La colonna sonora del capolavoro di Spielberg, musica di John Williams
Colonna sonora originale del film con musiche di Dave Edmunds, Jeff Beck, Fabulous Thunderbirds, Willie Nelson e molti altri. Copia non sigillata.
(P)(C) Sonic Images Records, A Division of Sonic Images Enterprises
"HEART OF THE OCEAN,
About The Film Music Of James Horner, by Randall D. Larson
Film composers, as a rule, do not achieve stardom. They rarely become household names. Scoring movies remains a misunderstood and often neglected art. Even with the growing marketability of soundtrack CDs from films (as distinct from a collection of songs used in a film), film music is appreciated as music - apart from its serviceability as one of many components of a motion picture - by relatively few.
It's only when the popularity of a film transcends the commodity of the neighborhood theater or video store that its music really falls into the cultural language. Henry Mancini was one of the first composers to achieve fame based on his popular compositions for films, many of which have gone on to become musical standards. John Williams revitalized symphonic film scoring in an era of pop-music affluence in the late 1970s and made possible dozens of film music careers in the two decades that followed. James Horner's was one of them.
Emerging from the low-budget world of Roger Corman horror and science fiction in 1979, Horner has gone on to score many of the most popular films of the last 20 years. And, with the resonant success of his score for TITANIC coupled with the commercial and critical success of the film itself, James Horner is finding himself among that rare gathering of film composers whose names are recognized even by the most casual moviegoers. "Oh, James Horner," they will murmur upon reading the name on a movie poster or during the opening credits of a new film. "He wrote the music for TITANIC."
"Oh, yes, that's right...!" TITANIC is the crowning achievement of a career that has spanned 20 years and more than a hundred movies, garnering an Oscar, a Golden Globe and three Grammy Awards, and a fistful of Academy Award and Golden Globe nominations along the way.
The TITANIC soundtrack album, at more than 268,000 sold, has become one of the best selling original score soundtracks ever. It topped Billboard's list of top-selling CDs for a record-setting 15 weeks, eclipsing the mark of 14 set by EXODUS 36 years ago. James Horner's meteoric rise to fame and success came quickly and came young for the 44-year old composer/conductor. In an occupation increasingly difficult to acquire, where a hopeful musician can get a degree in Film Composition and then face relentless competition from hundreds of other hopeful musicians eager for a shot at a Hollywood filmscoring career, Horner briskly rose like one of Titanic's brilliant and dazzling flare beacons from low budget suburbia to the top of his craft in a handful of years.
Early on, his music reached an emotional connection with moviegoers. He demonstrated an instinctive ability to identify a film's emotional core through music which, indeed, is movie music's highest calling. It is the job of the film composer to weave that final emotional link between celluloid and cinemagoer, making that subliminal connection between the character on screen and the emotions of the viewer in the audience. In short, music - the very last component of film to be integrated into the cinematic whole - has the vitally important mission of linking all of the other components. Music - the language of emotions - consummates the performances of the actors on screen, and it colors the events and environments in which writers and cinematographers and set designers and directors have placed them. Music accomplishes this almost magically. James Horner, with his mastery of stirring melodies, potent orchestrations, and profoundly moving crescendos and decrescendos, has become a master at emotive film scoring. He finds - or he invents - a film's passionate core;
then he emphasizes, embellishes, and envelops that core with music. Horner's film scores create and maintain that emotional link between the viewer and the visual story played out on the theater or video screen with splendid and often very me- morable effectiveness. Born in Los Angeles in 1953, James Horner spent his formative years in London where he attended the prestigious Royal Academy of Music with the aim to become a composer of serious, avant-garde classical music. Returning to his native California, he continued his musical education at the University of Southern California where he received a Bachelor of Music in Composition. He transferred to the masters program at UCLA where he earned a Doctorate in Music Composition and Theory. An offer to score a short film for the American Film Institute in the late ‘70s led to the dis- covery of a passion for film music. After scoring a number of films for the AFI, Horner left the academic world and began developing his craft in the low-budget milieu of Roger Corman's New World Pictures. During his sojourn at New World, Horner also became acquainted with a number of young directors, including Ron Howard and James Cameron, with whom he would later collaborate very successfully. His career was weaned on such classics as UP FROM THE DEPTHS, HUMANOIDS OF THE DEEP, and BATTLE BEYOND THE STARS. Fluffy and forgettable fantasies, the movies were nevertheless notable for containing effective symphonic scores composed by the hitherto unknown Horner. Graduating to larger horror films like WOLFEN, THE HAND, and DEADLY BLESSING, Horner found additional opportunities to ply his trade and concoct film scores of increasing interest. Propelled into the film music mainstream with his big-budget scores for big-budget films like STAR TREK II: THE WRATH OF KHAN and ALIENS, Horner very quickly found him- self at the forefront of Hollywood film scoring. The success of the STAR TREK scores initially pigeon-holed Horner in the science fiction/fantasy realm with pictures like BRAINSTORM, KRULL, and SOMETHING WICKED THIS WAY COMES.
