The Artist For Your Consideration Promo 2CD [Ludovic Bource] @320 kbps

The Artist For Your Consideration Promo 2CD
composed by Ludovic Bource
26/ 10 tracks, @320 kbps

01 – The Artist Ouverture
02 – 1927 A Russian Affair
03 – George Valentin [1M3]
04 – Pretty Peppy
05 – At The Kinograph Studios
06 – Fantaisie D’Amour
07 – Waltz For Peppy
08 – Rustine In Ginastera
09 – Rustine Out Ginastera
10 – Silent Rumble
11 – 1929
12 – The World Talks
13 – In The Stairs [3M2]
14 – Mutism
15 – October 24th
16 – Comme Une Ros�e De Larmes
17 – The Sound Of Tears
18 – 1931 [4M5]
19 – Auction Rooms
20 – L’Ombre Des Flammes
21 – Jungle Bar
22 – Guardian Angel
23 – L’Ombre Des Flammes
24 – Happy Ending Pt.1
25 – Rustine Happy Ending
26 – Happy Ending Pt.2

27 – Charming Blackmail
28 – 1931 [6M1]
29 – Ghosts From The Past
30 – Peppy And George Pt.1[6M4]
31 – Peppy And George Pt.2[6M5]
32 – George Valentin [6M6]
33 – Estancia op. 8 Composed by Alberto Ginastera
34 – Imagination Composed by Livingston
35 – Jubilee stomp Performed by Duke Ellington
36 – Pennies from heaven Composed by Johnny Burke

PM only

Benuit – I love you, you’re the man

This won the Academy Award for Best Original Score, so it had better be good.

Thank you for sharing! It is an alright score, but I still fail to see how this beat both John Williams and Howard Shore for best score… I mean just the tiny clip from War Horse gave me goosebumps.

but I still fail to see how this beat both John Williams and Howard Shore for best score…
I think Adventures of TinTin was clearly the best score. I was quite glad that at least none of the "autistic" compositions was nominated for best score.
Ludovic Bource was a good choice. For a relatively young and inexperienced composer a great performance.

I think Adventures of TinTin was clearly the best score.

Couldn’t agree more : an underrated score that baffled many people unware to appreciate such a novelty and youth ! Can you imagine, this is a score composed by a 80 years old compopser ! But Ludovic Bource’s score is also a gem. So let’s look at the bright side : no Trent Reznor this year !

I am not overjoyed at the "autistic" comment, but I am in two minds about The Artist. I believe War Horse and Tintin to be easily superior to The Artist; which is, at its heart, a pastiche score. Not to say that it’s bad; it’s nothing sort of a miracle that in 2012 a film score that would have not sounded out of place eighty years ago has won an Oscar. Never again will the calibre of nominees be this high and varied, ever again in history.

thanks a bunch! and I also think that the best score was Tintin (got it from here, but liked it sooo much that I bought it a couple of days later and it’s the only thing that’s been on my ipod for quite a while…) but this one is very very entertaining!

I’ll gladly download this, but I’m fairly certain ingnorant Academy voters gave "The Artist" best score for Bernard Herrmann’s "Vertigo" – which accompanies the entire climax of the film.

So it’s nice that Herrmann finally got an Oscar for "Vertigo", but too bad it came 55 years too late and with another composers name on it.

Apparently no one listened to Kim Novak’s complaints. But I got your back Kim – and you were right!

I’ll gladly download this, but I’m fairly certain ingnorant Academy voters gave "The Artist" best score for Bernard Herrmann’s "Vertigo" – which accompanies the entire climax of the film.

So it’s nice that Herrmann finally got an Oscar for "Vertigo", but too bad it came 55 years too late and with another composers name on it.

I fear you’re right. Herrmann’s "Scene d’amour" not only accompanied the climax of the film and thus overshadowed the rest of the music in a dramatic sense, it was also greatly superior to Bource’s own music (not to say that Bource’s music was bad, it just pales against what is arguably THE cue from one of the greatest film scores ever written).

