wimpel69
12-16-2016, 12:19 PM
This post completes my RCA "100 Years of Film Music" survey. It includes one
album that was not released (Metropolis), in an alternative version with the
same conductor. Hans Erdmann's score to Nosferatu was shared here by user tri2061990,
and his link is still working at this time. You can find all the links (including my own BD-to-FLAC
rip of the complete Nosferatu score) in the complete list below!
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!
This release was an anomaly among the 13 albums in the RCA 100 Years of Film Music
series, inasmuch the works on this CD aren't actually film music! Koechlin was obsessed
with motion pictures, and especially its leading ladies. He was known to carry around a small
picture of his favourite star, the German Lillian Harvey, in his purse all his life. Koechlin composed
a symphony with individual movements for several of the greatest stars of the 1920s and early
1930s, and he made detailed notes how the music in each movement revolves around certain
"scenes" and situations - as one would find in a regular film score. The notes are included in
the 36-page trilingual booklet which comes with this release.
"Towards 1933, I grew more interested in the cinema. Until then I had shown considerable disdain for it because of its too
often vulgar and demagogic nature. But I confess without shame that on getting to know this very uneven art-form better,
I could not fail to appreciate the spiritual grace or the 'insolent beauty' of certain Stars...This led to my Seven Stars Symphony."
From this diffident and rather disingenuous acknowledgement one would hardly guess Charles Koechlin's obsession with film
divas or the creative renewal they prompted. The 1920s had seen a slowing of composition as Koechlin's faltering finances
necessitated lecturing, journalistic work, and the writing of treatises on harmony, fugue, and the chorale to supplement his
dwindling fortune. His inner life through that decade centered on work with his student, Catherine Urner, who became something
of a soror mystica to his master alchemist. With her return to the United States in the early '30s, he was adrift. A viewing of
The Blue Angel with Marlene Dietrich and Emil Jannings on June 29, 1933, began the habit of regular moviegoing. His response
was immediate and potent -- as he completed the tone poem Sur les flots lointains (based on a song by Catherine Urner),
composed over July/August 1933, he plunged into the composition of the Seven Stars Symphony (title in English) in July, completing
it in September, and finishing the orchestration in October. Its seven movements form a suite rather than a symphony, each with
its specific references and distinct character. The first movement celebrates Douglas Fairbanks Sr. in The Thief of Bagdad in "a little
oriental improvisation." Lillian Harvey (a menuet fugu�), Greta Garbo (choral pa�en), and Clara Bow are each allotted a movement,
though Koechlin is responding to photographs -- he had yet to see any of the three in films. Dietrich is graced with a set of variations
on a theme formed, by cipher, from the letters of her name, while the movement bearing Jannings' name is frankly subtitled "Choral
pour le r�pos de l'�me du Professeur Rath (du film L'Ange bleu)." But Chaplin takes the cake -- his movement, playing over a quarter
of an hour, is another variation set recalling elements of his creation, Charlot, in The Gold Rush, The Circus, and City Lights.
The Fairbanks, Garbo, and Chaplin movements were premiered by the French Radio Orchestra, led by Manuel Rosenthal, on
December 14, 1944; the entire work was heard on November 16, 1969, with Norman del Mar conducting the London Philharmonic.
Music Composed by
Charles Koechlin
Played by the
Deutsches Symphonie-Orchester Berlin
Conducted by
James Judd
"Though his reputation as a composer has remained rather isolated in the decades since his death,
Charles Koechlin enjoyed a prominent place in the French music scene in the first half of the twentieth
century. Born in Paris on November 27, 1867, Koechlin began formal musical studies at the Paris Conservatory
in 1890. His teachers there included Massenet and Faur�; the latter ultimately proved the greatest influence
upon Koechlin's uncomplicated but colorful, mildly Impressionistic style. In 1918, Satie welcomed him into
Les nouveaux jeunes, a short-lived collective of young French composers (including Roussel and Milhaud)
that ultimately metamorphosed into Les Six.
In his lifetime, Koechlin was more widely known for his work as a theorist and teacher than for his own
music. His writings include a multi-volume treatise on orchestration, one of the most extensive of its kind.
Among his students were two members of Les Six, Germaine Tailleferre and Francis Poulenc, as well as
film and television composer Lalo Schifrin. Koechlin's skill and reputation as an orchestrator were considerable.
