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Edición digital del score de Amine Bouhafa para "Secret of the Nile"

Fragmentos del score en amazon.com
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Varèse edita "Hamlisch: Play it again, Marvin"


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Varèse edita a finales de mayo el score de John Massari para "Killer clowns from outer space"


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Novedades de CSC Records


Información en www.musicbox-records.com
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Larghetto edita "Comme des garçons" de Vladimir Cosma

Información en musicbox-records.com
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Sony edita la BSO de "I feel pretty" de Michael Andrews & VVAA


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Back Lot Music edita el score de Nathan Whitehead para "Stephanie"


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Lakeshore edita la música de Scott McRae y Ryan Rapsys para "Little Pink House"

ABOUT LITTLE PINK HOUSE
Little Pink House stars two-time Academy Award nominee Catherine Keener (Get Out, Capote, The 40-Year-Old Virgin), Emmy nominee Jeanne Tripplehorn (Big Love, The Firm, Grey Gardens), and Callum Keith Rennie (Fifty Shades of Gray, Warcraft: The Beginning, Memento). The screenplay is adapted from Jeff Benedict’s book, Little Pink House: A True Story of Defiance and Courage. Little Pink House also features an original song by two-time Rock & Roll Hall of Fame inductee David Crosby entitled "Home Free."
 
Based on a true story, a small-town EMT named Susette Kelo (Catherine Keener) leaves a bad marriage, and starts over in a new town. She buys a rundown cottage in New London, Connecticut, refurbishes it with her bare hands, paints it pink, meets a great guy (Callum Keith Rennie), and exhales. Then she discovers powerful politicians are bent on bulldozing her blue-collar neighborhood to make way for condos and office buildings designed to benefit the new corporate headquarters of pharmaceutical giant, Pfizer. (Execs are eager to expand their facilities because they have high hopes for a soon-to-be-released drug called Viagra).
 
The redevelopment effort is spearheaded by Dr. Charlotte Wells (Jeanne Tripplehorn)—ambitious and accomplished, she’s the closest thing the gritty town has to a celebrity. With the help of a young lawyer named Scott Bullock (Giacomo Baessato), Susette emerges as the reluctant leader of her neighbors in an epic battle that goes all the way to the U.S. Supreme Court, inspires a nation, and helps millions of Americans protect their homes.
 
ABOUT COMPOSER SCOTT MCRAE
Originally from Virginia, where he started composing music at age 12, Scott has lived in the Los Angeles area working in the music industry since 2000 as a composer, arranger, orchestrator, and supervising copyist. In 2014, he was nominated by the Madrid International Film Festival for "Best Music in Film" for his score to The Box. He has contributed his musical skills and talents to such projects as Gone Girl, The Pursuit of Happyness, Rush Hour 3, After the Sunset, Cold Mountain, and many others.
 
Scott co-produced and arranged music for two Christmas albums, Christmas Fantastique and A Flute Tootin' Yule, and also founded Janen Music with Todd Hayen, which provides quality music preparation services for film, television, sound recording and live performance, and also rents music to orchestras for concert performances internationally.
 
ABOUT COMPOSER RYAN RAPSYS
Ryan Rapsys is a Los Angeles-based film composer and electronic music producer. Rapsys scored the film Little Pink House, starring Oscar-nominated actress Catherine Keener and Emmy-nominated actress Jeanne Tripplehorn. Ryan Rapsys also scored the documentary Can We Take A Joke?, featuring Gilbert Gottfried, Penn Jillette and Adam Carolla.
 
Rapsys has composed music for numerous award-winning feature films and short films, documentaries, theatrical productions and commercial projects. Rapsys's music has been used in Dateline NBC and Today Show, among many others. Ryan Rapsys mixes elements of classical, experimental, ambient and electronic music to create unique, hybrid compositions that focus on very specific and subtle emotions.
 
Ryan Rapsys owns and operates Total Music Metadata, a music service business which catalogs, edits and optimizes music tracks for licensing. Ryan Rapsys has also released electronic music under the aliases Transistorface, Microquasar and Pineriver. Rapsys also composes classical concert music. Ryan Rapsys lives with his wife Christine Rapsys, son Tristan and dog Lily in the Los Angeles suburb of Santa Clarita.
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"The World of Hans Zimmer: A Symphonic Celebration": Concierto en el Teatro Real el 3 de julio