I personally preferred War Horse, both film and score… but I guess I’m just old-fashioned.

Hollywood politics aside, thanks for the share.

AMAZING!!!! Thank you so much 🙂 🙂

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thanks so much!

———- Post added at 09:19 PM ———- Previous post was at 09:19 PM ———-

what is the password?

what is the password?

As always: benuit

Thanks for the upload, the tracks were already available in 320k on the website, but one track was missing.

Thanks! I agree with most of you that Tintin was the best of the year, followed by War Horse and Hugo. Of course I also really liked X-Men.

Thanks! I agree with most of you that Tintin was the best of the year, followed by War Horse and Hugo. Of course I also really liked X-Men.

I agree with all of those, save for "X-Men: Fist Class".

While I found the score itself to be quite good; within the context of the movie it was anachronistic toward the period it was meant to accompany. For reason’s such as this, I did not care for "X-Men: First Class" as a film. Although Michael Fassbender was, as usual, sublime and convincing – I unfortunately can’t however say the same for any other aspect of the movie. But Henry Jackman did turn in a stirring score, there’s no debating that.

———- Post added at 03:55 AM ———- Previous post was at 03:38 AM ———-

I fear you’re right. Herrmann’s "Scene d’amour" not only accompanied the climax of the film and thus overshadowed the rest of the music in a dramatic sense, it was also greatly superior to Bource’s own music (not to say that Bource’s music was bad, it just pales against what is arguably THE cue from one of the greatest film scores ever written).

I personally preferred War Horse, both film and score… but I guess I’m just old-fashioned.

Absulutely, "War Horse" was majestic!

I mean, there ain’t many that can step to Bernard Herrmann (although John Williams is among the very few), so for Academy members to be mislead into believing his "Vertigo" music was original score for "The Artist" is truley wrong.

"War Horse" and "Tintin" were proper great scores with strong and often haunting themes.

I dare someone to even remember, let alone hum, Ludovic Bource’s perfectly serviceable original music from ‘The Artist"

How Cliff Martinez’s "Drive" got disqualified for abandant use of source music, while "The Artist" got not only nominated – but won… it’s baffling at best, and in truth – unconscionable.

And I can vividly recall Cliff Martinez’s music!

However, if I’m being honest, my favorite score of 2011 was Marco Beltrami’s "Soul Surfer" – which, of course, got absolutely no recognition whatsoever.

Merci beaucoup !

Thanks Benuit 🙂

I know the Academy music branch frequently has their heads in wrong places but I was hoping for another fluke nomination for Christopher Young’s Priest. A fluke like JNH’s The Village back in 2004. Though nothing wrong with these nominees, they were a little in inspired, except perhaps for Iglesias.

But Henry Jackman did turn in a stirring score, there’s no debating that.

Well, there’s always room for a debate; I think it’s another in a long line of typical themeless, brainless, noisy Hollywood throwaway scores.

This Kim Novak business… Herrmann has been licensed, re-recorded, re-used, re-edited, and remixed pretty much continuously for the last sixty years. That’s life! She is obviously losing her mind in her old age; did Roy Scheider complain that he – personally – had been raped when music from Jaws turned up in Airplane in 1982? Or any of the other fifty billion times some movie borrowed that iconic theme?

I know it’s not quite the same thing; but really now… It’s demonstrative of Bource’s inferior score (who in their right mind would want their artistry measured against arguably Herrmann’s finest work?) and it’s a massive problem for the film – in a dramatic context, suddenly using music made iconic in a completely different dramatic context in a phenomenally successful film… TAKES YOU OUT OF THE FILM. You’re not watching The Artist any more. You’re watching some movie which is making you think of Vertigo when you should be hearing music thematically related to the rest of the film score, thus keeping you firmly rooted in the world of the film.

