Malte Müller
Forumsvar Lagt Inn
-
Innlegg
-
Interessting to see that a German artist has fans outside of Germany 😉 I second that Grönemeyer’s UNPLUGGED is great. And I am also quite fond of his other live album STAND DER DINGE with orchestra.
Too bad that his two(?) film scores, A WANTED MAN and THE AMERICAN, are rather servicable.
Not so fond of the later Goldsmith but L.A. CONFIDENTAL is one of the good later score. But I didn’t buy the expansion either. And also not for its “companion CITY HALL.
Morton Gould’s HOLOCAUST
Alfred Newman THE DIARY OF ANNE FRANK
Elmer Bernstein GENOCIDE (documentary though)
James Newton Howard THE HUNGER GAMES moviesI don’t really remember much of the score besides working in context and the theme song but perhaps the Norwegian series OCCUPIED (Okkupert) also fits (especially in these times…). Just recently watched the third last season.
I am a great Herrman fan as well but somehow tend to his later works and especially the Hitchcocks. I never really warmed up with GHOST AND MRS. MUIR somehow.
There are lots of great British scores. The “concert hall favorite” WARSHAW CONCERTO by Richard Addinsell is also actually film music.
It really depends on the score. Sometimes C&C is too much due to repetition and sometimes it is great. I find Williams’ albums pretty good. We don’t need to talk about those “famous” 30 min Varese albums 😉
I agree to the above! It is a mystery to me that so few of Doldinger’s film and tv works have been released besides mostly theme collections and plenty of his jazz work with his band Passport. He not only wrote for TATORT, he wrote the theme that is still in use largely unchanged besides a arrangement update – I think – from late 80s. His score to DAS BOOT should definately be mentioned.
How could I have forgotten to mention Böttcher on my film score origin post. His Karl May score are also some of my earliest film score memorires.
Peter Thomas’ is also great, he basically shared duties on the Edgar Wallaces movies with Böttcher. His score to RAUMPATROUILLE is also a classic.
CAPTAIN FUTURE is also a favorit of mine by Christian Bruhn. He also did some great so called Christmas mini series like SILAS or JACK HOLBORN.
Frank Duval I also remember from crime series. I like some of the instrumentals but not so much when he(?) sings 😉
Here a just few scores that I quite like:
Rolf Wilhelm – Die Nibelungen (the 1960s version)
Andre Matthias – The Light Thief
Hans-Werner Henze – Die verlorene Ehre der Katharina Blum (The Lost Honor of Katharina Blum)
Chris Hülsbeck – Turrican (80s/90s Video Games which he updated a few year ago with great new arrangments)
Jürgen Knieper – Himmel über Berlin (Knieper also was the main composer for Wim Wender’s movies)
Enjott Schneider – Stalingrad
Karl-Ernst Sasse – various DEFA westerns (the Easter German counterparts of the Western Karl May westerns)And of course there are silent movie scores like Huppertz’ METROPOLIS or DIE NIBELUNGEN. Or Wolfang Zeller’s THE ADVENTURES OF PRINCE ACHMEND (sadly no official album but two versions availble with the film).
Okay, I always thought that the generaly end of music department system and Alfred Newman’s departure as 20th Century Fox’s head was counted as the cutoff point.
Well, I normally would count Golden Age until around 1959 and had totally missed that at first.
You all listed a lot of my favorites, so I tried to list some else for variation but still got some “duplicates”:
Max Steiner – King Kong
Franz Waxman – Bride Of Frankenstein
Erich Wolfgang Korngold – The Adventures Of Robin Hood
Dimitri Tiomkin – Red River
Gottfried Huppertz – Metropolis
Edmund Meisel – Battleship Potemkin
Sergei Prokofiev – Iwan The Terrible
Miklos Rosza – Thief Of Bagdad
Alfred Newman – Captain From Castille
David Raksin – LAURAIf 1948 is the cutoff point then Victor Youngs AROUND THE WORLD IN 80 DAYS being from 1956 is disqualified. And also Hugo Friedhofer’s SEVEN CITIES OF GOLD from 1955 😉
Yes, Phantom it is! It’s very different from Budd’s other scores that I’ve heard, or perhaps you guys could point me towards a similarly sounding score of his.
He rarely is that purely orchestral. The Phantom main theme always reminds me of something else but I forgot what… KIDNAPPED or FIELD OF HONOR also are rather orchestral as is SINDBAD and I think the two WILD GEESE ones.
So here is my origin story that Thor already knows in a shorter version I believe:
My parents liked music but were not really huge music lovers. But my father actually was a great deal indirectly responsible that I became a film score fan. As a child we watched a lot of those monumental and western movies on weekends, especially westerns we still loved and managed to watch a lot again and a lot unknown lesser known ones the last few years before he passed away.
My father was a fan of the movie „Once Upon A Time In The West“ and loved „Jill’s Theme“. This and Tangerine Dream’s „Thief“ were later the first two scores ever I had on CD! I will have that tune play at his funeral, a tear dropper for sure!
So watching these movie burnt my love for Morricone, Tiomkin, Rosza, Korngold and others into my mind literally. Also childhood encounters were Ron Goodwin’s Miss Marple themes and John Barry’s various Bonds. My father bought me a Bond compilation LP that I still have.
Since I never was a charts music listener I always preferred instrumental music and sometime in the 80s I discovered electronic music and especially Tangerine Dream. Axel F was one of my favorite 80s tracks back then (I still have the original vinyl singe of it).
And I watched a lot of TV series and loved the themes. Love the 70s funky crime music. And huge Mike Post/Peter Carpenter fan since thenI I was even one of those who recorded lots of TV themes off the TV. (Twin Peaks is also a favorite of mine from the 90s.)
My all time favorites Goldsmith and Williams I interesstingly discovered quite some time later. Don’t remember excatly what my first Goldsmith was – might be First Blood or something – but I am sure my first Williams was a compilation on the Philips label with Star Wars, Superman, ET and Close Encounters.
Musicbox has good prices as does Quartet but shipping rates often kill that. It only works out with bulk ordering or with sales. For US labels like Lalaland regular soundtrackcorner prices mostly match sales + shipping… I have the “local benefit” with soundtrackcorner and jpc of free shipping for orders above Euro 100 (soundtrackcorner, easily reached…) and Euro 20 (jpc).