With opportunities to score other types of films, such as 48 HOURS, UNCOMMON VALLOR, and GORKY PARK, Horner extricated himself from being a "genre composer" and propelled a career that has made him one of the most sought-after film composers in Hollywood. Name a dozen of the decade's biggest films - half of them may well have been scored by Horner. The variety of subject matter, period, and locale has also afforded Horner the opportunity to compose music in a wide variety of styles. BRAVEHEART carries a strong Irish and Scottish tonality as benefits its historical setting. TITANIC based much of its thematic material on Irish music, associated with the Irish laborers who built the mighty vessel. Steel drums have their place in 48 HOURS. Andean flutes occupied much of the music to VIBES while synthesizers gave FIELD OF DREAMS an ethereal and visionary tonality.
SWING KIDS featured plenty of 1940's big band swing complementing the inclination of certain World War II-era German youth toward jazz music instead of the Third Reich. HONEY, I SHRUNK THE KIDS and both COCOON movies featured their share of big band swing as well, contrasted with COCOON's poignant melodies associated with its characters both human and unearthly. Electronic and vocal intonations lent a quasi-medieval texture to THE NAME OF THE ROSE. ALIENS featured a claustrophobic score full of surging dissonance and rapid, assaultive orchestral motion. CASPER used choir to emphasize its ghostly relations.
THE ROCKETEER carried a gentle sense of Americana as it supported the story of a steel- clad super-hero battling Nazis on America's home front during World War II. THE MAN WITHOUT A FACE, THE SPITFIRE GRILL, SEARCHING FOR BOBBY FISCHER, and WHERE THE RIVER RUNS BLACK were provided with smaller, gentler melodic scores while blockbusters like RANSOM and JUMANJI received energetic, bombastic orchestrations. COMMANDO, PATRIOT GAMES, and A CLEAR AND PRESENT DANGER were brisk action scores, ripe with percussive excitement and heroic melodies. LEGENDS OF THE FALL captured one of Horner's most expansive themes, filled with simple Americana and a profound melody line. GLORY featured a boy's choir creating a passionate hymn, embodying all the futile heroism and indomitable spirit of the 54th Regiment of Massachusetts during the Civil War.
COURAGE UNDER FIRE captured a similar sense of poignancy as it explored notions of courage, bravery, and accountability during a moment (replayed from diverse perspectives in the search for truth) in the Gulf War. APOLLO 13 captured all of the glory, the sense of achievement, and the sheer desperation of the predicament experienced by the American astronauts in the near-tragedy of the NASA space program. Animated musicals like AN AMERICAN TAIL, THE LAND BEFORE TIME, and WE'RE BACK - A DINOSAUR'S STORY were tuneful and melodic. THE PAGEMASTER, with its amalgamation of animation and live-action, received a thunderous action score befitting any full-blooded adventure. WILLOW gave its live-action cartoon story plenty of breezy, string-driven adventurism. What all of these film scores have in common is a grounding in tonality and melody and a rich emotional tapestry which accentuates the drama depicted in the films. The fact that most of them also contain highly melodic music that stands on its own apart from the films is a credit to the composer and the durability of superior motion picture scoring.
About the Author:
Randall D. Larson is a senior editor for "Soundtrack! The Collector's Quarterly," and the former editor/publisher of "CinemaScore - The Film Music Journal", which covered movie music in voluminous detail from 1979-1987. A music columnist for Cinefantastique magazine for more than 15 years, Larson is also the author of several books on film music including Music From The House of Hammer and Musique Fantastique: A Survey of Film Music in the Fantastic Cinema."
20 Lounge Classics
Played by The National Philharmonic Orchestra
Terza capitolo della saga di Matrix, con musiche di Don Davis e Juno Reactor
Colonna sonora del film con brani nuovi di Britney Spears, Backstreet Boys, Barenaked Ladies e Jars Of Clay.
