wimpel69
12-21-2016, 12:31 PM
Please request the FLAC link in this thread. PMs will be ignored!
This is my own rip (BD-Audio to FLAC). Please do not share my material further, also please
add to my reputation! Limited sharing period!
Douglas Fairbanks is at his most graceful and charismatic in one of the classic silent films of the 1920s. As the thief of Baghdad,
his movements are dance-like -- nothing like the athletics he performed in most of his other films. In this Arabian take, the thief
ignores the holy teachings and sneaks into the palace of the Caliph (Brandon Hurst). All thoughts of robbery slip away, however,
when he sees the beautiful princess (Julanne Johnston). Princes have come from many faraway lands to win the princess' hand
(and it's amusing to watch her face growing ever more alarmed at their arrival, because each one is uglier than the last). The thief
disguises himself as a prince and the princess falls in love with him. After having a pang of conscience, the thief confesses all to
the Holy Man (Charles Belcher), who sends him to find a magic chest. He braves many obstacles to get it, and when he returns he
discovers that the Mongol Prince (Sojin) has taken over the city. Using the chest, the reformed thief creates armies of men out of
nothingness and recaptures the city. He then uses the cloak of invisibility to spirit the princess away on a magic carpet. Fairbanks
stole some of the special effects for his film from Fritz Lang's Der M�de Tod, which he had purchased for American distribution.
The Thief of Baghdad, with its look of unrealistic beauty (courtesy of art director William Cameron Menzies), was not fully
appreciated in its day. Because of its huge cost (two million dollars -- a real fortune in those days), it made little money.
After that, Fairbanks stuck closer to the swashbuckling persona he felt his audience wanted. Available now on BD & DVD, the
remastered film features a new score by Carl Davis.
Carl Davis's score is mostly a compilation of various orchestralw orks by Nikolai Rimsky-Korsakov, mostly of his masterpiece
Scheherazade. Davis is an expert in adapting and manipulating classical music for his silent film scores (Napol�on e.g.),
and he makes vivid use of the Rimsky-Korsakov here. I simply used the BC chapters (12, each around 12+ minutes) for the rip,
so to enjoy the music without pause, play all the files in succession!
Music Composed by
Carl Davis
Based on the music of
Nikolai Rimsky-Korsakov
Played by the
London Philharmonic Orchestra
Conducted by
Carl Davis
"I was born in New York in 1936. Pre-birth, my mother went to a lot of concerts and my reaction was quite passionate!
After, she played piano and I imitated her. My first lessons were at 7. I sacked my first teacher when, after seeing Disney’s
Fantasia, I insisted on studying Bach’s Toccata and Fugue and he refused. I kept playing though, driven by curiosity – pop
to Parsifal. We had good public libraries in Brooklyn with fairly comprehensive music sections and I devoured scores.
My mission was to be able to sight-read and sing operas, text and all. I went on to orchestral scores, helped by New York’s
two classical music radio stations. I was equally attracted by dance. After all, New York was home to American Ballet
Theatre, Ballet Russe, The New York City Centre Ballet and Martha Graham.
In my teens I widened my circle with singers and musicians. There were opera workshops, choirs, chamber music and
Leider to play. My first professional engagements were at Tanglewood, touring with the Robert Shaw Chorale and The New
York City Opera and at 18, composition. A choice had to be made and I chose composition and London.
Helped by Diversions, a revue written at college, that had won Off-Broadway prizes, my colleague, Steven Vinaver, who
had joined me in London, the revue Twists was produced at the Edinburgh Festival and then the Arts Theatre in the West
End. An encouraging review from Richard Buckle led to my first radio work and television. There were strong collaborators:
Jack Gold, Ronald Eyre and Patrick Garland. The breakthrough came in 1969 with Alan Bennett’s Forty Years On.
Jonathan Miller took me to The National Theatre and Ron to the RSC. A collaboration with John Wells produced three
full length musicals for stage: Alice in Wonderland, Peace (Aristophenes) and The Projector for Joan Littlewood’s Theatre
Workshop. There I met my future wife, Jean Boht and began a family: two daughters, Hannah and Jessie and currently
3 grandchildren.
