wimpel69
12-17-2016, 03:16 PM
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!
Chronicles of the Gray House (German: Zur Chronik von Grieshuus) is a 1925 German drama film directed by Arthur von Gerlach,
starring Arthur Krau�neck, Paul Hartmann and Rudolf Forster. It is also known as At the Grey House. The narrative is set in the 17th century
and follows the intrigues when the son of a feudal landowner falls in love with the daughter of one of the serfs, causing his younger brother
to see an opportunity for himself. The screenplay by Thea von Harbou is based on Theodor Storm's novella A Chapter in the History of
Grieshuus. Erich Pommer produced the film for Universum Film AG. Principal photography took place from May 1923 to November 1924
around the L�neburg Heath and Neubabelsberg. The premiere took place in Berlin on 11 February 1925.
Hinrich, the son of a feudal German landowner, falls in love with the beautiful daughter of one of his father's serfs despite opposition
from both families. But when he actually offers marriage to her, this is going too far. The return of his brother Detlev, with an
unscrupulous aristocratic bride of his own and a rival claim to their father's estates, proves to be the trigger for tragedy.
This is another great score by Gottfried Huppertz, one of the most famous silent film composers (Metropolis, Die Nibelungen).
The film isn't very well known, but was put together by the same production team as Die Nibelungen.
Music Composed by
Gottfried Huppertz
Played by the
Frankfurt Radio Symphony Orchestra
Conducted by
Frank Strobel
"Gottfried Huppertz was born in K�ln, Germany on March 11, 1887. There He studied music in a conservatory,
and in 1905 wrote his first composition, a song titled "Rankende Rosen" (Tendrillar Roses), which he dedicated to
his childhood friend Rudolf Klein-Rogge. Huppertz, around 1918Gottfried Huppertz in Fritz Lang's Dr. Mabuse. During
WWI Huppertz worked as an opera singer and theater actor in Coburg, Freiburg and Breslau, and also wrote some
music for the theater. In 1920 Huppertz moved to Berlin and began acting at the Nollendorfplatz Theater, and shortly
afterwards met his future wife, Charlotte Lindig. During that period, Huppertz was also recorded singing two songs
with other singers as promotion for the operetta "Verliebte Leute," which was released in 1922 on a 78rpm record.
In Berlin he also met Rudolf Klein-Rogge's wife, Thea von Harbou, and subsequently director Fritz Lang, who became
close friends to the point Huppertz, his wife, Von Harbou, and Lang were together nearly every night in the wild
cultural life of Berlin. The professional collaboration between Lang and Huppertz started where Lang hired Huppertz
as an actor for two small roles in the films "Vier um die Frau" and "Dr. Mabuse Der Spieler," and knowing Huppertz'
musical talent, once he turned to make his two-part epic film "Die Nibelungen," he had opted to use Huppertz as
the composer. Huppertz, on the other hand, initially refused the job and only after reviewing the script was Huppertz
convinced that the film was independent of the Opera and based on the Volksaga. He then wrote music for the film
using a copy of Von Harbou's script that she personally handed to him.
On February 14, 1924 came the premiere of the first part of the film. While Huppertz finished the music on
time for the premiere, Lang, on the other hand, didn't finish editing the film and was working on it during the grand
premiere. The reels had to be delivered to the cinema with police escort for each of them to reach on time, which
created long pauses between each reel. The conductor at the premiere, Ern� Rap�e, had hardest time of his life
conducting the 60-piece orchestra, as last minute changes didn't fit the synchronization cues written to the score
by Huppertz. Needless to say, the premiere was a catastrophe. For the second part of the film, it was even worse,
and the last reel of the movie wasn't shown at all at its premiere as it took too much time. Unlike in Germany, however,
in France it was decided, much to Lang's dissatisfaction, to use Wagner's music to accompany the film. Lang in
response published a declaration asserting his respect for Wagner (Actually, Lang, who didn't like classical music
very much, had an especially passionate hatered towards Wagner, while Huppertz was considered one of his favorite
composers): "I voluntarily chose a composer who knew cinema, interested in it and even performing it. I asked him
to write an original score for the film, this artist, this specialist is called Gottfried Huppertz. He is young and his
many lieder have given him a much deserved reputation". Despite the declaration, in the U.S it was also decided
to use an adaptation of Wagner's opera, the one which was subsequently released on 78rpm records, and is considered
the first soundtrack release in the world (According to the "Guinness Film Facts and Feats", 1981).
