wimpel69
12-05-2016, 10:33 AM
"steviefromalaska" posted his own re-mastering of this album >here (Thread 201146)<, but my
rip retains the original sound as recorded. Complete artwork, booklet, log & cue files included. EAC-ripped.
But I want to complete the series myself, and an alternative version can't hurt, now can it? The drill is the same
as usual: Please inquire the link here in this this thread. PM's will be ignored. Thank you!
The Alice Comedies are a series of animated cartoons created by Walt Disney in the 1920s, in which a live action
little girl named Alice (originally played by Virginia Davis) and an animated cat named Julius have adventures in an
animated landscape. Disney, Ub Iwerks, and their staff made the first Alice Comedy, a one-reel (ten-minute) short
subject titled Alice's Wonderland, while still heading the failing Laugh-O-Gram Studio in Kansas City, Missouri.
Alice's Wonderland begins with Alice entering a cartoon studio to witness cartoons being created. Alice is amazed
by what she sees: The cartoon characters come to life and play around. After heading to bed that night, she dreams
of being in the cartoon world, welcomed by all of the characters. Alice plays with them until a group of lions break
free from a cage and chase her. Though never released, this short helped set the stage for what was to come in the
later Alice Comedies, as it established the world as a playful dream and also introduced the elements which would
soon define the series. The idea of setting a real-world girl in an animated world was at this point in film history
still unique. The design and voice of the later series were all set by this original film.
After completing the film, the studio went bankrupt and was forced to shut down. After raising money by working
as a freelance photographer, Disney bought a one-way train ticket to Los Angeles, California to live with his uncle
Robert and his brother Roy. In California, Disney continued to send out proposals for the Alice series, in hopes
of obtaining a distribution agreement. A deal was finally arranged through Winkler Pictures, run by Margaret
Winkler and her fiance�, Charles Mintz. Because of a recent falling out with Pat Sullivan, the studio needed a
quick replacement for their centerpiece Felix the Cat animated series. Disney convinced Davis's family to
bring her from Missouri to Los Angeles to star in the series.
The Magic Clock (L'horloge magique ou La petite fille qui voulait �tre princesse) is the story of Yolande,
a little girl (about 12) who wanted to become a princess. Bombastus, her old father, has created a marvelous
and big clock crowded with little characters (animated puppets). On each hour ring, one of the twelve knights
of the clock comes into motion. They're all in love with the princess but a strong black knight doesn't agree...
It's not a happy end. So Yolande will dive deep into her dreams, maybe to change the story. It's the second
part of the movie. Sylph, master of this imaginary earth and Ondin, master of the aquatic world are the
main characters. Yolande and then the man of her dreams join this strange world...
Although his name nowadays means very little except to animation buffs (and even they have to be pretty
well informed), Wladyslaw Starewicz ranks alongside Walt Disney, as one of the great animation pioneers, and
his career started nearly a decade before Disney's. He became an animator by accident - fascinated by insects,
he bought a camera and attempted to film them, but they kept dying under the hot lights. Stop-motion
animation provided an instant (if slow) solution, and Starewicz discovered that he had a natural talent for it.
He subsequently made dozens of short films, mostly featuring his trademark stop-motion puppets, but also
live action films (some blending live action and animation), moving to France after the Russian Revolution
to continue his career. His longest and most ambitious film was the feature-length 'Tale of the Fox', which
took ten years to plan and eighteen months to shoot. Starewicz' films were virtually one-man shows
(writer/director/cameraman/designer/animator), though other important contributions (in front of and
behind the camera) were made by his daughters.
Music Composed by
Paul Dessau
Played by the
RIAS Sinfonietta, Berlin
Conducted by
Hans-E. Zimmer
"Paul Dessau was a composer whose varied musical style was as colorful and controversial as his personal
and political life. His music divulged a post-Romantic character early on and often contained Jewish themes.
Although he adopted the twelve-tone system in mid-career, he had to forego use of it in many compositions
owing to his collaborations with Bertolt Brecht, who favored popular musical styles. Dessau was born into a Jewish
family in Hamburg. From early childhood, he divulged strong musical talent, taking violin lessons at age six.
