDDLE SCHOOL heard, John Paroff suffered a working the way it should." ATHLETIC PHYSICALS heart attack on June 3 in his Krohmer was in attendance home at 591 Alden Nash.
    [Show full text]
  • Written to Be the Introduction to a Book in the Wisconsin/Warner Bros Screenplay Series, General Editor Tino Balio, Published by the University of Wisconsin Press
    1981 Written to be the Introduction to a book in the Wisconsin/Warner Bros Screenplay Series, General Editor Tino Balio, published by the University of Wisconsin Press. These volumes reproduced classic Warner Bros scripts from the Warner Bros Archive at the Wisconsin Center for Film and Theater Research with scholarly apparatus. Between the commissioning of this volume and its completion the series was cancelled. The script itself and associated stills cannot be reproduced without copyright permission. Since the piece was written, Warner Bros post-production files have been acquired by the Cinema Studies Library of the University of Southern California. It is likely that they close some of the questions here raised about the final form of the film. INTRODUCTION The Politics of the War Film Ian Jarvie 1. The Evolution of the Screenplay 2. Summary of the Story as Filmed 3. Production and Exploitation 4. Reception and Appraisal 5. Political Aftermath Objective Burma has both intrinsic and extrinsic interest to students of the motion picture. Intrinsically, it is a fine example of sustained and unrelieved treatment of combat within the restrictions of the war film genre. There is much to be learned from studying how the final screenplay emerged from the work of three writers and their producer, and from the further changes made by the director, technical advisor, and film editor during production and post-production. Initial confusion of aims is resolved as the option of a clean and unencumbered line of action is chosen. This enables the writers to clear sub-plots out of the excessively long draft screenplay and encourages further honing down during shooting and editing.
    [Show full text]
  • The Legacy of J O H N P
    THE UNITED STATES ARMY FIELD BAND The Legacy of J OHN P. P AY N T E R Washington, D.C. “The Musical Ambassadors of the Army” rom Boston to Bombay, Tokyo to Toronto, The United States Army Field Band has been thrilling audiences of all ages for more than half a century. As F the premier touring musical representative for the United States Army, this internationally-acclaimed organization travels thousands of miles each year presenting a variety of music to enthusiastic audiences throughout the nation and abroad. Through these concerts, the Field Band keeps the will of the American people behind the members of the armed forces and supports diplomatic efforts around the world. The Concert Band is the oldest and largest of the Field Band’s four performing components. This elite 65-member instrumental ensemble, founded in 1946, has per- formed in all 50 states and 25 foreign countries for audiences totaling more than 100 million. Tours have taken the band throughout the United States, Canada, Mexico, South America, Europe, the Far East, and India. The group appears in a wide variety of settings, from world-famous concert halls, such as the Berlin Philharmonie and Carnegie Hall, to state fairgrounds and high school gymnasiums. The Concert Band regularly travels and performs with the Soldiers’ Chorus, together presenting a powerful and diverse program of marches, overtures, popular music, patriotic selections, and instrumental and vocal solos. The organization has also performed joint concerts with many of the nation’s leading orchestras, including the Boston Pops, Cincinnati Pops, and Detroit Symphony Orchestra.