El martes 3 de julio tendrá lugar en la Sala Principal del Teatro Real el concierto "The World of Hans Zimmer: A Symphonic Celebration". A fecha de hoy todavía se desconoce el contenido del evento, y desde la organización confirman que el director de orquesta será Gavin Greenaway, aunque no comunican si Zimmer asistirá.
El 20 de este mes se podrán adquirir las entradas en el siguiente enlace: universalmusicfestival.es
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Reedición en CD de "Porgy and Bess" de George Gershwin


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Reedición en CD de "El libro de la selva / El ladrón de Bagdad" de Miklós Rózsa


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Reedición de "Tiempos modernos" de Charles Chaplin, Edward Powell y David Raksin


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Reedición en CD en junio de "Drango: Cenizas de odio" de Elmer Bernstein


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Reedición en CD en junio de la música de Marguerite Monnot y André Previn para "Irma la Dulce"


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Lakeshore edita "The Titan" de Fil Eisler


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Sparks & Shadows edita en CD "The Cloverfield Paradox" de Bear McCreary

Información en musicbox-records.com
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GEMS Christopher Young Film Scoring Program 2018: Del 27 de junio al 5 de julio

Del 27 de junio al 5 de julio tendrán lugar en Madrid unas jornadas dirigidas a futuros compositores audiovisuales, y músicos en general, organizadas por GEMS, grupo de compositores encabezado por el gran Christopher Young. Los participantes podrán completar al término del curso una grabación con una orquesta profesional, en este caso la Mad4Strings.
Toda la información del evento en docs.wixstatic.com & gems.courses
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Varèse edita en mayo el score de Patrick Doyle para "Sgt. Stubby: An American Hero"


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Intrada edita "El niño con el pijama de rayas" de James Horner



Información detallada en store.intrada.com
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Edición digital de "Sage femme" de Grégoire Hetzel

Fragmentos en amazon.es
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Especial Favoritos de Scoresdecine. Segunda parte

Segunda parte dedicada a mis compositores preferidos de la historia del cine. A diferencia de la primera, en esta ocasión me centro en sólo 10 músicos. En breve la tercera y última parte del especial.
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Madison Gate edita digitalmente el score de Dominic Lewis para "Peter Rabbit"

Fragmentos en amazon.com
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Moviescore Media edita la música de Panu Aaltio para "95"

Información en moviescoremedia.com
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Silva Screen edita en formato digital "The Good Karma Hospital" de Ben Foster


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Varèse edita el día 27 "Jim Henson’s The Storyteller" de Rachel Portman

Varèse Sarabande will release a limited-edition box set of music from JIM HENSON’S THE STORYTELLER on April 27, 2018.  The 3-CD set, which is available for pre-orders beginning April 13, features original music composed by Academy Award® winning composer Rachel Portman (EMMA, CHOCOLAT), available for the first time ever.
 
The release contains music from JIM HENSON’S THE STORYTELLER and its spinoff series, JIM HENSON’S THE STORYTELLER: GREEK MYTHS, a 32-page booklet of exclusive interviews with the producers of the series and Portman herself, and a collection of behind-the-scenes photographs.
 
Currently celebrating its 30th anniversary, the Emmy® and BAFTA TV Craft award-winning JIM HENSON’S THE STORYTELLERanthology series features both human actors and creations from Jim Henson's Creature Shop in this retelling of classic folk tales, fables, and legends. The series starred John Hurt in the title role. Aided by his cynical dog (performed by Brian Henson), Hurt narrates fascinating tales that combine humor, intrigue, and magic.
 
The series was the brainchild of Jim Henson’s eldest daughter, Lisa Henson, CEO of The Jim Henson Company.  Lisa, whomajored in folklore and mythology at Harvard, suggested they create an anthology series based on these stories.
 
Composer Rachel Portman had been writing music professionally for only a few years when brought on by director Steve Barron to work on the pilot.  “Steve and I talked about each film having a special sound and a special voice, and some special instrument that would be part of it. I chose very carefully a different coloration for each story, what the main instrument was going to be—because I wasn’t able to have very many instruments, and I wanted it to be orchestral,” Portman described. 
 
Brian Henson, who was also the series head puppeteer and is currently chairman of The Jim Henson Companyhad nothing but praise for the music. “Rachel Portman gives it a timelessness. She makes the show important,” he said.  “She makes the stories important. There’s a gravitas that comes with her music, but then also the light, lyrical melody. I think it’s just beautiful scoring of fantasy.”
 
“I felt I had real freedom to go as dark as I wanted, musically,” explained Portman. “I didn’t shy away from being really sad, or really dark, or really happy. I think that really matched the way the whole series was done, and the scripts. It always kind of ends in minor. I don’t know why. They all come back to a sad chord at the end.”
 