I heard that the cue that Bource originally composed for the climax will be replaced in the movie instead of vertigo’s cue for the DVD release, so there will be no useless complaints anymore!
I liked the movie but not that much, same for the score; but it was not Bource’s fault if his cue was replaced by an existing one, and that Herrmann never won an Oscar! He wrote a lot of music for the movie, and just think that he should have been disqualified for one cue (credited to Herrmann in the end credits though) is really nonsense. IMO this whole bashing stuff is incredibly stupid. Hope the DVD release will finally stop it!!!

benuit you’re the man thanks for this

I’m not so sure I am in agreement with you on this being undeserving of the Oscar. I think this being worse than War Horse or Tintin is entirely subjective – all three of these are great, memorable scores, that does something unique and interesting. However, I can definitely understand why this was given an Oscar over Williams: Williams already has five Oscars! Budovic hasn’t won any, and let’s be honest an Oscar under any composer’s belt will do wonders for exposure. Budovic is still early in his career, while Williams is at the end of his career. When we have scores from different composers that, quality wise, are on an even level, I would argue to give to the composer that needs it more. I would not say this if Williams’ two score were vastly superior, but in this case it is not.

And let’s be frank – this is such a relief when compared to last year’s travesty. We should be glad that the Academy gave the award to a score that deserved it! This isn’t some schlop; this music is art. And any day when art is honored is a good one in this age.

Thank you kindly!

I don’t find, even in its most inspired passages, anything in Bource’s score that is even remotely comparable to any random Williams you care to name. When you boil away all the meaningless superlatives and routine over-rating the film has received, you’re left with a very uncomfortable thought: The Artist is thoroughly average musically – it is special in the sense that it’s written in a style generally considered old fashioned… it’s nice enough, it’s not offensive, it’s got some nice melodies… but it’s not an Oscar-winner!

I don’t give a monkeys how old Williams is or how much Bource "needs" an Oscar; should awards be granted based on the quality of the work under scrutiny?

Williams is one of the world’s finest composers, and maybe the world’s finest living composer, with almost sixty years experience writing for film, a prestigious musical background, and a resume to die for.

Bource is a newcomer, with no musical training by his own admission, who got lucky on this occasion because his friend the Director asked him to write a score in a style nobody has even thought about for the best part of seventy years.

You are forgetting why I said an award should be given on the basis of who needs it more – if two scores are on the same level of quality, then how else do you decide whom to give the reward to but by whose career would benefit from it the most? It’s the same reason why I felt that Game of Thrones should have won the Emmy for Best Television Drama: both TV shows are fabulous, but Mad Men already had 3 Emmy’s in the same category. Game of Thrones, a new show, obviously had none. So give it to Game of Thrones, who is already something of a gamble to begin with, to give it some academic cred. Similar philosophy here – we have three very good scores by two composers of obviously considerable talent. One composer already has five Oscars, the other has none.

Of course, if you think that The Artist is average, then that idea is moot.

I find it very hard to differentiate between the quality of the nominated scores. Afterall, Hugo, War Horse, Tintin and The Artist are all fabulous scores. The fact that we saw them all released in the same year is simply amazing. It is important to note that the academy is most likely not selecting the best score on the same criteria of quality that many posters in this thread would use to rate the music. More often than not in recent years, the film that wins best picture also wins best soundtrack. This is the only way to explain the wins for Slumdog Millionaire and The Social Network.

I am going to have to agree with tango on this one. I mean Williams has a great portfolio. He has scored for some of the most iconic films in the history of Hollywood. I’m not saying that a new composer doesn’t deserve the award, but the music just didn’t hold up to the gorgeous music of Williams’ offerings. It pales in comparison to the complex orchestration and emotional depth of both War Horse and Tintin. I really can’t see why Bource’s score deserves the nomination other than he hasn’t one an Oscar. If that is the only reason, then it defeats the purpose of the award.

Well, there’s always room for a debate; I think it’s another in a long line of typical themeless, brainless, noisy Hollywood throwaway scores.