    [Show full text]
  • Ithaca College Concert Band Ithaca College Concert Band
    Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 4-14-2016 Concert: Ithaca College Concert Band Ithaca College Concert Band Jason M. Silveira Justin Cusick Follow this and additional works at: http://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ithaca College Concert Band; Silveira, Jason M.; and Cusick, Justin, "Concert: Ithaca College Concert Band" (2016). All Concert & Recital Programs. 1779. http://digitalcommons.ithaca.edu/music_programs/1779 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Ithaca College Concert Band "Road Trip!" Jason M. Silveira, conductor Justin Cusick, graduate conductor Ford Hall Thursday, April 14th, 2016 8:15 pm Program New England Tritych (1957) William Schuman I. Be Glad Then, America (1910–1992) II. When Jesus Wept 17' III. Chester More Old Wine in New Bottles (1977) Gordon Jacob I. Down among the Dead Men (1895–1984) II. The Oak and the Ash 11' III. The Lincolnshire Poacher IV. Joan to the Maypole Justin Cusick, graduate conductor Intermission Four Cornish Dances (1966/1975) Malcolm Arnold I. Vivace arr. Thad Marciniak II. Andantino (1921–2006) III. Con moto e sempre senza parodia 10' IV. Allegro ma non troppo Homecoming (2008) Alex Shapiro (b. 1962) 7' The Klaxon (1929/1984) Henry Fillmore arr. Frederick Fennell (1881–1956) 3' Jason M. Silveira is assistant professor of music education at Ithaca College. He received his Bachelor of Music and Master of Music degrees in music education from Ithaca College, and his Ph.
    [Show full text]
  • From%20Irina%20Reyman%2C%20Ritualized%20Violence
    PHYSICAL INVIOLABILITY AND THE DUEL pUNCH OR STAB: THE RUSSIAN DUELIST’S DILEMMA The Russian duel was a surprisingly and consistently violent affair. I do not imply that Russian duels were more deadly than those in the West (the fatality rate in Russia never approached that in France in the late sixteenth and early seventeenth centuries or in Germany at the end of the nineteenth century).1 I mean rather that conflicts over honor were frequently resolved in unregu lated spontaneous physical confrontations rather than in formal en- counters . Furthermore, those confrontations differed from rencontres in that they involved direct physical contact—hand-to-hand fighting or the use of weapons unrecognized by the dueling ritual, such as walking sticks or whips. The use of standard dueling weapons— swords or pistols—appears to have been optional. In other words, from the introduction of the duel in Russia to its demise, a conflict over honor was as likely (and at times more likely) to result in an im mediate and violent hand-to-hand fight as in a formal duel of honor. This happened so frequently that physical force seems to have been an accepted alternative to the duel. In fact, it would be possible to write (—S A Brief History of Dueling in Russia 97 98 a variant history of dueling in Russia featuring fistfights, slaps in the Everyone present—nobles face, and battering with walking sticks. and commoners, officers and enlisted men, Historians of the Russian women too—had at each other. Klimovich’s wife was beaten with a duel have consistently ignored or dis missed this ugly and violent club and her mother threatened.4 Grinshtein seems to have won this alternative behavior as aberrant.
    [Show full text]
  • Motion Picture Posters, 1924-1996 (Bulk 1952-1996)
    http://oac.cdlib.org/findaid/ark:/13030/kt187034n6 No online items Finding Aid for the Collection of Motion picture posters, 1924-1996 (bulk 1952-1996) Processed Arts Special Collections staff; machine-readable finding aid created by Elizabeth Graney and Julie Graham. UCLA Library Special Collections Performing Arts Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm The Regents of the University of California. All rights reserved. Finding Aid for the Collection of 200 1 Motion picture posters, 1924-1996 (bulk 1952-1996) Descriptive Summary Title: Motion picture posters, Date (inclusive): 1924-1996 Date (bulk): (bulk 1952-1996) Collection number: 200 Extent: 58 map folders Abstract: Motion picture posters have been used to publicize movies almost since the beginning of the film industry. The collection consists of primarily American film posters for films produced by various studios including Columbia Pictures, 20th Century Fox, MGM, Paramount, Universal, United Artists, and Warner Brothers, among others. Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library. Performing Arts Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Performing Arts Special Collections.