JIM HENSON’s THE STORYTELLER is currently streaming via the STARZ app. As a special treat, Fathom Events is hosting screenings of JIM HENSON’S LABYRINTH in select theaters April 29, May 1&2 (https://www.fathomevents.com/events/labyrinth). The event will include a special theatrical screening excerpt from THE STORYTELLER.
 
Varèse Sarabande will release JIM HENSON’S THE STORYTELLER on April 27, 2018, available for pre-order beginning on April 13.
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Novedades del sello Kronos Records


Información detallada en kronosrecords.com

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Lakeshore edita la música de Evgueni Galperine y Sacha Galperine para "Paterno"

Lakeshore Records will release PATERNO - Original HBO Films digitally on April 27, 2018. The album features original music by composers Evgueni Galperine and Sacha Galperine (LOVELESS, THE WIZARD OF LIES).
 
PATERNO centers on Penn State’s Joe Paterno in the aftermath of the Jerry Sandusky sexual abuse scandal. After becoming the winningest coach in college football history, Paterno’s legacy is challenged and he is forced to face questions of institutional failure in regard to the victims. Academy Award and Emmy® Award winner Al Pacino stars in the film’s title role. PATERNO is Pacino’s third HBO collaboration with award-winning director Barry Levinson, having starred in YOU DON’T KNOW JACK, which earned Pacino a Golden Globe® for Best Actor, an Emmy® for acting and Levinson an Emmy® nomination for directing. Pacino also starred in the title role in HBO’s Phil Spector, which Levinson executive produced.
 
Evgueni and Sacha Galperine, who also composed the music for THE WIZARD OF LIES, were very aware of complex undertaking of this story. “Barry [Levinson] told us that he would like to have an emotional score to reveal Joe Paterno's complex feelings but at same time he wanted to avoid playing to compassion or pity,” said composer Evgueni Galperine. “His idea was to make people understand Joe, try to imagine what they would do in his place, but in no way did Barry want the score to entice the audience to pardon Paterno.”
 
Sacha Galperine continued, “Our mission was to use the score to reveal Paterno's emotional and psychological journey starting with denial and fear and finishing with the understanding, guilt and profound remorse.”
 
The composers achieved this using organic instruments manipulated in unorthodox ways.  “Unlike some other of our work, we concentrated on classical, orchestral instruments but used in an unusual way, impossible to play in real life musicians but made possible by samples programming,” Evgueni described.  This can be heard in the tracks ‘A Quiet Storm’ or ‘The Riot.’  “When complex articulation techniques are played very fast. It creates an interesting effect, like if we were listening to a superhuman orchestra,” Sacha explained.
 
Brothers Evgueni and Sacha Galperine relocated to France, from their native Russia in 1990, to complete the classical music training they’d begun in Moscow.  Soon after arriving in Paris, Evgueni was drawn to composing film scores while still studying symphonic composition and electro-acoustic music at the National Conservatory (CNSM) in Paris. Sacha turned to rock and electronic music after receiving a first prize for violin performance at the Conservatory of Versailles.
 
Evgueni and Sacha Galperine are equally at ease and focused on storytelling, whether working on independent films—over a dozen in Europe and Asia— mass-market films, or contributing music to blockbusters like M. Night Shyamalan’s SPLIT, and Garry Ross’ THE HUNGER GAMES.  Their international credits include Luc Besson’s THE FAMILY, Asghar Farhadi’s THE PAST, Eric Lartigau’s LA FAMILLE BÉLIER, Alix Delaporte’s LE DERNIER COUP DE MARTEAU (official selection at the Venice IFF), Nicolas Provost ‘s THE INVADER (Best Music award at Ghent Film Festival), Yilmas Arslan’s BRUDERMORD, and Jiang Wenli’s LAN.
 
Their recent credits include the HBO Films Original THE WIZARD OF LIES, starring Robert De Niro and Michelle Pfeiffer, directed by Barry Levinson, the acclaimed French TV series LE BARON NOIR, and Andrey Zvyagintsev’s Academy Award®-nominated film, LOVELESS. Evgueni and Sacha were honored as European Composer of the Year by the EFA for their score for LOVELESS. Upcoming projects include RADIOACTIVE, directed by Marjane Satrapi starring Anya Taylor-Joy, Rosamund Pike, and Aneurin Barnard.
 
