Malte Müller
Forumsvar Lagt Inn
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Innlegg
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Here in Germany their shorts ran in the early evening time for kids being named “Thick and dumb” (“Dick und doof”) and with new music. Same with of Charlie Chaplin shorts.
Somehow I have no memory of seeing any Abbott and Costello. I have only sampled that new release – it’s on the streaming service of my public library – and it is quite micky mousy.
Who knows, perhaps I will sign in to Spotify some time in the future, too. When I ran out of music on other channels maybe 😉
Btw, Thor, I figured two composers of your list are not really German: THe Baldenwegs are actually Swiss-Australians and Paul Haslinger is Austrian 😉
I think this is a US vs Europe thing, Abbott & Costello are probably don’t have the fan base over here. Actually I barely know them by name but grew up with Laurel & Hardy.
Good sound quality always trumps original fidelity.
I agree! I actually know both KING OF THE KINGS recordings and like both. Actually find all Tadlow Rozsa new recording great. I think it is realy a matter that you love what you heard first and are used, both performance and sound wise. I tend to agree a bit on CONAN therefore and more often listen to the older Varese albums. I don’t have the Intrada expansions.
ABYSS is a favorite of mine, too. Also BACK TO THE FUTURE, DELTA FORCE (friends and I were into these action movies in the 80s a lot ;-), ROGER RABBIT or the CHiPS tv stuff. So mostly older ones but tere are lots of others I like. His AVENGERS theme is also good later one. He never reached nowhere near a favorite level like GOldsmith or Williams did.
Would love to get more from MARK OF ZORRO than that one suite Roy Budd recorded. And I am still wondering why there has been no proper re-recording of CAPTIAN BLOOD besides suites.
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).