After the success of "Die Nibelungen," Huppertz was hired to work on the soundtrack of "Zur Chronik von
Grieshuus," for which von Harbou had written the script (A score which had an important contribution to the atmosphere,
Dr. K. M., Lichtbild-B�hne, Nr. 7, 14.2.1925). While working on the soundtrack, Huppertz also took part in many
meetings with Lang and von Harbou in which they discussed the script of their next film, "Metropolis," and already
begun developing musical themes for it.Huppertz plays the piano on the set of Metropolis This close collaboration
continued during the filming of Metropolis where Huppertz was constantly on the set, a thing very unusual for the
time. Huppertz used to play the piano during filming, and the background music was used for tempo and mood.
A little known fact, however, Is that in addition to composing the music, Huppertz also had a small acting part in
the film as a Violin player in Yoshiwara. On September 1926 Huppertz finished to write the music for Metropolis, and
by late December, after the film was approved by the censors, the complete synchronized score was ready. Premiere
took place on January 10, 1927, with music delivered by a 66 piece orchestra, and at its end: "Unending applause
brought the creators and the production staff to the apron stage over and over again, including Gottfried Huppertz,
who put up the background music and conducted himself." (Der Film, Berlin, vol. 12, no. 1, 15 Jan 1927, p. 5-6) .
Huppertz, holding the printed version of the Metropolis score "The music by Gottfried Huppertz gives a rough idea
of the events while storming forward with them…" said novelist Norbert Jacques, who was present at the premiere,
"it is big, clear and strong." In January alone 7 published articles focused about Huppertz' music, 2 in March, and
3 more during the rest of the year (one in April, August and September). Criticisms were so good that it was then
decided to release Huppertz' music for Metropolis on a set of two 78rpm records under the VOX label. The first
record was 12" in size and contained on the first side a spoken introduction by Fritz Lang (exact content unknown),
and on the second side several themes from the film: Metropolis, Moloch, Fredersen, Freder, and the Yoshiwara
Foxtrot. Second record was 10" and contained on the first side the Waltz (Of the eternal garden), and on the second
side the Fantastic dance/Dance of death (Music heard when the Robot dances in Yoshiwara). Metropolis the film,
however, didn't get many favorable reviews andHuppertz in Fritz Lang's Spione after the grand premiere was
shown in only one theater until closing in May. The film was then shortened by a quarter, and a re-release was
set for August the same year. Huppertz then readapted his musical score for the new editing of the film, though
at the end the music that accompanied the film contained only few of his themes and the rest was made of music
by Chopin and few pieces by Giuseppe Becces. Metropolis was the second and last Fritz Lang film for which
Huppertz composed music, as all of Lang's following films were made with a considerably smaller budget and
he simply couldn't afford Huppertz anymore. The Last professional collaboration between the two would be in
"Spione," where Huppertz again had a small role in the film as a Violin player, echoing his cameo in "Metropolis"
which was cut in the shortened version, though afterwards they still remained very close friends. Huppertz had
a small pause taken from film music and focused mainly on composing original music and also creating adaptations
for chamber orchestra and piano reductions of musical pieces by other composers, especially Grieg. In 1932
Huppertz was hired to record his 1924 music for Fritz Lang's "Die Nibelungen" for a shortened sound adaptation
of the film produced by Franz B. Biermann under the name "Siegfrieds Tod." The film's length was reduced to
roughly 82 minutes and in addition to Huppertz' music actor Theodor Loos was hired to narrate the film. Around
the release of "Siegfrieds Tod," Fritz Lang was invited by Joseph Goebbels to become Germany's leading director,
after which Lang decided to leave Germany. Lang then tried to convince Huppertz to follow him out of Germany,
but Huppertz who was simply too nostalgic about Berlin felt he couldn't leave and decided to stay.
