wimpel69
12-28-2016, 01:41 PM
For the FLAC link, please request the album in this thread. This is my own rip.
No PM's, please. Also, please don't share. Cover and conductor's profile included.
By 1916, just two years after appearing in his first motion picture, Charles Chaplin had become the most
famous entertainer in the world. Buoyed by his enormously successful comedies for Keystone and Essanay, he was
offered the largest salary ever extended to a motion picture star�$670,000 for a single year�s work�to make
twelve two-reel comedies for the Mutual Film Corporation. For Mutual, Chaplin produced what many film historians
believe to be his best works. Few artists seminal to a medium leave a detailed history that charts the early
evolution of their craft. Although the initial Mutuals have the feel and structure of Chaplin�s earlier, less
sophisticated films, the progression of the series to the final four Mutuals is truly inspiring.
Viewing the Mutual-Chaplin Specials is comparable to turning a camera on Thomas A. Edison in Menlo Park and capturing
unhindered the inventor�s moments of pure inspiration. The thrill in watching nearly all of the Mutuals comes
in the Promethean moment when Chaplin�s inventiveness intersects with his genius and produces cinematic comedy
sequences unlike any before. The Mutuals are Chaplin�s laboratory, offering an unprecedented glimpse into the
inner workings of the mind of a great cinema pioneer.
The Mutual Film Corporation created a subsidiary called The Lone Star Corporation solely to make the Chaplin films.
Lone Star paid Chaplin $10,000 a week plus a $150,000 signing bonus for the twelve two-reel comedies.
The unprecedented sum would set the standard for the salaries of motion picture stars. Indeed, Mary Pickford,
known as �America�s Sweetheart,� did not allow Chaplin�s record-breaking salary to go unchallenged. The company
provided Chaplin his own studio, named The Lone Star Studio. The facility was formerly the Climax Studios, located
at 1025 Lillian Way in Hollywood, and later would be used by Buster Keaton to make all his independently produced
silent two-reel and feature-length films. Chaplin made approximately one film a month but several required more
time, and the series ultimately took eighteen months to complete. Although this may appear to be remarkably swift
work, it was a leisurely pace compared to the speed he had been required to maintain at Keystone and Essanay.
The press and public were amazed and even skeptical at the amount of Chaplin�s earnings. A Mutual publicist wrote,
�Next to the war in Europe Chaplin is the most expensive item in contemporaneous history.� (1) Chaplin was
sanguine. �It means that I am left free to be just as funny as I dare,� announced Chaplin, �to do the best work
that is in me�There is inspiration in it. I am like an author with a big publisher to give him circulation.� (2) Mutual
provided Chaplin the freedom to explore all his comic ideas and to discard anything he believed failed to work on film.
Chaplin�s method of filmmaking departed from that of most silent-film directors. First of all, he disliked filming on location
and avoided it whenever he could, preferring the controlled conditions of his studio, which allowed him to insert scenes days
or weeks later and have them match the master scenes. Moreover, Chaplin took too long to film anything substantial on
location. In the silent era, just as today, every shot was given a separate number. Silent filmmakers did not utilize a
clapperboard, which is useful for synchronizing action and sound, but a simple slate board to mark the scenes. Chaplin�s
unorthodox system was to mark each take in chronological order rather than to assign a number to each scene. Eschewing
formal scripts, Chaplin devised ideas for scenes in advance and had them typed up as notes. Often, however, inspiration
would strike him on a set and there would be no time to have the notes typed.
By any standard, Chaplin�s directing style, perfected during the filming of the Mutuals and employed throughout the rest
of his career, was unique in the cinema. He simply acted out the parts of all the actors as he wished them to be played,
down to the slightest gesture of the hand or movement of the eyebrow. Chaplin and his cast would be in full costume and
make-up while he rehearsed scenes and refined ideas over and over again on film. This directorial style was considered
eccentric even in 1916, and the time he lavished on his films was the envy of every filmmaker. Yet for Chaplin,
a laser-like concentration on performance and perfection to the exclusion of all else was his unyielding obsession,
even until the end of his career.