Colonna sonora del film con brani di B.B.King, John Lee Hooker, Buddy Guy, Stevie Ray Vaughan e altri.
Recorded at RCA Victor's Music Center of the World, Hollywood, California on August 10,11, and 14, 1959.
1995 Warner Bros.
Colonna sonora dell'attesissimo fantasy di James Cameron. Musica di James Horner, uno specialista. Il tema del film è cantato da Leona Lewis.
Long Box USA. Colonna sonora del film Disney
? © 1999 Dreamworks L.C.C.
Recorded at RCA Victor's Music Center of the World, Hollywood, California: February 8, 1965 (tracks 2, 4, 9, 11); February 23, 1965 (tracks 3, 6, 8, 10); March 2, 1965 (tracks 1, 5, 7, 12)
Colonna sonora con canzoni inedite di Savage Garden (The Animal Song") e Pretenders ("Loving You Is All I Know") e brani di Joan Osborne, Paula Cole, Lemonheads, Alison Krauss e altri.
2 CD. Colonna sonora del nuovo Matrix con brani di Linkin Park, Marilyn Manson, Rob Zombie, Deftones, POD etc
Colonna sonora di James Horner.
Colonna sonora del film con Nick Drake, Tindersticks, Greg Brown, Squirrel Nut Zippers, Grandaddy, Ween, Waterboys e altri.
(C) and (P) 1996. Original Copyright 1945. Recorded 1945, except track 4 recorded 1948.
27-page booklet. Tracks 4, 17, and 18 mixed in true stereo. Other tracks are monaural. cover art by Fred Hirschfeld.
Various composers, lyricists, and arrangers were credited. Disc indicates "Made in U.S.A."
Ry Cooder, Cat Power, Otis Redding, Amos Lee, Cassandra Wilson ecc.
Colonna sonora del film di Cameron sul mistero del Titanic, composta da Joel Mc Neely.
Total time: 54:03
Special Thanks to:
Martin Maryska, Melody Carpenter, Gary Denton, Evalon Witt, Meredith Snow and John Vanholiten.
Dedicated to the Memory of Francis E.P.McCarter.
Published by Cannon Music.
Stills and Covers Artwork ©1988 Cannon Films, Inc.
©1989 Silva Screen Records Ltd.
?1989 Cannon Films, Inc.
Issued under licence.
Marketed by Silva Screen Records Ltd.
UK Distribution by PRI Records.
Manufactured in the U.K.
Contiene canzoni di Corinne Bailey Rae & New Mastersound, John Linton, Zack Broocke, The Frames, Gary Brothers, M. Ward, Jeff Buckley etc.
Recorded in RCA Victor's Music Center Of The World, Hollywood, California, 1962.
Music From The Motion Picture 'Experiment In Terror'
A BLAKE EDWARDS Production - A COLUMBIA Pictures Release
GLENN FORD - LEE REMICK with STEFANIE POWERS
Screenplay by THE GORDONS.
Based on Their Novel, "Operation Terror"
Directed by BLAKE EDWARDS.
Music taken from and inspired by the movie.
Colonna sonora del film di Steven Spielberg
Contiene le musiche originali di Jamshied Sharifi e "The Secret Life" di Jill Sobule, "Wack Wack" di Young-Holt Unlimited, "Sous Le Soleil de Bodega" di Les Negresses Vertes, "Uska Dara" di Eartha Kitt e "Get up Offa That Thing" di James Brown.
2CD. Colonna sonora della serie a disegni animati della BBC inglese.
Colonna sonora del nuovo film di Robert Altman con canzoni di Elvis Costello, Yo Yo Ma, Julee Cruise, Chet Baker, Kronos Quartet, Van Dyke Parks. Alcuni brani (Kronos, Parks, Costello) sono inediti
Colonna sonora del documentario con canzoni di Nanci Griffith, mary Chapin Carpenter, Paula Cole, Indigo Girls, Beth Nielsen Chapman e altre cantautrici.
Edizione del ventesimo anniversario con tre brani aggiunti
Album Edited and Mastered at Fantasy Studios, Berkeley, CA.
© 1992 The Walt Disney Company.
? 1992 Buena Vista Pictures Distribution, Inc.
Manufactured and printed in the U.S.A.
Henry Mancini e The Mancini Pops Orchestra interpretano le musiche di Nuovo Cinema Paradiso, Mission, Romeo e Giulietta, Amarcord, C'era una volta in America, Il Padrino, C'rea una volta il west, Gli Intoccabili, Boccaccio '70, I Clown e La Dolce Vita.
