wimpel69
03-01-2013, 10:28 AM
Re-Upped and Upgraded to FLAC. Please inquire the links per PM!
These are my rips. Please don't share further!
In the 1990s, Michael Fine and Koch International started an ambitious series on the complete orchestral
works of film and concert composer Mikl�s R�zsa. They didn't quite reach the finishing line, a few works are missing
from their albums, like e.g. the "Rhapsody for Cello and Orchestra" or the "Hungarian Serenade". Still, their survey
covers all the major bases, plus Koch also released an album each devoted to the music for solo piano (played by
David Buechner, soon to be transformed, quite literally, into Sara Davis Buechner) and to the music for solo violin
(by Isabella Lippi). Plus, there are two film music albums: one with extended symphonic suites from
The Lost Weekend, Double Indemnity and The Killers, and a single volume devoted entirely to R�zsa's
epic masterpiece El Cid. 9 CDs altogether, unless there were additional albums that I'm not aware of.
All the orchestral works included were played by the New Zealand Symphony Orchestra under the baton of
American conductor James Sedares, who, after the death of Andrew Schenck, became some kind of "staff
conductor" for Koch. Michael Fine himself engineered the recordings.
Works included:
orchestral works
Symphony (No.1, revised version)
Violin Concerto (with Igor Gruppman)
Sinfonia Concertante (with Igor Gruppman & Richard Bock)
Viola Concerto (with Paul Silverthorne)
Cello Concerto (with Brinton Smith)
Piano Concerto (with Evelyn Chen)
The Vintner's Daughter
Theme, Variations and Finale
Three Hungarian Sketches
Overture to a Symphony Concert
Concerto for String Orchestra
Andante for String Orchestra
Hungarian Nocturne
film music
The Lost Weekend (Suite)
The Killers (Suite)
Double Indemnity (Suite)
El Cid
violin & piano works
Piano Sonata
Kaleidoscope
The Vintner's Daughter
Bagatellen
Sonata for Solo Violin
Variations on a Hungarian Folk Song
North Hungarian Peasant Songs
Duo for Violin and Piano
Music Composed by Mikl�s R�zsa
Played by the New Zealand Symphony Orchestra
Conducted by James Sedares
"Miklos Rozsa already had a promising career as a composer in the concert hall when he started writing movie
scores in the mid-1930s. By the end of that decade, he was working on the most expensive movie being made in
England, and by the end of the decade that followed, he was under contract to the biggest studio in Hollywood.
Born into a well-to-do family in Budapest, Rozsa's musical sensibilities were shaped by his contact with the
Magyar peasants who lived around his father's summer estate. As a boy he could read music before he could read
words, and proved a natural musician, taking up the violin at age six. His earliest influences as a student were
B�la Bart�k and Zolt�n Kod�ly, who were regarded as dangerous radicals at the time. After studying at the Leipzig
Conservatory, Rozsa embarked on a career as a composer and saw early success with his Variations On a Hungarian
Peasant Song and his Theme, Variations and Finale -- the latter entered the repertory of several major conductors,
including Bruno Walter, in the mid-1930s, and Rozsa received encouragement in his career from none other than
Richard Strauss. He began writing music for films at the inspiration and suggestion of his friend Arthur Honegger --
Rozsa needed the income, and he liked the idea of writing music that would get performed and recorded quickly.
Rozsa established himself as a film composer at London Films, the British studio founded by his fellow Hungarian
Alexander Korda, and after impressing Korda with his work on thrillers like Knight Without Armor (1937), the producer
chose Rozsa as the composer for his Arabian Nights fantasy film The Thief of Baghdad (1940). The latter proved
too ambitious and expensive to finish in England once the war broke out, and the production was moved to Hollywood,
and Rozsa with it. He spent the next eight years as a successful freelance composer, winning his first Oscar with
his score for Alfred Hitchcock's Spellbound (1945), which broke new ground in movie music with its use of the electronic
instrument the theremin (and also yielded a popular piece of light classical music with the Spellbound Concerto).
He became known for his ability to score crime movies, particularly the category now known as film noir, psychologically
oriented tales of personal and criminal disorder, including The Killers (1946) and The Naked City (1947). In 1948, after
winning his second Oscar (for A Double Life), Rozsa joined MGM, then the biggest studio in Hollywood, where he
earned a third Oscar (for Ben-Hur (1959)) and a brace of nominations; his music graced some of the biggest movies
of the era, including epics like Quo Vadis (1949) and costume adventure yarns such as Ivanhoe (1952), and serious
topical dramas like The Red Danube (1949). Rozsa continued writing for the concert hall, although as a post-Romantic
composer whose work was rooted in tonality, he found himself out of favor with the critics as early as 1943, when his
Theme, Variations and Finale was performed by the New York Philharmonic. That didn't stop the performances or prevent
commissions from coming in; he wrote his Violin Concerto for Jascha Heifetz, and into the 1960s and 1970s was writing
concertos for piano, cello, and viola that were performed and recorded by such soloists as Leonard Pennario and
Janos Starker. Rozsa remained active into the 1980s, composing music for a new generation of filmmakers, including
Alain Resnais. At the time of his death in 1995, his concert and film music were in the process of being rediscovered
and newly recorded. "
All Music
Source: Koch International CDs (9x, my rips, no artwork!)
File Sizes: 311 MB / 233 MB / 289 MB / 263 MB / 268 MB / 189 MB / 201 MB / 288 MB / 260 MB
Total Size: 2.25 GB
Re-Upped and Upgraded to FLAC. Please inquire the links per PM!
