wimpel69
12-03-2016, 11:39 AM
Please request the FLAC link (including the complete
artwork, LOG & CUE files (EAC accurate rip)) in this thread. PMs will be ignored!
This is my own rip. Please do not share my material any further, also please
add to my reputation!
The credit title on City Lights, “Music composed by Charles Chaplin”, brought a surprised and indulgent raising of eyebrows.
Because of the occurrence of phrases, here and there, from some familiar melodies, inserted, in most cases, for comic effect, and
the use of “La Violetera” ("Who’ll Buy My Violets" by Jos� Padilla) as a theme for the blind flower girl, Chaplin was assumed, by
some, to be stretching his claim to everything in the film.
Attitudes changed with the subsequent appearances of Chaplin scores in "Modern Times", "The Great Dictator", and "Monsieur
Verdoux" (The two latter talkies with occasional musical interludes and “background music”), and with the full score for the
reissued "The Gold Rush". A quality, which can only be described as “Chaplinesque” was discerned and commented upon in
this music, despite the fact that it was arranged and orchestrated by other hands.
Those who still believe that Chaplin merely hummed a tune ot two and that “real musicians” did the rest have only to listen to
the scores of several of his films. The style is marked and individual. It shows a fondness for romantic waltz hesitations played
in very rubato time, lively numbers in two-four time which might be called “promenade themes”, and tangos with a strong beat.
Chaplin at the recording sessions for Countess of Hong Kong.
It can now be seen that Chaplin’s music is an integral part of his film conceptions. In similar fashion D.W Griffith also composed
some musical themes for his pictures. But perhaps of no other one man can it be said that he wrote, directed, acted, and
scored a motion picture.
Incidentally, Chaplin even conducted the orchestra, himself, during recordings, an added reason for the satisfying impression
of wholeness in the Chaplin films.
Although musically untrained, Chaplin nevertheless has the advantages of a musical inheritance from his ballad-singer father,
the natural endowment of a quick ear, and a superb sense of rhythm, a taste for the art, experience with it on the stage,
and an amateur performer’s devotion to it.
In “My Trip Abroad” there is a passage describing his first consciousness of music. As a boy, in Kennington Cross, he was
enraptured by a weird duet on clarinet and harmonica, to a tune he later identified as the popular song, “The Honeysuckle
and the bee”. “It was played with such feeling that I became conscious, for the first time, of what melody really was”
Chaplin playing the violin in the early days.
According to Fred Karno’s biography, young Chaplin spent much of his leisure time between shows picking out tunes on an
old cello. When Chaplin was signed by the Essanay Company, he bought a violin on which he scraped for hours at night,
to the annoyance of less wakeful actors when they all lived next to the studio at Niles, California.
While he was being feted during the negociations with the Mutual Company in New York, Chaplin, appearing at a benefit
concert at the old Hippodrome (February 20, 1916), led Sousa’s band in the “Poet and Peasant” overture and his own
composition “The Peace Patrol”. That same year Chaplin published two songs “Oh! That Cello” and “There’s Always One
You Can’t Forget”, which was a musical tribute to his first romance.
In the twenties he made records of his “Sing a song” and “With you, Dear, in Bombay”, both later used in the sound
version of "The Gold Rush". Subsequent years saw the publication of a theme from "The Great Dictator" to a lyric
entitled “Falling Star”, and three numbers from "Monsieur Verdoux" : “A Paris Boulevard”, “Tango Bitterness”, and
“Rumba”.
After Chaplin made his first million, he installed a pipe organ in his Beverly Hills mansion. In certain moods he is
known to have fingered this expensive instrument for hours at a time. Realizing the importance of musical
accompaniment to the silent film, Chaplin sought to have it reproduced in every theatre exactly as he wished it.
He supervised the cue sheets (lists of numbers to be played, sent free to all theatres booking a film) of his
pictures from "The Kid" (1921) up to "City Lights" (1931) – when it was possible to have the music recorded
on the film itself. Then it also was commercially expedient to claim at least “music and sound effects” since by
1931 the silent picture has been superseded by the talkie.
Music Composed by
Charles Chaplin
Orchestrations by
David Raksin
Eric Rogers
Arthur Johnson
Eric James
Carl Davis
Played by the
Deutsches Symphonie-Orchester Berlin
Conducted by
Carl Davis
A consummate all-round musician, Carl Davis is widely known internationally in many spheres of music-making.