Colonna sonora del cartone animato con brani inediti di Paul Simon, Peter Gabriel, Dave Mathhews and Youssou N' Dour with Shaggy..
Walt Disney Pictures Presents
Home On The Range
An Original Walt Disney Records Soundtrack
The enhanced portion of the CD contains an access to Internet features (not available anymore), and the possibility to sign up for a newsletter.
k.d. lang appears courtesy of Warner Bros. Records
Bonnie Raitt appears courtesy of Capitol Records
Tim McGraw appears courtesy of Curb Records
The Beu Sisters appear courtesy of S-Curve Records
Recording studios: Signet Sound Studios, Todd Scoring, O'Henry Sound Studios, Paramount Stage M, Schnee Studio, Warner Bros. Eastwood Scoring Stage, Firehouse Recording, Glenwood Place Studios, Capitol Studios
Track 6 recorded at Emerald Entertainment Group.
Album mastered at Bernie Grundman Mastering.
Tracks 11 and 12 include excerpts from "The Good, The Band and The Ugly"
© 1966 Renewed 1994 EMI Music Publishing Italia SRL. Rights for the world excluding Italy assigned to EMI Catalogue Partnership. All rights for EMI Catalogue Partnership controlled and adm. by EMI Unart Catalog Inc. (BMI).
Songs © 2004 Walt Disney Music Company (ASCAP)/Wonderland Music Company, Inc. (BMI).
Score © 2004 Wonderland Music Company, Inc. (BMI).
? 2004 Walt Disney Records © 2004 Disney Enterprises, Inc.
Printed in U.S.A.
Colonna Sonora originale del film
Colonna sonora originale del film con Arnold Schwarzenegger.
Printed in the U.S.A.
Track 5 is stereo.
Tracks 4, 11 & 14 are previously unissued.
Track 15 is credited to Dooley Wilson, with Elliot Carpenter, pianist, and company.
Package design ©1997 Turner Broadcasting System, Inc., a Time Warner company.
Originally released in 1962
Track 1-1 taken from the movie 'Il cuore altrove' (Pupi Avati, 2003)
Track 1-2 taken from the movie 'Il sorpasso' (Dino Risi, 1962)
Track 1-3 taken from the movie 'Una gita scolastica' (Pupi Avati, 1982)
Track 1-4 new version 2004 taken from the movie 'Mondo cane' (Gualtiero Jacopetti / Paolo Cavara / Franco Prosperi, 1962)
Tracks 1-5, 2-7 taken from the movie 'Fantasma d'amore' (Dino Risi, 1981)
Tracks 1-6, 2-4 taken from the movie 'The yellow Rolls-Royce' (Sir Anthony Asquith, 1965)
Track 1-7 taken from the movie 'Girolimoni' (Damiano Damiani, 1972)
Track 1-8 taken from the movie 'Addio Zio Tom' (Gualtiero Jacopetti / Franco Prosperi, 1972)
Track 1-9 taken from the movie 'Confessioni di un commissario di polizia al procuratore della Repubblica' (Damiano Damiani, 1971)
Tracks 1-10, 1-11 taken from the movie 'The biggest bundle of them all' (Ken Annakin, 1967)
Tracks 1-12, 2-12 taken from the movie 'Africa addio' (Gualtiero Jacopetti / Franco Prosperi, 1965)
Track 1-13 taken from the movie 'Teresa la ladra' (Carlo Di Palma, 1974)
Track 1-14 taken from the movie 'Lo sbarco di Anzio' (Edward Dmytrik, 1968)
Track 1-15 taken from the movie 'The seventh dawn' (Lewis Gilbert, 1964)
Track 1-16 taken from the movie 'Cannibal holocaust' (Ruggero Deodato, 1979)
Track 1-17 taken from the movie 'Madron' (Jerry Hopper, 1970)
Track 1-18 taken from the movie 'La rivincita di Natale' (Pupi Avati, 2004)
Track 1-19 taken from the movie 'Non si sevizia un paperino' (Lucio Fulci, 1972)
Track 1-20 taken from the movie 'Ultimo minuto' (Pupi Avati, 1987)
Track 2-1 taken from the movie 'Ma quando arrivano le ragazze?' (Pupi Avati, 2005)
Track 2-2 taken from the movie 'The Valachi papers' (Terence Young, 1972)
Track 2-3 taken from the TV movie 'Cristoforo Colombo' (Alberto Lattuada, 1985)
Track 2-5 taken from the TV movie 'La piovra' (Damiano Damiani, 1984)
Tracks 2-6, 2-15 taken from the movie 'Fratello sole, sorella luna' (Franco Zeffirelli, 1972)
Track 2-8 taken from the movie 'I cavalieri che fecero l'impresa' (Pupi Avati, 2001)
Track 2-9 taken from the movie 'Mondo di notte n°3' (Gianni Proia, 1963)
Tracks 2-10, 2-11 taken from the TV movie 'A season of giants / La primavera di Michelangelo' (Jerry London, 1990)
Track 2-13 taken from the movie 'Sette volte donna' (Vittorio De Sica, 1967)
Track 2-14 taken from the movie 'Maya' (John Barry, 1968)
Track 2-16 is a Suite proposed with a new re-orchestrated score in classical form taken from the movie 'Mondo cane' (Gualtiero Jacopetti / Paolo Cavara / Franco Prosperi, 1962)
Track 2-9 wrongly titled 'Gran Walzer'.