This Kim Novak business… Herrmann has been licensed, re-recorded, re-used, re-edited, and remixed pretty much continuously for the last sixty years. That’s life! She is obviously losing her mind in her old age; did Roy Scheider complain that he – personally – had been raped when music from Jaws turned up in Airplane in 1982? Or any of the other fifty billion times some movie borrowed that iconic theme?

I agree, that’s my problem with Henry Jackman’s score in part. Although "X-Men: First Class" sounds good and certainly has vigor, it’s not thematically strong nor period appropriate.

Kim Novak was obviously right though. The Academy Award for best score proves it. This is not a small snip bit of music used as parody, this is the entire emotional and narrative climax of another film. She knew that casual viewers would not be able to differentiate, and Herrmann’s music would then be linked by a whole generation to a film he never agreed to score. Actors, who make up the majority of the Academy, more often than not are simply casually aware of cinematic history. I salute Kim Novak for defending Hitchcock and Herrmann’s integrity and lagacy (as well as her own). She tried her best to educate, but it obviously fell on deaf ears and I believe she has every right to feel disgruntled.

By the way, I also disagree when Tarantino appropriates Herrmann, Morricone, Bernstein, Bacalov & Schifrin. But with Tarantino there’s at least no confusion; he sources everything (outside of the little bit of RZA and R. Rodriguez for "Kill Bill") and usually does so with a tip of the hat. But I do just wish he’d go hire a composer to give him an original score, but I guess part of Tarantino’s whole thing is to be like the vintage thrift store of cinema – turning what’s old into new and what’s kitsch into cool. With him, that fact is at least established. Tarantino is an homage machine!

———- Post added at 02:37 PM ———- Previous post was at 02:23 PM ———-

I heard that the cue that Bource originally composed for the climax will be replaced in the movie instead of vertigo’s cue for the DVD release, so there will be no useless complaints anymore!
I liked the movie but not that much, same for the score; but it was not Bource’s fault if his cue was replaced by an existing one, and that Herrmann never won an Oscar! He wrote a lot of music for the movie, and just think that he should have been disqualified for one cue (credited to Herrmann in the end credits though) is really nonsense. IMO this whole bashing stuff is incredibly stupid. Hope the DVD release will finally stop it!!!

But do realize that Cliff Martinez WAS disqualified because "Drive" used source music for dramatically significant scenes.

So what I’m railing against is the double standard. And the fact that Ludovic Bource won because ingornant Acadey voters (actors) didn’t realize that glorious climax was all Herrmann. And that Ludovic Bource’s score unto inself did not merit a nomination when there were so many stronger scores out.

I liked "The Artist" quite a bit and I do enjoy its music. But this year it just became lodged in the hype machine that pimped it far beyond its actual qualities. Not an uncommon thing unfortunately. Really fine movie though – but NOT the best picture (director, actor, score). Not by a long shot.

———- Post added at 02:58 PM ———- Previous post was at 02:37 PM ———-

…I think this being worse than War Horse or Tintin is entirely subjective – all three of these are great, memorable scores….

I respectfully disagree with you.

You’re saying that – without listening to this score album, but based purely on having seen "The Artist" in cinemas – that you can recall ANY of its music aside from Herrmann’s "Vertigo"? Because I cannot.

Williams’ scores, on the other hand, had incredibly strong themes that resonated beyond the cinema hall. Even Williams’ trailer music for "War Horse" did so.

I don’t see how you can be subjective about thematically rich being more deserving over pretty "wallpaper music".

But I don’t actually even believe in "awards" anyway, for the simple fact that they’re almost always unfairly manipulated and detestably insincere.

You’re saying that – without listening to this score album, but based purely on having seen "The Artist" in cinemas – that you can recall ANY of its music aside from Herrmann’s "Vertigo"? Because I cannot.

Williams’ scores, on the other hand, had incredibly strong themes that resonated beyond the cinema hall. Even Williams’ trailer music for "War Horse" did so.