Born in New York in 1936, he studied composition with Paul Nordoff and Hugo Kauder, and subsequently with
Per N�rg�rd in Copenhagen. His early work in the USA provided valuable conducting experience with organizations
such as New York City Opera and the Robert Shaw Chorale. In 1959 the revue Diversions, of which he was co-
author, won an off-Broadway Emmy and subsequently travelled to the 1961 Edinburgh Festival. As a direct result
of its success there, Davis was commissioned by Ned Sherrin to write music for “That Was The Week That Was”.
Other radio and TV commissions followed and Davis’s UK career was launched.
Since then he has been enormously successful in the world of theatre, composing scores for the Royal Shakespeare
Company and the National Theatre, and working closely with artists of the calibre of Laurence Olivier, John Gielgud,
Joan Littlewood, Jonathan Miller, John Wells, Barry Humphries and Billy Connolly.
Davis is equally well-known in the field of dance, working with the major choreographers of the day. His work
began with London Contemporary Dance Theatre, for whom he produced music for David and Goliath (1975)
and Dances of Love and Death (1981). Sadler’s Wells Royal Ballet commissioned A Picture of Dorian Gray in 1987,
and this was followed by commissions from Northern Ballet Theatre - the award-winning A Simple Man (1988)
and Lippizaner (1989) both with Gillian Lynne, Liaisons Amoureuses (1989); A Christmas Carol (1992).
Aladdin (2000), with Robert Cohen, was written for Scottish Ballet, and later taken up by David Bintley for
Tokyo’s New National Ballet in 2008. His association with Derek Deane has led to a full-length ballet,
Alice in Wonderland (1995) based on themes by Tchaikovsky and commissioned by the English National Ballet,
and later The Lady of the Camellias (2008), which was commissioned by the National Ballet of Croatia.
A full-length ballet commissioned by David Bintley for Birmingham’s Royal Ballet resulted in Cyrano (2007).
Davis’s output for film and television is vast, including The World At War, The Snow Goose, Hotel du Lac,
Hollywood, The Naked Civil Servant, Silas Marner, Champions, Scandal, The Commanding Sea, Oppenheimer,
The Rainbow, The French Lieutenant’s Woman (winner of both the BAFTA and Ivor Novello awards). Pride
and Prejudice (nominated for a BASCA Ivor Novello award for Best Music for a Television Production in 1996)
has been one of his best-loved scores, and this was followed by Cranford in 2007, also for BBC.
Music for silent films has been an enduring strand to Davis’s activities. His 1980 score for Abel Gance’s silent
film Napol�on triggered an extraordinary revival of interest in the silent film, and Davis’s oeuvre of more than
fifty scores for this medium, including Flesh and the Devil, Ben-Hur, The Thief of Bagdad, Greed, Intolerance,
I’m King Kong and The Godless Girl, has brought him international acclaim. The Phantom of the Opera was
the first silent film to be performed at the Royal Opera House (2006) conducted by the composer, while a project
to revive the Chaplin films has focussed on ‘The Mutuals’ - a cycle of 12 short films including the classic
The Immigrant.
Throughout his career Carl Davis has composed concert works, among which a Clarinet Concerto, Fantasy for
Flute, Strings and Harpsichord and a Symphony are particularly notable. His symphonic work, A Circle of
Stones, consists of four symphonic pictures for orchestra and was written for Mike Mansfield Publications for
broadcast on S4C in 1997. There are also many concert suites derived from film scores, vocal music, choral
works, instrumental and chamber music, and opera. In 1991 his collaboration with Paul McCartney produced
Paul McCartney’s Liverpool Oratorio, which has been performed in many countries throughout the world.
The EMI recording of the work has achieved record sales worldwide, whilst the BBC documentary and EMI’s
commercial video have done much to publicize this new departure for both composers.
Recent commissions include a Ballade for cello and orchestra commissioned by the Royal Liverpool
Philharmonic Orchestra (2011), and a large-scale choral work for children’s choir and the Hall� Orchestra
entitled Last Train to Tomorrow on the subject of the ‘Kindertransport’.