These are my rips. Please don't share further!
These are my rips. Please don't share further!
In the 1990s, Michael Fine and Koch International started an ambitious series on the complete orchestral
works of film and concert composer Mikl�s R�zsa. They didn't quite reach the finishing line, a few works are missing
from their albums, like e.g. the "Rhapsody for Cello and Orchestra" or the "Hungarian Serenade". Still, their survey
covers all the major bases, plus Koch also released an album each devoted to the music for solo piano (played by
David Buechner, soon to be transformed, quite literally, into Sara Davis Buechner) and to the music for solo violin
(by Isabella Lippi). Plus, there are two film music albums: one with extended symphonic suites from
The Lost Weekend, Double Indemnity and The Killers, and a single volume devoted entirely to R�zsa's
epic masterpiece El Cid. 9 CDs altogether, unless there were additional albums that I'm not aware of.
All the orchestral works included were played by the New Zealand Symphony Orchestra under the baton of
American conductor James Sedares, who, after the death of Andrew Schenck, became some kind of "staff
conductor" for Koch. Michael Fine himself engineered the recordings.
Works included:
orchestral works
Symphony (No.1, revised version)
Violin Concerto (with Igor Gruppman)
Sinfonia Concertante (with Igor Gruppman & Richard Bock)
Viola Concerto (with Paul Silverthorne)
Cello Concerto (with Brinton Smith)
Piano Concerto (with Evelyn Chen)
The Vintner's Daughter
Theme, Variations and Finale
Three Hungarian Sketches
Overture to a Symphony Concert
Concerto for String Orchestra
Andante for String Orchestra
Hungarian Nocturne
film music
The Lost Weekend (Suite)
The Killers (Suite)
Double Indemnity (Suite)
El Cid
violin & piano works
Piano Sonata
Kaleidoscope
The Vintner's Daughter
Bagatellen
Sonata for Solo Violin
Variations on a Hungarian Folk Song
North Hungarian Peasant Songs
Duo for Violin and Piano
Music Composed by Mikl�s R�zsa
Played by the New Zealand Symphony Orchestra
Conducted by James Sedares
"Miklos Rozsa already had a promising career as a composer in the concert hall when he started writing movie
scores in the mid-1930s. By the end of that decade, he was working on the most expensive movie being made in
England, and by the end of the decade that followed, he was under contract to the biggest studio in Hollywood.
Born into a well-to-do family in Budapest, Rozsa's musical sensibilities were shaped by his contact with the
Magyar peasants who lived around his father's summer estate. As a boy he could read music before he could read
words, and proved a natural musician, taking up the violin at age six. His earliest influences as a student were
B�la Bart�k and Zolt�n Kod�ly, who were regarded as dangerous radicals at the time. After studying at the Leipzig
Conservatory, Rozsa embarked on a career as a composer and saw early success with his Variations On a Hungarian
Peasant Song and his Theme, Variations and Finale -- the latter entered the repertory of several major conductors,
including Bruno Walter, in the mid-1930s, and Rozsa received encouragement in his career from none other than
Richard Strauss. He began writing music for films at the inspiration and suggestion of his friend Arthur Honegger --
Rozsa needed the income, and he liked the idea of writing music that would get performed and recorded quickly.
Rozsa established himself as a film composer at London Films, the British studio founded by his fellow Hungarian
Alexander Korda, and after impressing Korda with his work on thrillers like Knight Without Armor (1937), the producer
chose Rozsa as the composer for his Arabian Nights fantasy film The Thief of Baghdad (1940). The latter proved
too ambitious and expensive to finish in England once the war broke out, and the production was moved to Hollywood,
and Rozsa with it. He spent the next eight years as a successful freelance composer, winning his first Oscar with
his score for Alfred Hitchcock's Spellbound (1945), which broke new ground in movie music with its use of the electronic
instrument the theremin (and also yielded a popular piece of light classical music with the Spellbound Concerto).
He became known for his ability to score crime movies, particularly the category now known as film noir, psychologically
oriented tales of personal and criminal disorder, including The Killers (1946) and The Naked City (1947). In 1948, after
winning his second Oscar (for A Double Life), Rozsa joined MGM, then the biggest studio in Hollywood, where he
earned a third Oscar (for Ben-Hur (1959)) and a brace of nominations; his music graced some of the biggest movies
of the era, including epics like Quo Vadis (1949) and costume adventure yarns such as Ivanhoe (1952), and serious
topical dramas like The Red Danube (1949). Rozsa continued writing for the concert hall, although as a post-Romantic
composer whose work was rooted in tonality, he found himself out of favor with the critics as early as 1943, when his
Theme, Variations and Finale was performed by the New York Philharmonic. That didn't stop the performances or prevent
commissions from coming in; he wrote his Violin Concerto for Jascha Heifetz, and into the 1960s and 1970s was writing
concertos for piano, cello, and viola that were performed and recorded by such soloists as Leonard Pennario and
Janos Starker. Rozsa remained active into the 1980s, composing music for a new generation of filmmakers, including
Alain Resnais. At the time of his death in 1995, his concert and film music were in the process of being rediscovered
and newly recorded. "
All Music
Source: Koch International CDs (9x, my rips, no artwork!)
File Sizes: 311 MB / 233 MB / 289 MB / 263 MB / 268 MB / 189 MB / 201 MB / 288 MB / 260 MB
Total Size: 2.25 GB
Re-Upped and Upgraded to FLAC. Please inquire the links per PM!
These are my rips. Please don't share further!