Saint-Sa�ns, Faur�, and Debussy entrusted to him the orchestration of a number of their own works,
including most of Debussy's first ballet, Khamma (1911-1912). Koechlin traveled widely as a lecturer on
music, including three tours in the United States. After a career that encompassed every aspect of French
musical life, he died in Le Canadel, France, on New Year's Eve 1950.
Koechlin's favourite: Lillian Harvey.
While Koechlin's music is not as distinctive in its dramatic, structural, or formal profile as that of contemporaries
like Debussy or Ravel, it nonetheless bears the stamp of an unusual personality. Many of his works are
conspicuously sectional and almost improvisatory in the manner in which they unfold; his melodies in particular
tend toward unrestricted, continual motion. Harmony and instrumental color are generally at the fore in
Koechlin's music, which is perhaps most effective in the way it creates exquisitely shaded atmospheres.
The composer wrote prolifically and for nearly every medium -- except, tellingly, for the operatic stage -- but
carved out a quirky compositional niche that remains unique. Prefiguring multi-work "literary" cycles like
American composer David Del Tredici's Alice in Wonderland series, Koechlin produced seven interrelated works
based on Kipling's The Jungle Book. Perhaps unexpectedly, given his sober, messianic appearance, he also
harbored a virtual mania for the cinema, which he translated into a number of works inspired by various silver-
screen personalities. He celebrated the icons of Hollywood's Golden Age in works like Five Dances for Ginger
[Rogers] (1937) and Epitaphe de Jean Harlow (1937), but his most stimulating muse was apparently English-
German actress Lilian Harvey (1906-1968). Initially flattered by Koechlin's hommages, which included more
than a hundred works, including two "Lilian Albums," Harvey eventually grew uneasy with his seeming obsession.
She also enjoys a place of honor in what is likely the most famous (if not generally familiar) of Koechlin's works,
the Seven Stars Symphony (1933). Neither astrological nor astronomical in inspiration, the symphony is instead
a suite of tone poems, each an evocative portrait of a leading screen figure of the day: Douglas Fairbanks,
Harvey, Greta Garbo, Clara Bow, Marlene Dietrich, Emil Jannings, and Charlie Chaplin."
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: 258 MB (incl. artwork, booklet, log & cue)
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.
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!
album that was not released (Metropolis), in an alternative version with the
same conductor. Hans Erdmann's score to Nosferatu was shared here by user tri2061990,
and his link is still working at this time. You can find all the links (including my own BD-to-FLAC
rip of the complete Nosferatu score) in the complete list below!
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!
This release was an anomaly among the 13 albums in the RCA 100 Years of Film Music
series, inasmuch the works on this CD aren't actually film music! Koechlin was obsessed
with motion pictures, and especially its leading ladies. He was known to carry around a small
picture of his favourite star, the German Lillian Harvey, in his purse all his life. Koechlin composed
a symphony with individual movements for several of the greatest stars of the 1920s and early
1930s, and he made detailed notes how the music in each movement revolves around certain
"scenes" and situations - as one would find in a regular film score. The notes are included in
the 36-page trilingual booklet which comes with this release.
"Towards 1933, I grew more interested in the cinema. Until then I had shown considerable disdain for it because of its too
often vulgar and demagogic nature. But I confess without shame that on getting to know this very uneven art-form better,
I could not fail to appreciate the spiritual grace or the 'insolent beauty' of certain Stars...This led to my Seven Stars Symphony."
From this diffident and rather disingenuous acknowledgement one would hardly guess Charles Koechlin's obsession with film
divas or the creative renewal they prompted. The 1920s had seen a slowing of composition as Koechlin's faltering finances
necessitated lecturing, journalistic work, and the writing of treatises on harmony, fugue, and the chorale to supplement his
dwindling fortune. His inner life through that decade centered on work with his student, Catherine Urner, who became something
of a soror mystica to his master alchemist. With her return to the United States in the early '30s, he was adrift. A viewing of
The Blue Angel with Marlene Dietrich and Emil Jannings on June 29, 1933, began the habit of regular moviegoing. His response
was immediate and potent -- as he completed the tone poem Sur les flots lointains (based on a song by Catherine Urner),
composed over July/August 1933, he plunged into the composition of the Seven Stars Symphony (title in English) in July, completing
it in September, and finishing the orchestration in October. Its seven movements form a suite rather than a symphony, each with
its specific references and distinct character. The first movement celebrates Douglas Fairbanks Sr. in The Thief of Bagdad in "a little
oriental improvisation." Lillian Harvey (a menuet fugu�), Greta Garbo (choral pa�en), and Clara Bow are each allotted a movement,
though Koechlin is responding to photographs -- he had yet to see any of the three in films. Dietrich is graced with a set of variations
on a theme formed, by cipher, from the letters of her name, while the movement bearing Jannings' name is frankly subtitled "Choral
pour le r�pos de l'�me du Professeur Rath (du film L'Ange bleu)." But Chaplin takes the cake -- his movement, playing over a quarter
of an hour, is another variation set recalling elements of his creation, Charlot, in The Gold Rush, The Circus, and City Lights.