He traveled to Berlin and enrolled at the Klindworth-Scharwenka Conservatory in 1910, where he studied violin
with Florian Zajic. While Dessau possessed talent on the instrument, Zajic saw limitations in his abilities and
counseled him to abandon his studies in 1912. He concurred with the judgment and obtained a position as
r�p�titeur at the Hamburg City Theater that same year. Here, he was able to observe some of the finest
German conductors, including Felix Weingartner and Arthur Nikisch. Dessau hoped to develop a career as
a conductor himself, but also aspired to be a composer. As early as 1910, he had begun an opera -- Giuditta,
which he did not finish -- and soon embarked upon other works, like the vocal piece Inspiration (1912 - 1914)
and his piano sonata (1914 - 1915). In 1914, he received his first important post, that of kapellmeister at
Bremen's Tivoli Theater. After service in the German army during World War I, he briefly obtained a conducting
post with the Hamburg Kammerspiele, where he also served as a composer. There followed a string of
appointments in first-rate German opera houses -- Cologne (1919 - 1923), Mainz (1923 - 1924), and Berlin
(1925 - 1926). Dessau married Gudrun Kabisch in 1924. He would have three more wives: Elisabeth
Hauptmann in 1948, Antje Ruge in 1952, and Ruth Berghaus in 1954. While he remained active as a
composer during the post-World War I era, it was not until his Berlin years that he experienced his first
successes. His 1924 concertino for violin, flute, clarinet and horn (1924) was awarded a Schott prize in 1925,
and his Symphony No. 1 (1926) was premiered in Prague. He began composing for film in 1928, the same
year he became the Alhambra Cinema's music director. Because of increasing hostility toward Jews in Nazi
Germany, he left Berlin for Paris in 1933, where he gradually grew sympathetic to left-wing politics.
He moved to the United States, settling first in New York (1939), then in Hollywood (1943), where he
composed film scores and shared the camaraderie of Arnold Schoenberg and Brecht. He collaborated
with the latter many times over the coming years, including in songs, operas, and other vocal works.
In 1946, Dessau joined the Communist Party in the United States. Two years later, he returned to
Germany, to the Eastern (Communist) sector, where his twelve-tone compositions and even more
mainstream works often placed him at odds with the Party arts censors. His opera Die Verurteilung des
Lukullus (1949 - 1951; libretto by Brecht) drew sharp criticism from the Party. Still, Dessau was highly
respected: in 1952, he was voted membership into the Academy of Arts in East Berlin, then was appointed
its vice president in 1957, serving until 1962. From 1962 to 1975, he taught at a primary school in the
Berlin suburb of Zeuthen, where he lived since 1954. He remained active in composition in his last
years and never acquiesced to Party officials, who often condemned his works."
Source: RCA/MBG "100 Years of Film Music", 1996 (My rip)
Format: FLAC(RAR) image, EAC-LOG-CUE (Accurate Rip)
File Size: 318 MB
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.
"steviefromalaska" posted his own re-mastering of this album >here (Thread 201146)<, but my
rip retains the original sound as recorded. Complete artwork, booklet, log & cue files included. EAC-ripped.
But I want to complete the series myself, and an alternative version can't hurt, now can it? The drill is the same
as usual: Please inquire the link here in this this thread. PM's will be ignored. Thank you!
rip retains the original sound as recorded. Complete artwork, booklet, log & cue files included. EAC-ripped.
But I want to complete the series myself, and an alternative version can't hurt, now can it? The drill is the same
as usual: Please inquire the link here in this this thread. PM's will be ignored. Thank you!
The Alice Comedies are a series of animated cartoons created by Walt Disney in the 1920s, in which a live action
little girl named Alice (originally played by Virginia Davis) and an animated cat named Julius have adventures in an
animated landscape. Disney, Ub Iwerks, and their staff made the first Alice Comedy, a one-reel (ten-minute) short
subject titled Alice's Wonderland, while still heading the failing Laugh-O-Gram Studio in Kansas City, Missouri.
Alice's Wonderland begins with Alice entering a cartoon studio to witness cartoons being created. Alice is amazed
by what she sees: The cartoon characters come to life and play around. After heading to bed that night, she dreams
of being in the cartoon world, welcomed by all of the characters. Alice plays with them until a group of lions break
free from a cage and chase her. Though never released, this short helped set the stage for what was to come in the
later Alice Comedies, as it established the world as a playful dream and also introduced the elements which would
soon define the series. The idea of setting a real-world girl in an animated world was at this point in film history
still unique. The design and voice of the later series were all set by this original film.
After completing the film, the studio went bankrupt and was forced to shut down. After raising money by working
as a freelance photographer, Disney bought a one-way train ticket to Los Angeles, California to live with his uncle
Robert and his brother Roy. In California, Disney continued to send out proposals for the Alice series, in hopes
of obtaining a distribution agreement. A deal was finally arranged through Winkler Pictures, run by Margaret
Winkler and her fiance�, Charles Mintz. Because of a recent falling out with Pat Sullivan, the studio needed a
quick replacement for their centerpiece Felix the Cat animated series. Disney convinced Davis's family to
bring her from Missouri to Los Angeles to star in the series.
The Magic Clock (L'horloge magique ou La petite fille qui voulait �tre princesse) is the story of Yolande,
a little girl (about 12) who wanted to become a princess. Bombastus, her old father, has created a marvelous
and big clock crowded with little characters (animated puppets). On each hour ring, one of the twelve knights
of the clock comes into motion. They're all in love with the princess but a strong black knight doesn't agree...