Movie programIn August 1933 "Der Judas von Tirol," which featured Rudolf Klein-Rogge, was released and
was Huppertz' first sound film work.Movie program The film, apparently, was a disaster in the making and ended
with hatred between the cast, crew and the director to a level that none of them wanted to work with each other
ever again. None the less the film was released in the U.S in 1935 under the title "The Judas of Tyrol," making it
the only time during Huppertz' lifetime his music was properly heard in the U.S. The following project for Huppertz
was composing for Then von Harbou's first directorial effort, "Elisabeth und der Narr" (late 1933), which also had
its share of problems; this time with the censorship who claimed it offends religious feelings. The film was forbidden
and went through several cuts by the censorship, eventually getting thoroughly negative reviews in the press and
failing in performance. Huppertz was also on Von Harbou's next feature, "Hanneles Himmelfahrt" (early 1934), a
film for children that was sent at least 3 times for censorship and was forbidden for children every time. Eventually
it did even more poorly than Harbou's first film, and was actually such a complete flop that Harbou's next film
project was cancelled.
Huppertz' next project, a year an a half later, was the bilingual production of "Der gr�ne Domino"/"Le Domino
vert" (1935), which was made in both German and French versions. Here lays another connection to Thea von
Harbou, as her brother Horst von Harbou was hired on the set as a still photographer. The movie contained some
known music (by Strauss) but mostly had Huppertz's original compositions (including a Foxtrot set to a song by
Hans Fritz Beckmann).Poster Even though it was a successful film, like Huppertz' other sound films this one is
almost completely forgotten, and is only remembered by it's French version for the performance of actress
Danielle Darrieux. The next film to which Huppertz composed was "Durch die W�ste"; the first sound film based
on a novel of famous German author Karl May. The film which was filmed in Berlin and on location in Egypt and
Libya, originally had Thea von Harbou as the scenarist (she always admired May's stories), but she was replaced
in a very early stage of the pre-production by Carl Junghans. The film, despite high potencial, was a failure due
to bad direction, acting, and a script that gave the story a fragmented feeling. The film was released on February
20, 1936, and on February 7, 1937, less then a year after the premiere, Gottfried Huppertz died of a heart
attack, forgotten for almost 40 years until rediscovered due to his early film work of Die Nibelungen and
Metropolis. He left a wife behind him."
Source: Pan Classics, 2016
Format: FLAC(RAR) image, 16-44, DDD Stereo
File Size: 439 MB (incl. artwork, 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 any further, also please
add to my reputation!
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!
Chronicles of the Gray House (German: Zur Chronik von Grieshuus) is a 1925 German drama film directed by Arthur von Gerlach,
starring Arthur Krau�neck, Paul Hartmann and Rudolf Forster. It is also known as At the Grey House. The narrative is set in the 17th century
and follows the intrigues when the son of a feudal landowner falls in love with the daughter of one of the serfs, causing his younger brother
to see an opportunity for himself. The screenplay by Thea von Harbou is based on Theodor Storm's novella A Chapter in the History of
Grieshuus. Erich Pommer produced the film for Universum Film AG. Principal photography took place from May 1923 to November 1924
around the L�neburg Heath and Neubabelsberg. The premiere took place in Berlin on 11 February 1925.
Hinrich, the son of a feudal German landowner, falls in love with the beautiful daughter of one of his father's serfs despite opposition
from both families. But when he actually offers marriage to her, this is going too far. The return of his brother Detlev, with an
unscrupulous aristocratic bride of his own and a rival claim to their father's estates, proves to be the trigger for tragedy.
This is another great score by Gottfried Huppertz, one of the most famous silent film composers (Metropolis, Die Nibelungen).
The film isn't very well known, but was put together by the same production team as Die Nibelungen.
Music Composed by
Gottfried Huppertz
Played by the
Frankfurt Radio Symphony Orchestra
Conducted by
Frank Strobel
"Gottfried Huppertz was born in K�ln, Germany on March 11, 1887. There He studied music in a conservatory,
and in 1905 wrote his first composition, a song titled "Rankende Rosen" (Tendrillar Roses), which he dedicated to
his childhood friend Rudolf Klein-Rogge. Huppertz, around 1918Gottfried Huppertz in Fritz Lang's Dr. Mabuse. During
WWI Huppertz worked as an opera singer and theater actor in Coburg, Freiburg and Breslau, and also wrote some
music for the theater. In 1920 Huppertz moved to Berlin and began acting at the Nollendorfplatz Theater, and shortly
afterwards met his future wife, Charlotte Lindig. During that period, Huppertz was also recorded singing two songs
with other singers as promotion for the operetta "Verliebte Leute," which was released in 1922 on a 78rpm record.