Carl Davis has become a much-loved and sought-after conductor of silent films and concerts throughout
the world. In 2005 he was awarded a CBE (Hon). The ‘Carl Davis Collection’ was formed in 2009 to
record and promote his works.
Source: RCA/BMG "100 Years of Film Music" CD, 1996 (My rip!)
Quality: FLAC 16-44 (image + cue + log, incl. complete artwork & booklet)
File Size: 425 MB /(incl. artwork, booklet, log & cue)
Please request the FLAC link (including the complete
artwork, LOG & CUE files (EAC accurate rip)) in this thread. PMs will be ignored!
This is my own rip. Please do not share my material further, also please
add to my reputation!
All albums in the RCA "100 Years of Film Music" Series
Film Noir: Concert Suites of Music by Adolph Deutsch, Franz Waxman, Frederick Hollander & Max Steiner - Thread 211261
Im Kampf mit dem Berge (In Sturm und Eis): A Silent Film Score by Paul Hindemith - Thread 210588
The Lubitsch Touch: Music for Silent Films by Karl-Ernst Sasse - Thread 211542
High Noon: The Film Music of Dimitri Tiomkin - Thread 211329
Charles Chaplin: The Film Music, conducted by Carl Davis - Thread 212562
Metropolis: The Gottfried Huppertz Score* - Thread 211429
Sergei Prokofiev: Ivan the Terrible (arr. Stasevich) - Thread 212697
Paul Dessau: Music for the Alice Comedies & The Magic Clock - Thread 212649
Winfried Zillig: Panamericana (Traumstrasse der Welt), 2 CDs - Thread 212135
Franz Waxman: Sayonara, Hemingway's Adventures, A Place in the Sun, Taras Bulba - Thread 211974
Max Steiner: The Adventures of Mark Twain - E.W. Korngold: The Prince and the Pauper - Thread 211090
Charles Koechlin: The Seven Stars Symphony, etc - Thread 212997
and contributed by user tri2061990:
Hans Erdmann: Nosferatu (The Silent Film Score) - Thread 164859
alternatively, my own:
Hans Erdmann: Nosferatu - The Complete Score (BD to FLAC rip) - Thread 211967
* never released: This is based on my rip of the then-complete film on DVD.
artwork, LOG & CUE files (EAC accurate rip)) in this thread. PMs will be ignored!
This is my own rip. Please do not share my material any further, also please
add to my reputation!
The credit title on City Lights, “Music composed by Charles Chaplin”, brought a surprised and indulgent raising of eyebrows.
Because of the occurrence of phrases, here and there, from some familiar melodies, inserted, in most cases, for comic effect, and
the use of “La Violetera” ("Who’ll Buy My Violets" by Jos� Padilla) as a theme for the blind flower girl, Chaplin was assumed, by
some, to be stretching his claim to everything in the film.
Attitudes changed with the subsequent appearances of Chaplin scores in "Modern Times", "The Great Dictator", and "Monsieur
Verdoux" (The two latter talkies with occasional musical interludes and “background music”), and with the full score for the
reissued "The Gold Rush". A quality, which can only be described as “Chaplinesque” was discerned and commented upon in
this music, despite the fact that it was arranged and orchestrated by other hands.
Those who still believe that Chaplin merely hummed a tune ot two and that “real musicians” did the rest have only to listen to
the scores of several of his films. The style is marked and individual. It shows a fondness for romantic waltz hesitations played
in very rubato time, lively numbers in two-four time which might be called “promenade themes”, and tangos with a strong beat.
Chaplin at the recording sessions for Countess of Hong Kong.
It can now be seen that Chaplin’s music is an integral part of his film conceptions. In similar fashion D.W Griffith also composed
some musical themes for his pictures. But perhaps of no other one man can it be said that he wrote, directed, acted, and
scored a motion picture.
Incidentally, Chaplin even conducted the orchestra, himself, during recordings, an added reason for the satisfying impression
of wholeness in the Chaplin films.
Although musically untrained, Chaplin nevertheless has the advantages of a musical inheritance from his ballad-singer father,
the natural endowment of a quick ear, and a superb sense of rhythm, a taste for the art, experience with it on the stage,
and an amateur performer’s devotion to it.