The Fairbanks, Garbo, and Chaplin movements were premiered by the French Radio Orchestra, led by Manuel Rosenthal, on
December 14, 1944; the entire work was heard on November 16, 1969, with Norman del Mar conducting the London Philharmonic.
Music Composed by
Charles Koechlin
Played by the
Deutsches Symphonie-Orchester Berlin
Conducted by
James Judd
"Though his reputation as a composer has remained rather isolated in the decades since his death,
Charles Koechlin enjoyed a prominent place in the French music scene in the first half of the twentieth
century. Born in Paris on November 27, 1867, Koechlin began formal musical studies at the Paris Conservatory
in 1890. His teachers there included Massenet and Faur�; the latter ultimately proved the greatest influence
upon Koechlin's uncomplicated but colorful, mildly Impressionistic style. In 1918, Satie welcomed him into
Les nouveaux jeunes, a short-lived collective of young French composers (including Roussel and Milhaud)
that ultimately metamorphosed into Les Six.
In his lifetime, Koechlin was more widely known for his work as a theorist and teacher than for his own
music. His writings include a multi-volume treatise on orchestration, one of the most extensive of its kind.
Among his students were two members of Les Six, Germaine Tailleferre and Francis Poulenc, as well as
film and television composer Lalo Schifrin. Koechlin's skill and reputation as an orchestrator were considerable.
Saint-Sa�ns, Faur�, and Debussy entrusted to him the orchestration of a number of their own works,
including most of Debussy's first ballet, Khamma (1911-1912). Koechlin traveled widely as a lecturer on
music, including three tours in the United States. After a career that encompassed every aspect of French
musical life, he died in Le Canadel, France, on New Year's Eve 1950.
Koechlin's favourite: Lillian Harvey.
While Koechlin's music is not as distinctive in its dramatic, structural, or formal profile as that of contemporaries
like Debussy or Ravel, it nonetheless bears the stamp of an unusual personality. Many of his works are
conspicuously sectional and almost improvisatory in the manner in which they unfold; his melodies in particular
tend toward unrestricted, continual motion. Harmony and instrumental color are generally at the fore in
Koechlin's music, which is perhaps most effective in the way it creates exquisitely shaded atmospheres.
The composer wrote prolifically and for nearly every medium -- except, tellingly, for the operatic stage -- but
carved out a quirky compositional niche that remains unique. Prefiguring multi-work "literary" cycles like
American composer David Del Tredici's Alice in Wonderland series, Koechlin produced seven interrelated works
based on Kipling's The Jungle Book. Perhaps unexpectedly, given his sober, messianic appearance, he also
harbored a virtual mania for the cinema, which he translated into a number of works inspired by various silver-
screen personalities. He celebrated the icons of Hollywood's Golden Age in works like Five Dances for Ginger
[Rogers] (1937) and Epitaphe de Jean Harlow (1937), but his most stimulating muse was apparently English-
German actress Lilian Harvey (1906-1968). Initially flattered by Koechlin's hommages, which included more
than a hundred works, including two "Lilian Albums," Harvey eventually grew uneasy with his seeming obsession.
She also enjoys a place of honor in what is likely the most famous (if not generally familiar) of Koechlin's works,
the Seven Stars Symphony (1933). Neither astrological nor astronomical in inspiration, the symphony is instead
a suite of tone poems, each an evocative portrait of a leading screen figure of the day: Douglas Fairbanks,
Harvey, Greta Garbo, Clara Bow, Marlene Dietrich, Emil Jannings, and Charlie Chaplin."
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: 258 MB (incl. artwork, booklet, log & cue)
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.
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!