In Berlin he also met Rudolf Klein-Rogge's wife, Thea von Harbou, and subsequently director Fritz Lang, who became
close friends to the point Huppertz, his wife, Von Harbou, and Lang were together nearly every night in the wild
cultural life of Berlin. The professional collaboration between Lang and Huppertz started where Lang hired Huppertz
as an actor for two small roles in the films "Vier um die Frau" and "Dr. Mabuse Der Spieler," and knowing Huppertz'
musical talent, once he turned to make his two-part epic film "Die Nibelungen," he had opted to use Huppertz as
the composer. Huppertz, on the other hand, initially refused the job and only after reviewing the script was Huppertz
convinced that the film was independent of the Opera and based on the Volksaga. He then wrote music for the film
using a copy of Von Harbou's script that she personally handed to him.
On February 14, 1924 came the premiere of the first part of the film. While Huppertz finished the music on
time for the premiere, Lang, on the other hand, didn't finish editing the film and was working on it during the grand
premiere. The reels had to be delivered to the cinema with police escort for each of them to reach on time, which
created long pauses between each reel. The conductor at the premiere, Ern� Rap�e, had hardest time of his life
conducting the 60-piece orchestra, as last minute changes didn't fit the synchronization cues written to the score
by Huppertz. Needless to say, the premiere was a catastrophe. For the second part of the film, it was even worse,
and the last reel of the movie wasn't shown at all at its premiere as it took too much time. Unlike in Germany, however,
in France it was decided, much to Lang's dissatisfaction, to use Wagner's music to accompany the film. Lang in
response published a declaration asserting his respect for Wagner (Actually, Lang, who didn't like classical music
very much, had an especially passionate hatered towards Wagner, while Huppertz was considered one of his favorite
composers): "I voluntarily chose a composer who knew cinema, interested in it and even performing it. I asked him
to write an original score for the film, this artist, this specialist is called Gottfried Huppertz. He is young and his
many lieder have given him a much deserved reputation". Despite the declaration, in the U.S it was also decided
to use an adaptation of Wagner's opera, the one which was subsequently released on 78rpm records, and is considered
the first soundtrack release in the world (According to the "Guinness Film Facts and Feats", 1981).
After the success of "Die Nibelungen," Huppertz was hired to work on the soundtrack of "Zur Chronik von
Grieshuus," for which von Harbou had written the script (A score which had an important contribution to the atmosphere,
Dr. K. M., Lichtbild-B�hne, Nr. 7, 14.2.1925). While working on the soundtrack, Huppertz also took part in many
meetings with Lang and von Harbou in which they discussed the script of their next film, "Metropolis," and already
begun developing musical themes for it.Huppertz plays the piano on the set of Metropolis This close collaboration
continued during the filming of Metropolis where Huppertz was constantly on the set, a thing very unusual for the
time. Huppertz used to play the piano during filming, and the background music was used for tempo and mood.
A little known fact, however, Is that in addition to composing the music, Huppertz also had a small acting part in
the film as a Violin player in Yoshiwara. On September 1926 Huppertz finished to write the music for Metropolis, and
by late December, after the film was approved by the censors, the complete synchronized score was ready. Premiere
took place on January 10, 1927, with music delivered by a 66 piece orchestra, and at its end: "Unending applause
brought the creators and the production staff to the apron stage over and over again, including Gottfried Huppertz,
who put up the background music and conducted himself." (Der Film, Berlin, vol. 12, no. 1, 15 Jan 1927, p. 5-6) .