    [Show full text]
  • Poems of Childhood
    Cfie Htfrrarp of tfje Wlnitozv&it? of Jgortf) Carolina Cnbotoefc &p ®}je Utalectic anti tlantJjroptc ^octettes; ^i'\iU 95520 ':. id Foeras of childhood / UNIVERSITY OF N.C. AT CHAPEL HILL 10003058147 MAY 1 3 1969 This BOOK may be kept out TWO WEEKS ONLY, and is subject to a fine of JSBTE |z,:fCENTS a day thereafter. It is DUE on the DAY indicated below: - ?«,, I APR 4 **J« 2 I ' ] W ' urn * A 3. I Form No. 1685 Digitized by the Internet Archive in 2012 with funding from University of North Carolina at Chapel Hill http://www.archive.org/details/poemsofchildhoodfiel POEMS OF CHILDHOOD \ \ CHARLES 3 CRIB f$ ON ' -' ,-» - "- r . t r ) WITH TRUMPET AND DRUM Copyright, 1892 By Mary French Field LOVE SONGS OF CHILDHOOD Copyright, 1894 By Eugene Field Copyright, 1904 By Charles Scribner's Sons Published, September, 1901 v J "• J.. / *o* CONTENTS PAGE With Trumpet and Drum . 1 Krinre-n . : . 3 The Naughty Poll 5 Nightfall in Dordrecht 7 Intry-Mintry 9 Pittypat and Tifp^voe 11 Balow, my Bonnie 14 The Hawthorne Children 16 Little*' Blue Pigeon (Japanese Lullaby) 19 The Lyttel Boy 20 Teeny-Wkeny 22- Nellie 25 Nop.se Lullaby 27 The Sugar-Plum Tree 28 Grandma's Prayer . 30 Some Time , . « 31 The Fire-Hangbird's Nbst t , . 33 Buttercup, Poppy, Forget-me-not 36 Gold and Love for Dearie . , 38 The Peace of Christmas-Time . 40 To a Little Brook ....,,„., , . 42 * CroodllV Doo . .... „ ...... ^ N 45 * Cc&ihffe> t)<w© v i ] X CONTENTS PAGE Little Mistress Sans-Merci 46 Long Ago 48 In the Firelight 50 Cobbler and Stork (Armenian Folk-Lore) 52 " lollyby, lolly, lollyby " .
    [Show full text]
  • Probablemente El Diablo: El Terror Elíptico De La Séptima Víctima
    PROBABLEMENTE EL DIABLO: EL TERROR ELÍPTICO DE LA SÉPTIMA VÍCTIMA Francisco García Gómez Universidad de Málaga RESUMEN La séptima víctima, la primera película dirigida por Mark Robson, constituye un magnífico ejemplo de la concepción del terror que tenía el productor Val Lewton. Su cuarto filme para la RKO, el primero no dirigido por Jacques Tourneur, pone de manifiesto que Lewton era el auténtico responsable de su ciclo fantástico. PALABRAS CLAVE: RKO, Val Lewton, Mark Robson, serie B, terror, satanismo, paladismo. ABSTRACT «Probably the Devil: The Elliptical Terror in The Seventh Victim». The Seventh Victim, first film directed by Mark Robson, is a magnificent example of the producer Val Lewton’s terror concept. His fourth RKO film, the first without Jacques Tourneur, reveals that Lewton was the genuine responsible of his fantastic cycle. KEY WORDS : RKO, Val Lewton, Mark Robson, B Film, terror, satanism, paladism. 163 Una película a redescubrir y reivindicar, ése es el caso de La séptima víctima (The Seventh Victim, 1943), la cuarta del ciclo de nueve cintas de terror de serie B producidas por Val Lewton en la RKO entre 1942 y 19461. Dirigida por Mark Robson en su debut como realizador, fue además la primera cuya dirección no corrió a cargo de Jacques Tourneur, tras La mujer pantera (Cat People, 1942), Yo anduve con un zombi (I Walked with a Zombie, 1943) y El hombre leopardo (The Leopard Man, 1943). Precisamente a consecuencia de los grandes éxitos de público obtenidos con estas tres, el estudio decidió separar al tándem Lewton-Tourneur, convencido de que rendirían el doble por separado, poniendo en seguida al francés al frente de mayores presupuestos.