In the 1970’s, Jeremy Isaacs commissioned The World at War TV Series and the BBC commissioned scores for classic
serials, including: The Snow Goose, Our Mutual Friend and The Mayor of Casterbridge. The decade ended working with
Producer, David Gill and film-maker and historian, Kevin Brownlow on the 13 Part Series Hollywood. In 1980 this led to
a landmark performance with orchestra of Kevin Brownlow’s restoration of the 5 hour epic Napoleon: live cinema was
re-born. Channel 4 continued this development with a chain of restorations of the major silent films featuring Garbo,
Gish, Fairbanks and the three great clowns: Chaplin, Keaton and Lloyd, as well as epics like Ben Hur and Intolerance.
Orchestras were now keen to mount these films and I fancied myself a conductor climaxing in an 8 year run in a series
of popular concerts in Big Top on The King’s Dock in Liverpool! This helped me develop a unique performance style
involving costumes and a rapport with my audience.
The 1990’s opened with a collaboration with Paul McCartney: The Liverpool Oratorio, and then there was ballet. First,
Gillian Lynne’s A Simple Man for The BBC’s Omnibus and Northern Ballet Theatre. Then, A Picture of Dorian Grey for
The Sadler’s Wells ballet, choreographed by Derek Deane, followed by Fire and Ice, a television ballet for LWT for Torvill
and Dean. The Millenium brought forth A Christmas Carol for NBT; Aladdin for Scottish Ballet and an Alice in Wonderland
ballet, again for Derek(now Artistic Director of The English National Ballet). A new collaboration began with choreographer
David Bintley when I was invited to compose a new score for his Cyrano ballet. This was followed by a revival of Aladdin
with new choreography by David Bintley for The National Ballet of Japan. Recently, created was a ballet based on
The Lady of the Camellias for the Croatian National Ballet with choreography by Derek Deane.
Welcome to my worlds."
Carl Davis
Source: BD, Concorde (Germany)
Format: FLAC(RAR), DDD Stereo
File Size: 474 MB
Please request the FLAC link in this thread. PMs will be ignored!
This is my own rip (BD-Audio to FLAC). Please do not share my material further, also please
add to my reputation! Limited sharing period!
This is my own rip (BD-Audio to FLAC). Please do not share my material further, also please
add to my reputation! Limited sharing period!
Douglas Fairbanks is at his most graceful and charismatic in one of the classic silent films of the 1920s. As the thief of Baghdad,
his movements are dance-like -- nothing like the athletics he performed in most of his other films. In this Arabian take, the thief
ignores the holy teachings and sneaks into the palace of the Caliph (Brandon Hurst). All thoughts of robbery slip away, however,
when he sees the beautiful princess (Julanne Johnston). Princes have come from many faraway lands to win the princess' hand
(and it's amusing to watch her face growing ever more alarmed at their arrival, because each one is uglier than the last). The thief
disguises himself as a prince and the princess falls in love with him. After having a pang of conscience, the thief confesses all to
the Holy Man (Charles Belcher), who sends him to find a magic chest. He braves many obstacles to get it, and when he returns he
discovers that the Mongol Prince (Sojin) has taken over the city. Using the chest, the reformed thief creates armies of men out of
nothingness and recaptures the city. He then uses the cloak of invisibility to spirit the princess away on a magic carpet. Fairbanks
stole some of the special effects for his film from Fritz Lang's Der M�de Tod, which he had purchased for American distribution.
The Thief of Baghdad, with its look of unrealistic beauty (courtesy of art director William Cameron Menzies), was not fully
appreciated in its day. Because of its huge cost (two million dollars -- a real fortune in those days), it made little money.
After that, Fairbanks stuck closer to the swashbuckling persona he felt his audience wanted. Available now on BD & DVD, the
remastered film features a new score by Carl Davis.
Carl Davis's score is mostly a compilation of various orchestralw orks by Nikolai Rimsky-Korsakov, mostly of his masterpiece
Scheherazade. Davis is an expert in adapting and manipulating classical music for his silent film scores (Napol�on e.g.),
and he makes vivid use of the Rimsky-Korsakov here. I simply used the BC chapters (12, each around 12+ minutes) for the rip,
so to enjoy the music without pause, play all the files in succession!