Speaking from my own experience, I almost never see films without first listening to the scores so I already had the theme to The Artist in my head when I watched the film. It is very memorable for me such that I hummed it to my friend before the film started to explain how lovely it is. I find the theme to The Artist to be just as catchy as the theme to War Horse, both of which have stuck with me after listening to the respective scores.

Speaking from my own experience, I almost never see films without first listening to the scores so I already had the theme to The Artist in my head when I watched the film. It is very memorable for me such that I hummed it to my friend before the film started to explain how lovely it is. I find the theme to The Artist to be just as catchy as the theme to War Horse, both of which have stuck with me after listening to the respective scores.

Alright, I respect that.

We’re not simpatico on this, but that’s fair.

It IS good music.

Octagon, I haven’t even seen the movie yet. I never even said I saw the movie yet. You are just putting words into my mouth to support your argument. I am arguing entirely based off of what I have heard from the FYC promo.

You can disagree with me all you want, but do not go all Fox News on me.

Octagon, I haven’t even seen the movie yet. I never even said I saw the movie yet. You are just putting words into my mouth to support your argument. I am arguing entirely based off of what I have heard from the FYC promo.

You can disagree with me all you want, but do not go all Fox News on me.

Uhm okay…

Maybe we’re discussing two seperate things then. I was speaking to the merits of "The Artist"’s original music as it pertains to the actual score for the movie. The Academy Awards are for films, not music. The music has to be a significant and memorable part of the film experience. I came away only remembering Bernard Herrmann’s "Vertigo" – as it was the most pronounced use of music within the film.

The bottom line is that I find Ludovic Bource’s music to be nice but slight.

I guess both of our arguments could be considered more valid than the other, in a way. You’re possibly coming from a purer perspective because you haven’t even seen the movie (which I wasn’t aware of and had no intention of "putting words in your mouth"). But then again, I have seen the movie – so I’m coming to it with a bit more information.

Just don’t go making passive aggressive associations between me and Fox News and we can all still be friends here!:)

But yeah, that’s my bad for making an incorrect assumption – you’re right.

Good conversation though, thanks for that!

I do not understand aspects of that discussion. The entire score of "The Artist" is a tribute to hollywood’s golden days.
Intelligently written, ironically, modern. Of course, John Williams is the better composer. Does he really need an sixth Oscar?
The Academy Awards are a promotional event of the film industry, with few exceptions.
Just think of all the winners from previous years. Trent Reznor, Atticus Ross for The Social Network, Gustavo Santaolalla for Brokeback Mountain, Titanic, The Lion King, The Little Mermaid … The list is endless. It is rarely about quality.

You can disagree with me all you want, but do not go all Fox News on me.
Very nice expression …

John Williams is the better composer. Does he really need an sixth Oscar?…It is rarely about quality.

That’s the whole thing I’m taking exception with. Not that the "The Artist" is in any way bad or anything. It’s about the farce of awards. It shouldn’t be about who "needs" an Oscar to help out their career, it ought to always be about plain and simple merit.

So I’m just lambasting awards really. That’s all.

———- Post added at 06:05 PM ———- Previous post was at 05:55 PM ———-

On a lighter note…

As long as we’re showering dramadies with accolades, why not John Debney’s score for "No String’s Attached"?

I Think I'm Falling – John Debney (No Strings Attached) – YouTube (http://www.youtube.com/watch?v=nSwrHGE0_iw)
John Debney – I Love You – YouTube (http://www.youtube.com/watch?v=5VaxTe91uNQ)

Besides the fact that it consistantly reminds me of 90’s song "Save The Best For Last" from Venessa Williams mixed with "Somewhere Out There" from An American Tale, I really liked this score!:)

Vanessa Williams – Save The Best For Last – YouTube (http://www.youtube.com/watch?v=5EdmHSTwmWY)
Somewhere out there – An American Tale – YouTube (http://www.youtube.com/watch?v=h3ZaUM4ZJy4&feature=related)

John Debney’s problem is certainly the low predictability of his work. Great stuff like "Cutthroat Iceland" alternate with additional scoring for "Spiderman3" or "The Mummy3". Otherwise completely agree with you. This man needs a career boost.

thanks

Thanks for this

I am also looking for the FYC promos of HUGO and Rise of the planet of the apes ..

can anyone help?