Track 2-16 performed live in concert at Center Cullen Hall, Houston.
Total Time Disc 1 - 67'19"
Total Time Disc 2 - 67'55"
Distributed by the local SonyBMG company
A Unite of SonyBMG Music Entertainment
RCA Trademark Management, S.A.
Made in the EU
(P) 2004 BMG Ricordi S.p.A.
Comes in slipcase with poster and deluxe Italian / English 32 page booklet.
Musiche dallo spettacolo di Drew Carey con brani di Presidents of The United States Of America,Tower of Power, Iggy Pop, Ian Hunter, Bachman Turner Overdrive e altri.
Raccolta di colonne sonore di classici hollywoodiani del periodo anni sessanta.
Colonna sonora originale del film con Harrison Ford.
© 1994 Milan Entertainment, Inc.
Manufactured and Distributed in the U.S.A. by BMG Music
Colonna sonora originale del film con musiche di Patrick Doyle e i nuovi brani di Avril Lavigne e Jem.
Colonna sonora originale del film con brani degli annii 50 eseguiti da Platters, Little Richard, Bo Diddley, Conway Twitty e Jerry Butrel e musiche della Arturo O'Farrill Orchestra.
Colonna sonora con nuova musica di Gelo Boys, Luniz, The Click, Junior Mafia, Spice 1 e MC Ren.
Colonna sonora del film di Virzì. C'è il famoso brano di Nicola Di Bari, più temi del film eseguiti da Carlo Virzì e BIM Orchestra
Interessante colonna sonora per il nuovo film con Robert Redford, diretto da J.C. Chandor. Alexander Ebert ( alias Edward Sharpe ) ha composto la colonna sonora, completamente strumentale, con la sola esclusione di Amen, la canzone finale.
Colonna sonora originale del film
Music and Dialogue from the Original Motion Picture "Equus", directed by Sidney Lumet.
Back of side panel states "Deluxe Edition."
24 page fold-out front insert includes multiple photos, detailed liner notes and large photo of movie poster.
Motion Picture Artwork & photography © 2000 Columbia Pictures Industries, Inc. ? 2000 Columbia Pictures Industries, Inc.
Manufactured by Varèse Sarabande Records, Inc, Under License from Columbia Pictures Industries, Inc.
Printed in the U.S.A. Distributed By – Universal Music & Video Distribution
Colonna sonora dello spettacolo teatrale "Fronte del Porto"
2 CD. Colonna sonora del fim dedicato alla figura del grande musicista reggae, questo doppio CD è in realtà una raccolta coi classici di Bob, qualche rarità e brani dal vivo edito in CD per la prima volta. Curato dai famigliari e dal produttore Chris Blackwell, questo doppio CD è perfetto per chi non ha ancora nulla di Marley. 24 canzoni.
Canzoni tradizionali americane e musica strumentale presenti nel film Ken Burns.
Colonna sonora originale del film con brani di Terje Rypdal, Astor Piazzolla, Ali Farka Toure, Billy Holiday, Archie Shepp e altri.
Remastered in RCA Studio D, New York City, April 10–14, 1989.
Tracks 1-12 ?1965; Tracks 13-24 ?1966
Colonna sonora originale del film con brani di Chuck Berry, Jim Croce, Dean Martin, Oingo Boingo, Wailers e altri.
Recorded at New York City, 1966
Colonna sonora originale del film con Sean Connery e Catherine Zeta-Jones.
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