Music Composed by
Carl Davis
Based on the music of
Nikolai Rimsky-Korsakov
Played by the
London Philharmonic Orchestra
Conducted by
Carl Davis
"I was born in New York in 1936. Pre-birth, my mother went to a lot of concerts and my reaction was quite passionate!
After, she played piano and I imitated her. My first lessons were at 7. I sacked my first teacher when, after seeing Disney’s
Fantasia, I insisted on studying Bach’s Toccata and Fugue and he refused. I kept playing though, driven by curiosity – pop
to Parsifal. We had good public libraries in Brooklyn with fairly comprehensive music sections and I devoured scores.
My mission was to be able to sight-read and sing operas, text and all. I went on to orchestral scores, helped by New York’s
two classical music radio stations. I was equally attracted by dance. After all, New York was home to American Ballet
Theatre, Ballet Russe, The New York City Centre Ballet and Martha Graham.
In my teens I widened my circle with singers and musicians. There were opera workshops, choirs, chamber music and
Leider to play. My first professional engagements were at Tanglewood, touring with the Robert Shaw Chorale and The New
York City Opera and at 18, composition. A choice had to be made and I chose composition and London.
Helped by Diversions, a revue written at college, that had won Off-Broadway prizes, my colleague, Steven Vinaver, who
had joined me in London, the revue Twists was produced at the Edinburgh Festival and then the Arts Theatre in the West
End. An encouraging review from Richard Buckle led to my first radio work and television. There were strong collaborators:
Jack Gold, Ronald Eyre and Patrick Garland. The breakthrough came in 1969 with Alan Bennett’s Forty Years On.
Jonathan Miller took me to The National Theatre and Ron to the RSC. A collaboration with John Wells produced three
full length musicals for stage: Alice in Wonderland, Peace (Aristophenes) and The Projector for Joan Littlewood’s Theatre
Workshop. There I met my future wife, Jean Boht and began a family: two daughters, Hannah and Jessie and currently
3 grandchildren.
In the 1970’s, Jeremy Isaacs commissioned The World at War TV Series and the BBC commissioned scores for classic
serials, including: The Snow Goose, Our Mutual Friend and The Mayor of Casterbridge. The decade ended working with
Producer, David Gill and film-maker and historian, Kevin Brownlow on the 13 Part Series Hollywood. In 1980 this led to
a landmark performance with orchestra of Kevin Brownlow’s restoration of the 5 hour epic Napoleon: live cinema was
re-born. Channel 4 continued this development with a chain of restorations of the major silent films featuring Garbo,
Gish, Fairbanks and the three great clowns: Chaplin, Keaton and Lloyd, as well as epics like Ben Hur and Intolerance.
Orchestras were now keen to mount these films and I fancied myself a conductor climaxing in an 8 year run in a series
of popular concerts in Big Top on The King’s Dock in Liverpool! This helped me develop a unique performance style
involving costumes and a rapport with my audience.
The 1990’s opened with a collaboration with Paul McCartney: The Liverpool Oratorio, and then there was ballet. First,
Gillian Lynne’s A Simple Man for The BBC’s Omnibus and Northern Ballet Theatre. Then, A Picture of Dorian Grey for
The Sadler’s Wells ballet, choreographed by Derek Deane, followed by Fire and Ice, a television ballet for LWT for Torvill
and Dean. The Millenium brought forth A Christmas Carol for NBT; Aladdin for Scottish Ballet and an Alice in Wonderland
ballet, again for Derek(now Artistic Director of The English National Ballet). A new collaboration began with choreographer
David Bintley when I was invited to compose a new score for his Cyrano ballet. This was followed by a revival of Aladdin
with new choreography by David Bintley for The National Ballet of Japan. Recently, created was a ballet based on
The Lady of the Camellias for the Croatian National Ballet with choreography by Derek Deane.
Welcome to my worlds."
Carl Davis
Source: BD, Concorde (Germany)
Format: FLAC(RAR), DDD Stereo
File Size: 474 MB
Please request the FLAC link in this thread. PMs will be ignored!
This is my own rip (BD-Audio to FLAC). Please do not share my material further, also please
add to my reputation! Limited sharing period!