In “My Trip Abroad” there is a passage describing his first consciousness of music. As a boy, in Kennington Cross, he was
enraptured by a weird duet on clarinet and harmonica, to a tune he later identified as the popular song, “The Honeysuckle
and the bee”. “It was played with such feeling that I became conscious, for the first time, of what melody really was”
Chaplin playing the violin in the early days.
According to Fred Karno’s biography, young Chaplin spent much of his leisure time between shows picking out tunes on an
old cello. When Chaplin was signed by the Essanay Company, he bought a violin on which he scraped for hours at night,
to the annoyance of less wakeful actors when they all lived next to the studio at Niles, California.
While he was being feted during the negociations with the Mutual Company in New York, Chaplin, appearing at a benefit
concert at the old Hippodrome (February 20, 1916), led Sousa’s band in the “Poet and Peasant” overture and his own
composition “The Peace Patrol”. That same year Chaplin published two songs “Oh! That Cello” and “There’s Always One
You Can’t Forget”, which was a musical tribute to his first romance.
In the twenties he made records of his “Sing a song” and “With you, Dear, in Bombay”, both later used in the sound
version of "The Gold Rush". Subsequent years saw the publication of a theme from "The Great Dictator" to a lyric
entitled “Falling Star”, and three numbers from "Monsieur Verdoux" : “A Paris Boulevard”, “Tango Bitterness”, and
“Rumba”.
After Chaplin made his first million, he installed a pipe organ in his Beverly Hills mansion. In certain moods he is
known to have fingered this expensive instrument for hours at a time. Realizing the importance of musical
accompaniment to the silent film, Chaplin sought to have it reproduced in every theatre exactly as he wished it.
He supervised the cue sheets (lists of numbers to be played, sent free to all theatres booking a film) of his
pictures from "The Kid" (1921) up to "City Lights" (1931) – when it was possible to have the music recorded
on the film itself. Then it also was commercially expedient to claim at least “music and sound effects” since by
1931 the silent picture has been superseded by the talkie.
Music Composed by
Charles Chaplin
Orchestrations by
David Raksin
Eric Rogers
Arthur Johnson
Eric James
Carl Davis
Played by the
Deutsches Symphonie-Orchester Berlin
Conducted by
Carl Davis
A consummate all-round musician, Carl Davis is widely known internationally in many spheres of music-making.
Born in New York in 1936, he studied composition with Paul Nordoff and Hugo Kauder, and subsequently with
Per N�rg�rd in Copenhagen. His early work in the USA provided valuable conducting experience with organizations
such as New York City Opera and the Robert Shaw Chorale. In 1959 the revue Diversions, of which he was co-
author, won an off-Broadway Emmy and subsequently travelled to the 1961 Edinburgh Festival. As a direct result
of its success there, Davis was commissioned by Ned Sherrin to write music for “That Was The Week That Was”.
Other radio and TV commissions followed and Davis’s UK career was launched.
Since then he has been enormously successful in the world of theatre, composing scores for the Royal Shakespeare
Company and the National Theatre, and working closely with artists of the calibre of Laurence Olivier, John Gielgud,
Joan Littlewood, Jonathan Miller, John Wells, Barry Humphries and Billy Connolly.
Davis is equally well-known in the field of dance, working with the major choreographers of the day. His work
began with London Contemporary Dance Theatre, for whom he produced music for David and Goliath (1975)
and Dances of Love and Death (1981). Sadler’s Wells Royal Ballet commissioned A Picture of Dorian Gray in 1987,
and this was followed by commissions from Northern Ballet Theatre - the award-winning A Simple Man (1988)
and Lippizaner (1989) both with Gillian Lynne, Liaisons Amoureuses (1989); A Christmas Carol (1992).
Aladdin (2000), with Robert Cohen, was written for Scottish Ballet, and later taken up by David Bintley for
Tokyo’s New National Ballet in 2008. His association with Derek Deane has led to a full-length ballet,
Alice in Wonderland (1995) based on themes by Tchaikovsky and commissioned by the English National Ballet,
and later The Lady of the Camellias (2008), which was commissioned by the National Ballet of Croatia.
A full-length ballet commissioned by David Bintley for Birmingham’s Royal Ballet resulted in Cyrano (2007).