    [Show full text]
  • Track 1 Juke Box Jury
    CD1: 1959-1965 CD4: 1971-1977 Track 1 Juke Box Jury Tracks 1-6 Mary, Queen Of Scots Track 2 Beat Girl Track 7 The Persuaders Track 3 Never Let Go Track 8 They Might Be Giants Track 4 Beat for Beatniks Track 9 Alice’s Adventures In Wonderland Track 5 The Girl With The Sun In Her Hair Tracks 10-11 The Man With The Golden Gun Track 6 Dr. No Track 12 The Dove Track 7 From Russia With Love Track 13 The Tamarind Seed Tracks 8-9 Goldfinger Track 14 Love Among The Ruins Tracks 10-17 Zulu Tracks 15-19 Robin And Marian Track 18 Séance On A Wet Afternoon Track 20 King Kong Tracks 19-20 Thunderball Track 21 Eleanor And Franklin Track 21 The Ipcress File Track 22 The Deep Track 22 The Knack... And How To Get It CD5: 1978-1983 CD2: 1965-1969 Track 1 The Betsy Track 1 King Rat Tracks 2-3 Moonraker Track 2 Mister Moses Track 4 The Black Hole Track 3 Born Free Track 5 Hanover Street Track 4 The Wrong Box Track 6 The Corn Is Green Track 5 The Chase Tracks 7-12 Raise The Titanic Track 6 The Quiller Memorandum Track 13 Somewhere In Time Track 7-8 You Only Live Twice Track 14 Body Heat Tracks 9-14 The Lion In Winter Track 15 Frances Track 15 Deadfall Track 16 Hammett Tracks 16-17 On Her Majesty’s Secret Service Tracks 17-18 Octopussy CD3: 1969-1971 CD6: 1983-2001 Track 1 Midnight Cowboy Track 1 High Road To China Track 2 The Appointment Track 2 The Cotton Club Tracks 3-9 The Last Valley Track 3 Until September Track 10 Monte Walsh Track 4 A View To A Kill Tracks 11-12 Diamonds Are Forever Track 5 Out Of Africa Tracks 13-21 Walkabout Track 6 My Sister’s Keeper
    [Show full text]
  • Korngold Violin Concerto String Sextet
    KORNGOLD VIOLIN CONCERTO STRING SEXTET ANDREW HAVERON VIOLIN SINFONIA OF LONDON CHAMBER ENSEMBLE RTÉ CONCERT ORCHESTRA JOHN WILSON The Brendan G. Carroll Collection Erich Wolfgang Korngold, 1914, aged seventeen Erich Wolfgang Korngold (1897 – 1957) Violin Concerto, Op. 35 (1937, revised 1945)* 24:48 in D major • in D-Dur • en ré majeur Dedicated to Alma Mahler-Werfel 1 I Moderato nobile – Poco più mosso – Meno – Meno mosso, cantabile – Più – Più – Tempo I – Poco meno – Tempo I – [Cadenza] – Pesante / Ritenuto – Poco più mosso – Tempo I – Meno, cantabile – Più – Più – Tempo I – Meno – Più mosso 9:00 2 II Romanze. Andante – Meno – Poco meno – Mosso – Poco meno (misterioso) – Avanti! – Tranquillo – Molto cantabile – Poco meno – Tranquillo (poco meno) – Più mosso – Adagio 8:29 3 III Finale. Allegro assai vivace – [ ] – Tempo I – [ ] – Tempo I – Poco meno (maestoso) – Fließend – Più tranquillo – Più mosso. Allegro – Più mosso – Poco meno 7:13 String Sextet, Op. 10 (1914 – 16)† 31:31 in D major • in D-Dur • en ré majeur Herrn Präsidenten Dr. Carl Ritter von Wiener gewidmet 3 4 I Tempo I. Moderato (mäßige ) – Tempo II (ruhig fließende – Festes Zeitmaß – Tempo III. Allegro – Tempo II – Etwas rascher (Tempo III) – Tempo II – Allmählich fließender – Tempo III – Wieder Tempo II – Tempo III – Drängend – Tempo I – Tempo III – Subito Tempo I (Doppelt so langsam) – Allmählich fließender werdend – Festes Zeitmaß – Tempo I – Tempo II (fließend) – Festes Zeitmaß – Tempo III – Ruhigere (Tempo II) – Etwas rascher (Tempo III) – Sehr breit – Tempo II – Subito Tempo III 9:50 5 II Adagio. Langsam – Etwas bewegter – Steigernd – Steigernd – Wieder nachlassend – Drängend – Steigernd – Sehr langsam – Noch ruhiger – Langsam steigernd – Etwas bewegter – Langsam – Sehr breit 8:27 6 III Intermezzo.