Huppertz, holding the printed version of the Metropolis score "The music by Gottfried Huppertz gives a rough idea
of the events while storming forward with them…" said novelist Norbert Jacques, who was present at the premiere,
"it is big, clear and strong." In January alone 7 published articles focused about Huppertz' music, 2 in March, and
3 more during the rest of the year (one in April, August and September). Criticisms were so good that it was then
decided to release Huppertz' music for Metropolis on a set of two 78rpm records under the VOX label. The first
record was 12" in size and contained on the first side a spoken introduction by Fritz Lang (exact content unknown),
and on the second side several themes from the film: Metropolis, Moloch, Fredersen, Freder, and the Yoshiwara
Foxtrot. Second record was 10" and contained on the first side the Waltz (Of the eternal garden), and on the second
side the Fantastic dance/Dance of death (Music heard when the Robot dances in Yoshiwara). Metropolis the film,
however, didn't get many favorable reviews andHuppertz in Fritz Lang's Spione after the grand premiere was
shown in only one theater until closing in May. The film was then shortened by a quarter, and a re-release was
set for August the same year. Huppertz then readapted his musical score for the new editing of the film, though
at the end the music that accompanied the film contained only few of his themes and the rest was made of music
by Chopin and few pieces by Giuseppe Becces. Metropolis was the second and last Fritz Lang film for which
Huppertz composed music, as all of Lang's following films were made with a considerably smaller budget and
he simply couldn't afford Huppertz anymore. The Last professional collaboration between the two would be in
"Spione," where Huppertz again had a small role in the film as a Violin player, echoing his cameo in "Metropolis"
which was cut in the shortened version, though afterwards they still remained very close friends. Huppertz had
a small pause taken from film music and focused mainly on composing original music and also creating adaptations
for chamber orchestra and piano reductions of musical pieces by other composers, especially Grieg. In 1932
Huppertz was hired to record his 1924 music for Fritz Lang's "Die Nibelungen" for a shortened sound adaptation
of the film produced by Franz B. Biermann under the name "Siegfrieds Tod." The film's length was reduced to
roughly 82 minutes and in addition to Huppertz' music actor Theodor Loos was hired to narrate the film. Around
the release of "Siegfrieds Tod," Fritz Lang was invited by Joseph Goebbels to become Germany's leading director,
after which Lang decided to leave Germany. Lang then tried to convince Huppertz to follow him out of Germany,
but Huppertz who was simply too nostalgic about Berlin felt he couldn't leave and decided to stay.
Movie programIn August 1933 "Der Judas von Tirol," which featured Rudolf Klein-Rogge, was released and
was Huppertz' first sound film work.Movie program The film, apparently, was a disaster in the making and ended
with hatred between the cast, crew and the director to a level that none of them wanted to work with each other
ever again. None the less the film was released in the U.S in 1935 under the title "The Judas of Tyrol," making it
the only time during Huppertz' lifetime his music was properly heard in the U.S. The following project for Huppertz
was composing for Then von Harbou's first directorial effort, "Elisabeth und der Narr" (late 1933), which also had
its share of problems; this time with the censorship who claimed it offends religious feelings. The film was forbidden
and went through several cuts by the censorship, eventually getting thoroughly negative reviews in the press and
failing in performance. Huppertz was also on Von Harbou's next feature, "Hanneles Himmelfahrt" (early 1934), a
film for children that was sent at least 3 times for censorship and was forbidden for children every time. Eventually
it did even more poorly than Harbou's first film, and was actually such a complete flop that Harbou's next film
project was cancelled.
Huppertz' next project, a year an a half later, was the bilingual production of "Der gr�ne Domino"/"Le Domino
vert" (1935), which was made in both German and French versions. Here lays another connection to Thea von
Harbou, as her brother Horst von Harbou was hired on the set as a still photographer. The movie contained some
known music (by Strauss) but mostly had Huppertz's original compositions (including a Foxtrot set to a song by
Hans Fritz Beckmann).Poster Even though it was a successful film, like Huppertz' other sound films this one is
almost completely forgotten, and is only remembered by it's French version for the performance of actress
Danielle Darrieux. The next film to which Huppertz composed was "Durch die W�ste"; the first sound film based
on a novel of famous German author Karl May. The film which was filmed in Berlin and on location in Egypt and
Libya, originally had Thea von Harbou as the scenarist (she always admired May's stories), but she was replaced
in a very early stage of the pre-production by Carl Junghans. The film, despite high potencial, was a failure due
to bad direction, acting, and a script that gave the story a fragmented feeling. The film was released on February
20, 1936, and on February 7, 1937, less then a year after the premiere, Gottfried Huppertz died of a heart
attack, forgotten for almost 40 years until rediscovered due to his early film work of Die Nibelungen and
Metropolis. He left a wife behind him."
Source: Pan Classics, 2016
Format: FLAC(RAR) image, 16-44, DDD Stereo
File Size: 439 MB (incl. artwork, 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 any further, also please
add to my reputation!