PATERNO premiered April 7, 2018 on HBO. Lakeshore Records will release PATERNO - Original HBO Films Soundtrack digitally on April 27, 2018.
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Edición digital del score de A.R. Rahman para "Beyond the clouds"


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Universal edita en junio en doble CD "Eric Clapton: Life in 12 Bars"


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Disney Music edita el 25 de mayo la música de John Powell, con tema central de John Williams, para "Solo: A Star Wars Story"


Reserva en amazon.es

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Novedades en CD del sello Cinevox



Información en musicbox-records.com

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Milan edita el score de Martin Todsharow para "The Captain"

1945. Le chaos se répand en Allemagne et les armées du IIIème Reich commencent à se déliter. Des escadrons de soldats ivres multiplient les exécutions sommaires, sans différencier déserteurs et fantassins ayant perdu leur unité. Pour survivre, un jeune déserteur allemand, Willi Herold, va usurper l’identité d’un capitaine, entraînant dans sa fuite avec lui des soldats pour une mystérieuse « mission spéciale ».

Nous devons la bande originale de The Captain au compositeur allemand Martin Todsharow.

Après des études à la Musikhochschule « Hanns Eisler » de Berlin au début des années 90 (piano et contrepoint / composition), il compose d’abord pour le théâtre avant de gagner l’Angleterre. Instrumentiste dans la musique pop comme dans la musique savante, il devient en 1997 compositeur de musique de film à part entière, ainsi que music supervisor. On lui doit notamment la musique des films Tattoo (Robert Schwentke) etSommerfest (Soenke Wortmann).

Il a composé pour The Captain une musique sombre et intense qui appuie l’aventure surréaliste et pleine de tension du protagoniste.

Disponible en milanmusic
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Crítica de "Ready Player One" [***]

La relación de Alan Silvestri con el cine de acción y de ciencia-ficción ha sido muy estrecha desde sus comienzos en la industria. Ejemplos de ello son bandas sonoras como 'Tras el Corazón Verde', 'Regreso al futuro', 'El vuelo del navegante', 'Depredador', 'Mi amigo Mac', '¿Quién engañó a Roger Rabbit?', 'Mi novia es una extraterrestre', 'Abyss' o 'Regreso al futuro II'. ¿Qué tienen en común todas ellas, aparte del hecho de pertenecer a ambos géneros? Se trata de partituras escritas en los años 80. Ahora nos llega una nueva incursión en dicha variedad cinematográfica con la adaptación de la novela de Ernest Cline 'Ready Player One', en la que el realizador Steven Spielberg rinde homenaje al universo ochentero con un sinfín de referencias a una época llena de iconos socioculturales.
Ante la imposibilidad de contar con la inestimable colaboración de John Williams, que se encontraba inmerso en el momento de la posproducción en 'Los archivos del Pentágono', ambos decidieron, a su vez asesorados por el orquestador y compositor William Ross (que aquí también firma la instrumentación), contratar al músico más evidente: Silvestri. 
En 'Ready Player One' nos encontramos con una creación que es una referencia continua a los scores que el músico neoyorquino escribió principalmente en la etapa inicial de su carrera. La música describe, con mayor o menor pericia, las aventuras de los atribulados protagonistas no persiguiendo la creación de una temática especialmente original (su gran error en realidad), sino dejándose llevar por la nostalgia de su propio estilo como autor. Es cierto que todos los compositores beben de sus propias fuentes, pero en este caso Silvestri peca de ser autocomplaciente. Sus temas centrales no conmueven, son como un déjà vu que deja indiferente.
Score, en definitiva, que cumple en su propósito de ser referencial pero que sucumbe ante la búsqueda de la originalidad.
  • Lo mejor: las orquestaciones de William Ross y Henri Wilkinson.
  • Lo peor: decepciona la falta de ambición.


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Podcast Especial 1978



El programa de hoy está dedicado al año 1978. Os preguntaréis el por qué, y la respuesta se encuentra en dos compositores: John Williams y Jerry Goldsmith. En realidad, se centra en el primero pues es un año en el que el músico neoyorquino dio un giro estilístico en su fulminante carrera. Tras dos Oscar a la mejor partitura con Tiburón y La guerra de las galaxias, en 1978 Williams firmaría tres de sus bandas sonoras más destacadas: La furia, Superman y Tiburón 2. Las tres suponen un cambio en su forma de orquestar, siempre de la mano de su fiel colaborador Herbert W. Spencer. Hay en ellas un perfeccionamiento no sólo en la instrumentación sino muy especialmente en el acabado final que acabaría marcando el resto de su obra.