It's not a happy end. So Yolande will dive deep into her dreams, maybe to change the story. It's the second
part of the movie. Sylph, master of this imaginary earth and Ondin, master of the aquatic world are the
main characters. Yolande and then the man of her dreams join this strange world...
Although his name nowadays means very little except to animation buffs (and even they have to be pretty
well informed), Wladyslaw Starewicz ranks alongside Walt Disney, as one of the great animation pioneers, and
his career started nearly a decade before Disney's. He became an animator by accident - fascinated by insects,
he bought a camera and attempted to film them, but they kept dying under the hot lights. Stop-motion
animation provided an instant (if slow) solution, and Starewicz discovered that he had a natural talent for it.
He subsequently made dozens of short films, mostly featuring his trademark stop-motion puppets, but also
live action films (some blending live action and animation), moving to France after the Russian Revolution
to continue his career. His longest and most ambitious film was the feature-length 'Tale of the Fox', which
took ten years to plan and eighteen months to shoot. Starewicz' films were virtually one-man shows
(writer/director/cameraman/designer/animator), though other important contributions (in front of and
behind the camera) were made by his daughters.
Music Composed by
Paul Dessau
Played by the
RIAS Sinfonietta, Berlin
Conducted by
Hans-E. Zimmer
"Paul Dessau was a composer whose varied musical style was as colorful and controversial as his personal
and political life. His music divulged a post-Romantic character early on and often contained Jewish themes.
Although he adopted the twelve-tone system in mid-career, he had to forego use of it in many compositions
owing to his collaborations with Bertolt Brecht, who favored popular musical styles. Dessau was born into a Jewish
family in Hamburg. From early childhood, he divulged strong musical talent, taking violin lessons at age six.
He traveled to Berlin and enrolled at the Klindworth-Scharwenka Conservatory in 1910, where he studied violin
with Florian Zajic. While Dessau possessed talent on the instrument, Zajic saw limitations in his abilities and
counseled him to abandon his studies in 1912. He concurred with the judgment and obtained a position as
r�p�titeur at the Hamburg City Theater that same year. Here, he was able to observe some of the finest
German conductors, including Felix Weingartner and Arthur Nikisch. Dessau hoped to develop a career as
a conductor himself, but also aspired to be a composer. As early as 1910, he had begun an opera -- Giuditta,
which he did not finish -- and soon embarked upon other works, like the vocal piece Inspiration (1912 - 1914)
and his piano sonata (1914 - 1915). In 1914, he received his first important post, that of kapellmeister at
Bremen's Tivoli Theater. After service in the German army during World War I, he briefly obtained a conducting
post with the Hamburg Kammerspiele, where he also served as a composer. There followed a string of
appointments in first-rate German opera houses -- Cologne (1919 - 1923), Mainz (1923 - 1924), and Berlin
(1925 - 1926). Dessau married Gudrun Kabisch in 1924. He would have three more wives: Elisabeth
Hauptmann in 1948, Antje Ruge in 1952, and Ruth Berghaus in 1954. While he remained active as a
composer during the post-World War I era, it was not until his Berlin years that he experienced his first
successes. His 1924 concertino for violin, flute, clarinet and horn (1924) was awarded a Schott prize in 1925,
and his Symphony No. 1 (1926) was premiered in Prague. He began composing for film in 1928, the same
year he became the Alhambra Cinema's music director. Because of increasing hostility toward Jews in Nazi
Germany, he left Berlin for Paris in 1933, where he gradually grew sympathetic to left-wing politics.
He moved to the United States, settling first in New York (1939), then in Hollywood (1943), where he
composed film scores and shared the camaraderie of Arnold Schoenberg and Brecht. He collaborated
with the latter many times over the coming years, including in songs, operas, and other vocal works.
In 1946, Dessau joined the Communist Party in the United States. Two years later, he returned to
Germany, to the Eastern (Communist) sector, where his twelve-tone compositions and even more
mainstream works often placed him at odds with the Party arts censors. His opera Die Verurteilung des
Lukullus (1949 - 1951; libretto by Brecht) drew sharp criticism from the Party. Still, Dessau was highly
respected: in 1952, he was voted membership into the Academy of Arts in East Berlin, then was appointed
its vice president in 1957, serving until 1962. From 1962 to 1975, he taught at a primary school in the
Berlin suburb of Zeuthen, where he lived since 1954. He remained active in composition in his last
years and never acquiesced to Party officials, who often condemned his works."
Source: RCA/MBG "100 Years of Film Music", 1996 (My rip)
Format: FLAC(RAR) image, EAC-LOG-CUE (Accurate Rip)
File Size: 318 MB
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.
"steviefromalaska" posted his own re-mastering of this album >here (Thread 201146)<, but my
rip retains the original sound as recorded. Complete artwork, booklet, log & cue files included. EAC-ripped.
But I want to complete the series myself, and an alternative version can't hurt, now can it? The drill is the same
as usual: Please inquire the link here in this this thread. PM's will be ignored. Thank you!