    [Show full text]
  • The Role of Contemporary Music in Instrumental Education
    The role of contemporary music in instrumental education Mark Rayen Candasmy Supervisor Per Kjetil Farstad This Master’s Thesis is carried out as a part of the education at the University of Agder and is therefore approved as a part of this education. However, this does not imply that the University answers for the methods that are used or the conclusions that are drawn. University of Agder, 2011 Faculty of fine arts Department of music Abstract The role of contemporary music in instrumental education discusses the necessity of renewing the curriculum of all musical studies that emphasize performance and the development of the student's instrumental abilities. A portrait of Norwegian composer Ørjan Matre is included to help exemplify the views expressed, as well as the help of theoretical analysis. Key words: contemporary music, education, musicology, ørjan matre, erich wolfgang korngold, pedagogy The role of contemporary music in instrumental education is divided into six chapters. Following the introduction, the second chapter discusses the state of musical critique and musicology, describing the first waves of modernism at the turn of the century (19 th /20 th ) and relating it to the present reality and state of contemporary music. Conclusively, it suggests possibilities of bettering the situation. The third chapter discusses the controversial aspects of Erich Wolfgang Korngold's music and life, relating it to the turbulence of the musical life during his lifetime. Studying Korngold is a unique way to outline the contradictions within Western art music that were being established during his career. The fourth chapter is a portrait of Norwegian composer Ørjan Matre and includes an analysis of his work " Handel Mixtape s".
    [Show full text]
  • Raoul Walsh to Attend Opening of Retrospective Tribute at Museum
    The Museum of Modern Art jl west 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart NO. 34 FOR IMMEDIATE RELEASE RAOUL WALSH TO ATTEND OPENING OF RETROSPECTIVE TRIBUTE AT MUSEUM Raoul Walsh, 87-year-old film director whose career in motion pictures spanned more than five decades, will come to New York for the opening of a three-month retrospective of his films beginning Thursday, April 18, at The Museum of Modern Art. In a rare public appearance Mr. Walsh will attend the 8 pm screening of "Gentleman Jim," his 1942 film in which Errol Flynn portrays the boxing champion James J. Corbett. One of the giants of American filmdom, Walsh has worked in all genres — Westerns, gangster films, war pictures, adventure films, musicals — and with many of Hollywood's greatest stars — Victor McLaglen, Gloria Swanson, Douglas Fair­ banks, Mae West, James Cagney, Humphrey Bogart, Marlene Dietrich and Edward G. Robinson, to name just a few. It is ultimately as a director of action pictures that Walsh is best known and a growing body of critical opinion places him in the front rank with directors like Ford, Hawks, Curtiz and Wellman. Richard Schickel has called him "one of the best action directors...we've ever had" and British film critic Julian Fox has written: "Raoul Walsh, more than any other legendary figure from Hollywood's golden past, has truly lived up to the early cinema's reputation for 'action all the way'...." Walsh's penchant for action is not surprising considering he began his career more than 60 years ago as a stunt-rider in early "westerns" filmed in the New Jersey hills.
    [Show full text]