Great!! Thanks, amazing!!

THX for sharing. But what’s the password?

THX for sharing. But what’s the password?

benuit’s uploads always use the password…

benuit

great! thanks for sharing!

benuit’s uploads always use the password…

benuit

Yes, it works. THX.

Many thanks.

many thanks for the great post. But the CD-1’s link seems to be dead. Would you plese reupload it once again??

But the CD-1’s link seems to be dead.
works perfect …

Thank you very much for this. I think Bource deserved the Oscar, considering that he had to provide not just music for every frame from start to finish, but music that was noticeable and catchy enough to take viewer’s minds off the fact that they were watching a "silent" film. This was a score that everyone noticed, not just soundtrack lovers. I am disappointed that Bource not only incorporated Herrmann, but also a classical piece from Ginastera’s "Estancia" for a key scene—-surely he could have come up with something on his own. But the director did say that Herrmann was intentionally used as a tribute to Hollywood.

so…29 track is still missing(

This is great. Thanks!

so…29 track is still missing
…no.

Thanks for the links, Great share!

May I ask you to send me te link ? Thank you very much in advance !

Thanks!

Thanks, I’m interested in the link. The score works fine with the movie!

C-c-c-c-combo breaker: None of ’em should have won. Alan Silvestri deserved a nom+win for Captain America: The First Avenger.

Regarding originality, Giacchino’s Super 8 or John Williams’s Tintin, one of those should have won. Still glad no trent and attic ross this time around… there what they call ‘music’ is absolutely horrid.

I shall still take interest in "The Artist" yet still.

If you had asked me 2 years ago I would’ve said ‘zimmer all the way’ haha but it has to be original score, not reused sounding themes, no disrespect to his awesome music none the less, or rather, production’s music, ha :p

My thanks to you good sir!

Great score and great share! I’ll PM for a link as soon as I’m able!

Sorry for all this late, but your (very nice from you) 2 links are not valaible anymore :/ a re-up, please? Thanks again!

How can I download it? I have the Sony Classical Cd but I miss some tracks that aren included in this Score.
RegaRDS-

Benuit – I love you, you’re the man

This won the Academy Award for Best Original Score, so it had better be good.

It didn’t deserve to win. The only reason it won was because it was the only thing heard in the film (apart from a minute’s worth of actual audio). It’s overrated, in my opinion. It sounds/feels like filler music.

Thank you so much for the link, benuit.

Great score! Please share me the link.
Thanks in advance!

Thank you Benuit for your share 😉

Can you link me the score?

Thank you!

ST

PM on its way! Thanks Benuit! 🙂

PM, please ! Thanks in advance !

Hello can I get a link?

Can you give me the link, please!

This is my favourite score at the moment, would love to hear the promo, coudl i get a link too please?

Give me the link, please! Thanks!

May I please have the link to the promo?

Thanks.

Could I get a link to the album as well, please?

I don’t care if it’s a rehash of music and tracks from other composers, I still loved the music from this movie. The way it was put together was fitting for the story and it helped drive the emotion, which considering there’s no dialogue, had a lot to live up to.

May I have the link, please?
Thanks in advance!

Benuit, I’m interested in this expansion, so thanks in advance if the links are still on

Whoops, got tricked by these onion kids, pm sent:)

Thanks for the link, benuit, after so much time !! Great

Hi there!
May I ask you to share the link with me?
Thanks in advance

maybe this helps – Thread 101656

Great

Thank Igoryek!

thanks

Does anyone still have the 36-track version?