Music Composed and Conducted by
Carl Davis
Played by the
City of Prague Philharmonic Orchestra
With the
Wihan String Quartet
"New York-born and England-based composer/conductor Carl Davis has delivered ear-catching symphonic music
for more than four decades. His dramatic scores have been performed by the Royal Shakespeare Company and
the National Theater while the pieces he composed for ballet have been utilized by the London Contemporary Theater
Company, the Sadler Wells Royal Ballet, the Northern Ballet Theater, and the English National Ballet Company.
A master at composing scores to accompany silent films, Davis has provided soundtracks for Napolean, Flesh and
the Devil, Ben-Hur, Thief of Baghdad, Greed and Intolerance, and Phantom of the Opera. His work in television
includes composing scores for Pride and Prejudice, which received a BASCA Ivor Novello Award for "best music
for a television production" in 1996. His score for the film The French Lieutenant's Woman received BAFA "original
film score" and Ivor Novello Awards. Davis' collaboration with Sir Paul McCartney on his symphonic piece "Liverpool
Oratorio" attracted worldwide attention in 1991. He conducted the piece's premier at Anglican Church.
Born to a Jewish family, with roots in Poland and Russia, Davis began studying piano at the age of seven.
He attended his first opera three years later.
After attending the New England Conservatory of Music and graduating from Bard College, Davis worked with
the New York City Opera and toured with choral conductor Robert Shaw as accompanist. He relocated to England
after marrying British actress Jean Boht in 1971.
Appointed artistic director and conductor of the Royal Liverpool Philharmonic Orchestra's summer pops season
in 1993, Davis serves as vice chancellor of the University of Liverpool.
Davis was made a Chevalier de L'Ordre des Arts et des Lettres by the French ministry of culture."
Source: The Carl Davis Collection, 2014 (My rip!)
Format: FLAC/RAR, DDD Stereo
File Size: 399 MB (incl. covers & liner notes)
For the FLAC link, please request the album in this thread. This is my own rip.
No PM's, please. Also, please don't share. Cover and conductor's profile included.
No PM's, please. Also, please don't share. Cover and conductor's profile included.
By 1916, just two years after appearing in his first motion picture, Charles Chaplin had become the most
famous entertainer in the world. Buoyed by his enormously successful comedies for Keystone and Essanay, he was
offered the largest salary ever extended to a motion picture star�$670,000 for a single year�s work�to make
twelve two-reel comedies for the Mutual Film Corporation. For Mutual, Chaplin produced what many film historians
believe to be his best works. Few artists seminal to a medium leave a detailed history that charts the early
evolution of their craft. Although the initial Mutuals have the feel and structure of Chaplin�s earlier, less
sophisticated films, the progression of the series to the final four Mutuals is truly inspiring.
Viewing the Mutual-Chaplin Specials is comparable to turning a camera on Thomas A. Edison in Menlo Park and capturing
unhindered the inventor�s moments of pure inspiration. The thrill in watching nearly all of the Mutuals comes
in the Promethean moment when Chaplin�s inventiveness intersects with his genius and produces cinematic comedy
sequences unlike any before. The Mutuals are Chaplin�s laboratory, offering an unprecedented glimpse into the
inner workings of the mind of a great cinema pioneer.
The Mutual Film Corporation created a subsidiary called The Lone Star Corporation solely to make the Chaplin films.
Lone Star paid Chaplin $10,000 a week plus a $150,000 signing bonus for the twelve two-reel comedies.
The unprecedented sum would set the standard for the salaries of motion picture stars. Indeed, Mary Pickford,
known as �America�s Sweetheart,� did not allow Chaplin�s record-breaking salary to go unchallenged. The company
provided Chaplin his own studio, named The Lone Star Studio. The facility was formerly the Climax Studios, located
at 1025 Lillian Way in Hollywood, and later would be used by Buster Keaton to make all his independently produced
silent two-reel and feature-length films. Chaplin made approximately one film a month but several required more
time, and the series ultimately took eighteen months to complete. Although this may appear to be remarkably swift
work, it was a leisurely pace compared to the speed he had been required to maintain at Keystone and Essanay.