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Edición en vinilo en mayo de la música de Nino Rota y Armando Trovajoli para "Bocaccio '70"


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Silva edita el 25 de mayo "Edie" de Debbie Wiseman

Información en amazon.es
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Varèse edita el 11 de mayo el score de Fil Eisler para "Life of the party"


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Milan edita en junio "Hereditary" de Colin Stetson


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Universal Music edita digitalmente "Super Troopers 2" de Eagles of Death Metal


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Lakeshore edita digitalmente el score de Andrew Lockington para "Rampage"


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Lakeshore edita el 1 de junio la música de Christopher Lennertz para la serie "Perdidos en el espacio"

Lakeshore Records will release LOST IN SPACE - Netflix Original Series Soundtrackdigitally April 13, 2018 with a CD release forthcoming. The album features original music by composer Christopher Lennertz (RIDE ALONG, MEDAL OF HONOR, MARVEL’S AGENT CARTER).
 
Produced by Legendary Television, LOST IN SPACE is a Netflix Original dramatic and modern reimagining of the classic 1960’s science fiction series. Set 30 years in the future, colonization in space is now a reality, and the Robinson family is among those tested and selected to make a new life for themselves in a better world. But when the new colonists find themselves abruptly torn off course en route to their new home they must forge new alliances and work together to survive in a dangerous alien environment, lightyears from their original destination.
 
“When we were approaching the score for Lost In Space we knew there was a certain feeling we wanted to create for the viewers,” said Executive Producer Zack Estrin. “Following in the footsteps of the magnificent John Williams, who composed the original iconic series theme, Christopher Lennertz brought to us a vision that fit perfectly. It is full of triumphant brass and soaring strings, where orchestral melody and percussion dance seamlessly from edge of your seat thrills to simple moments of raw emotion.”
 
Lennertz was excited to be the sound of this relaunch of a classic American franchise. “Zack and all the producers wanted the musical language of the title sequence to set up the score for the rest of the story, and hopefully we did just that,” Lennertz explained.  “It’s a big story with family and adventure at the very heart. I tried to be grand and heroic, with a nod to exploration, and a hint of nostalgia. I hope it resonates with fans of the show, both old and new!”
 
LOST IN SPACE stars Toby Stephens (Black Sails, Die Another Day) as John Robinson, and Molly Parker (House of Cards, Deadwood) as Maureen Robinson. As the Robinson kids, Taylor Russell (Falling Skies) is the strong-willed and confident Judy, Mina Sundwall (Maggie’s Plan, Freeheld) is the quick-witted and definitive middle-child Penny, and Max Jenkins (Sense8, Betrayal) is the curious and sensitive Will Robinson. Stranded along with the Robinsons are two outsiders who find themselves thrown together by circumstance and a mutual knack for deception, the unsettlingly charismatic Dr. Smith played by Parker Posey (Café Society, Mascots, A Mighty Wind) and the inadvertently charming Don West, played by Ignacio Serricchio (Bones, The Wedding Ringer).
 
Lennertz’s favorite sequence in the pilot is featured in the track “Will and Robot”.  The scene is “where Will and the robot not only meet, but form a true bond in the midst of a harrowing adventure. Zack wanted it to play both the wonder of the situation and the danger of the robot,” Lennertz described.  “It was such a treat to write a long cue like the classic sci-fi that I grew up with, where an entire relationship shifts over the course of the piece and Will’s emotion soars on top of the action and danger underneath. I really put myself in the mind of my 12 year-old self and tried to write it from the point of view.”
 
“Much like the Robinsons themselves, there's an underlying sense of hope to the music,” said Estrin. “It's a sonic rollercoaster full of fun and heart -- and more than a few moments that make you want to raise your arms and cheer.”
 
One can’t address LOST IN SPACE without addressing John Williams’ original main title theme.  “From the beginning, the producers wanted a classic main title sequence to play during at least some of the episodes,” said Lennertz. “I wanted to tease the show’s premise with a hint of the Alpha Centauri program theme, then a full statement of the new LOST IN SPACE theme, followed by a triumphant finish that showcased now legendary composer John Williams’ original theme from season 3 that people are so familiar with. It was such an honor to be able to incorporate such a classic melody from the man who made me fall in love with film music from the very beginning.”
 
LOST IN SPACE premieres April 13, 2018 on Netflix. Lakeshore Records will release LOST IN SPACE - Netflix Original Series Soundtrack digitally April 13, 2018 with a CD release forthcoming.
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DECCA EDTA EL 18 DE MAYO "ON CHESIL BEACH" DE DAN JONES

Fragmentos del score en amazon.es
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