Davis’s output for film and television is vast, including The World At War, The Snow Goose, Hotel du Lac,
Hollywood, The Naked Civil Servant, Silas Marner, Champions, Scandal, The Commanding Sea, Oppenheimer,
The Rainbow, The French Lieutenant’s Woman (winner of both the BAFTA and Ivor Novello awards). Pride
and Prejudice (nominated for a BASCA Ivor Novello award for Best Music for a Television Production in 1996)
has been one of his best-loved scores, and this was followed by Cranford in 2007, also for BBC.
Music for silent films has been an enduring strand to Davis’s activities. His 1980 score for Abel Gance’s silent
film Napol�on triggered an extraordinary revival of interest in the silent film, and Davis’s oeuvre of more than
fifty scores for this medium, including Flesh and the Devil, Ben-Hur, The Thief of Bagdad, Greed, Intolerance,
I’m King Kong and The Godless Girl, has brought him international acclaim. The Phantom of the Opera was
the first silent film to be performed at the Royal Opera House (2006) conducted by the composer, while a project
to revive the Chaplin films has focussed on ‘The Mutuals’ - a cycle of 12 short films including the classic
The Immigrant.
Throughout his career Carl Davis has composed concert works, among which a Clarinet Concerto, Fantasy for
Flute, Strings and Harpsichord and a Symphony are particularly notable. His symphonic work, A Circle of
Stones, consists of four symphonic pictures for orchestra and was written for Mike Mansfield Publications for
broadcast on S4C in 1997. There are also many concert suites derived from film scores, vocal music, choral
works, instrumental and chamber music, and opera. In 1991 his collaboration with Paul McCartney produced
Paul McCartney’s Liverpool Oratorio, which has been performed in many countries throughout the world.
The EMI recording of the work has achieved record sales worldwide, whilst the BBC documentary and EMI’s
commercial video have done much to publicize this new departure for both composers.
Recent commissions include a Ballade for cello and orchestra commissioned by the Royal Liverpool
Philharmonic Orchestra (2011), and a large-scale choral work for children’s choir and the Hall� Orchestra
entitled Last Train to Tomorrow on the subject of the ‘Kindertransport’.
Carl Davis has become a much-loved and sought-after conductor of silent films and concerts throughout
the world. In 2005 he was awarded a CBE (Hon). The ‘Carl Davis Collection’ was formed in 2009 to
record and promote his works.
Source: RCA/BMG "100 Years of Film Music" CD, 1996 (My rip!)
Quality: FLAC 16-44 (image + cue + log, incl. complete artwork & booklet)
File Size: 425 MB /(incl. artwork, booklet, log & cue)
Please request the FLAC link (including the complete
artwork, LOG & CUE files (EAC accurate rip)) in this thread. PMs will be ignored!
This is my own rip. Please do not share my material further, also please
add to my reputation!
All albums in the RCA "100 Years of Film Music" Series
Film Noir: Concert Suites of Music by Adolph Deutsch, Franz Waxman, Frederick Hollander & Max Steiner - Thread 211261
Im Kampf mit dem Berge (In Sturm und Eis): A Silent Film Score by Paul Hindemith - Thread 210588
The Lubitsch Touch: Music for Silent Films by Karl-Ernst Sasse - Thread 211542
High Noon: The Film Music of Dimitri Tiomkin - Thread 211329
Charles Chaplin: The Film Music, conducted by Carl Davis - Thread 212562
Metropolis: The Gottfried Huppertz Score* - Thread 211429
Sergei Prokofiev: Ivan the Terrible (arr. Stasevich) - Thread 212697
Paul Dessau: Music for the Alice Comedies & The Magic Clock - Thread 212649
Winfried Zillig: Panamericana (Traumstrasse der Welt), 2 CDs - Thread 212135
Franz Waxman: Sayonara, Hemingway's Adventures, A Place in the Sun, Taras Bulba - Thread 211974
Max Steiner: The Adventures of Mark Twain - E.W. Korngold: The Prince and the Pauper - Thread 211090
Charles Koechlin: The Seven Stars Symphony, etc - Thread 212997
and contributed by user tri2061990:
Hans Erdmann: Nosferatu (The Silent Film Score) - Thread 164859
alternatively, my own:
Hans Erdmann: Nosferatu - The Complete Score (BD to FLAC rip) - Thread 211967
* never released: This is based on my rip of the then-complete film on DVD.