The press and public were amazed and even skeptical at the amount of Chaplin�s earnings. A Mutual publicist wrote,
�Next to the war in Europe Chaplin is the most expensive item in contemporaneous history.� (1) Chaplin was
sanguine. �It means that I am left free to be just as funny as I dare,� announced Chaplin, �to do the best work
that is in me�There is inspiration in it. I am like an author with a big publisher to give him circulation.� (2) Mutual
provided Chaplin the freedom to explore all his comic ideas and to discard anything he believed failed to work on film.
Chaplin�s method of filmmaking departed from that of most silent-film directors. First of all, he disliked filming on location
and avoided it whenever he could, preferring the controlled conditions of his studio, which allowed him to insert scenes days
or weeks later and have them match the master scenes. Moreover, Chaplin took too long to film anything substantial on
location. In the silent era, just as today, every shot was given a separate number. Silent filmmakers did not utilize a
clapperboard, which is useful for synchronizing action and sound, but a simple slate board to mark the scenes. Chaplin�s
unorthodox system was to mark each take in chronological order rather than to assign a number to each scene. Eschewing
formal scripts, Chaplin devised ideas for scenes in advance and had them typed up as notes. Often, however, inspiration
would strike him on a set and there would be no time to have the notes typed.
By any standard, Chaplin�s directing style, perfected during the filming of the Mutuals and employed throughout the rest
of his career, was unique in the cinema. He simply acted out the parts of all the actors as he wished them to be played,
down to the slightest gesture of the hand or movement of the eyebrow. Chaplin and his cast would be in full costume and
make-up while he rehearsed scenes and refined ideas over and over again on film. This directorial style was considered
eccentric even in 1916, and the time he lavished on his films was the envy of every filmmaker. Yet for Chaplin,
a laser-like concentration on performance and perfection to the exclusion of all else was his unyielding obsession,
even until the end of his career.
Music Composed and Conducted by
Carl Davis
Played by the
City of Prague Philharmonic Orchestra
With the
Wihan String Quartet
"New York-born and England-based composer/conductor Carl Davis has delivered ear-catching symphonic music
for more than four decades. His dramatic scores have been performed by the Royal Shakespeare Company and
the National Theater while the pieces he composed for ballet have been utilized by the London Contemporary Theater
Company, the Sadler Wells Royal Ballet, the Northern Ballet Theater, and the English National Ballet Company.
A master at composing scores to accompany silent films, Davis has provided soundtracks for Napolean, Flesh and
the Devil, Ben-Hur, Thief of Baghdad, Greed and Intolerance, and Phantom of the Opera. His work in television
includes composing scores for Pride and Prejudice, which received a BASCA Ivor Novello Award for "best music
for a television production" in 1996. His score for the film The French Lieutenant's Woman received BAFA "original
film score" and Ivor Novello Awards. Davis' collaboration with Sir Paul McCartney on his symphonic piece "Liverpool
Oratorio" attracted worldwide attention in 1991. He conducted the piece's premier at Anglican Church.
Born to a Jewish family, with roots in Poland and Russia, Davis began studying piano at the age of seven.
He attended his first opera three years later.
After attending the New England Conservatory of Music and graduating from Bard College, Davis worked with
the New York City Opera and toured with choral conductor Robert Shaw as accompanist. He relocated to England
after marrying British actress Jean Boht in 1971.
Appointed artistic director and conductor of the Royal Liverpool Philharmonic Orchestra's summer pops season
in 1993, Davis serves as vice chancellor of the University of Liverpool.
Davis was made a Chevalier de L'Ordre des Arts et des Lettres by the French ministry of culture."
Source: The Carl Davis Collection, 2014 (My rip!)
Format: FLAC/RAR, DDD Stereo
File Size: 399 MB (incl. covers & liner notes)
For the FLAC link, please request the album in this thread. This is my own rip.
No PM's, please. Also, please don't share. Cover and conductor's profile included.