wimpel69
10-24-2016, 01:26 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 further, also please
add to my reputation!
A delightful program of film noir concert suites:
The Maltese Falcon (1941) - Adolph Deutsch
All Through the Night (1942) - Adolph Deutsch
The Verdict (1946) - Friedrich Holl�nder
Dark Passage (1947) - Franz Waxman
White Heat (1949) - Max Steiner
"Film noir is . . .
1. A French term meaning "black film," or film of the night, inspired by the Series Noir, a line of cheap paperbacks
that translated hard-boiled American crime authors and found a popular audience in France.
2. A movie which at no time misleads you into thinking there is going to be a happy ending.
3. Locations that reek of the night, of shadows, of alleys, of the back doors of fancy places, of apartment
buildings with a high turnover rate, of taxi drivers and bartenders who have seen it all.
4. Cigarettes. Everybody in film noir is always smoking, as if to say, "On top of everything else, I've been
assigned to get through three packs today." The best smoking movie of all time is "Out of the Past," in which
Robert Mitchum and Kirk Douglas smoke furiously at each other. At one point, Mitchum enters a room, Douglas
extends a pack and says, "Cigarette?" and Mitchum, holding up his hand, says, "Smoking."
5. Women who would just as soon kill you as love you, and vice versa.
6. For women: low necklines, floppy hats, mascara, lipstick, dressing rooms, boudoirs, calling the doorman by
his first name, high heels, red dresses, elbowlength gloves, mixing drinks, having gangsters as boyfriends,
having soft spots for alcoholic private eyes, wanting a lot of someone else's women, sprawling dead on the
floor with every limb meticulously arranged and every hair in place.
7. For men: fedoras, suits and ties, shabby residential hotels with a neon sign blinking through the window,
buying yourself a drink out of the office bottle, cars with running boards, all-night diners, protecting kids
who shouldn't be playing with the big guys, being on first-name terms with homicide cops, knowing a lot of
people whose descriptions end in "ies," such as bookies, newsies, junkies, alkys, jockeys and cabbies.
8. Movies either shot in black and white, or feeling like they were.
9. Relationships in which love is only the final flop card in the poker game of death.
10. The most American film genre, because no society could have created a world so filled with doom,
fate, fear and betrayal, unless it were essentially naive and optimistic."
Roger Ebert
Music Composed by
Adolph Deutsch
Frederick Hollander
Franz Waxman
Max Steiner
Played by the
Brandenburg Philharmonic Orchestra
Orchestrated & Arranged by
John Morgan
Conducted by
William Stromberg
"William T. Stromberg has become almost uniquely identified with the performance and recording of neglected
classic and B-movie film scores. A composer in his own right mainly of film music, he has also devoted much time
to the unearthing and restoration of numerous forgotten film scores. Several of his recordings have been premiere
efforts of complete films scores, such as the 1954 classic The Egyptian by Bernard Herrmann and Alfred Newman.
Other recordings excise repetitive cues while offering virtually the complete score, such as the 1944 Max Steiner
music for The Adventures of Mark Twain. Stromberg has often been aided in the restoration process by film composer
John Morgan. The two have teamed up in a series of recordings for the Naxos label (and its sister label Marco Polo)
that have involved film scores by Erich Wolfgang Korngold, Hugo Friedhofer, Hans J. Salter, Frank Skinner, Dimitri
Tiomkin, and many others. Stromberg has also recorded pure symphonic music; but here again he has often
delved into reviving music long forgotten, such as the Symphonies No. 1 and No. 2 by Meredith Willson, a
composer chiefly known for his popular musical The Music Man. Beside Naxos and Marco Polo, Stromberg
has recorded for VCE, Tribute Film Classics, and RCA.
William T. Stromberg was born in Oceanside, CA, on May 23, 1964. He was precocious: at 11 he was studying
composition and soon after started providing scores for amateur films. He took private lessons in conducting
and orchestration after his 1982 relocation to Hollywood.
Stromberg soon began composing scores for films, and among his earlier efforts were a pair from 1991, Oddball
Hall and Edge of Honor. Among his more memorable projects was the score for the 1995 documentary Trinity and
Beyond, which he recorded in 1997 with the Moscow Symphony Orchestra for VCE. By the mid-'90s Stromberg was
immersed in the restoration and recording of film scores for Marco Polo. Among the first releases in the series
were a pair of 1997 releases: a Hugo Friedhofer collection that included music from The Rains of Ranchipur (1955)
and two Korngold scores, Another Dawn (1937) and Escape Me Never (1935). Stromberg was also exploring
concert music with several Ferde Grof� albums, including the 2002 Naxos release of Death Valley Suite.
His newer recordings include the 2007 CD of Korngold's The Sea Hawk (1940) and Deception (1946),
also on Naxos."
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: 398 MB
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 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 further, also please
add to my reputation!
A delightful program of film noir concert suites:
The Maltese Falcon (1941) - Adolph Deutsch
All Through the Night (1942) - Adolph Deutsch
The Verdict (1946) - Friedrich Holl�nder
Dark Passage (1947) - Franz Waxman
White Heat (1949) - Max Steiner
"Film noir is . . .
1. A French term meaning "black film," or film of the night, inspired by the Series Noir, a line of cheap paperbacks
that translated hard-boiled American crime authors and found a popular audience in France.
2. A movie which at no time misleads you into thinking there is going to be a happy ending.
3. Locations that reek of the night, of shadows, of alleys, of the back doors of fancy places, of apartment
buildings with a high turnover rate, of taxi drivers and bartenders who have seen it all.
4. Cigarettes. Everybody in film noir is always smoking, as if to say, "On top of everything else, I've been
assigned to get through three packs today." The best smoking movie of all time is "Out of the Past," in which
Robert Mitchum and Kirk Douglas smoke furiously at each other. At one point, Mitchum enters a room, Douglas
extends a pack and says, "Cigarette?" and Mitchum, holding up his hand, says, "Smoking."
5. Women who would just as soon kill you as love you, and vice versa.
6. For women: low necklines, floppy hats, mascara, lipstick, dressing rooms, boudoirs, calling the doorman by
his first name, high heels, red dresses, elbowlength gloves, mixing drinks, having gangsters as boyfriends,
having soft spots for alcoholic private eyes, wanting a lot of someone else's women, sprawling dead on the
floor with every limb meticulously arranged and every hair in place.
7. For men: fedoras, suits and ties, shabby residential hotels with a neon sign blinking through the window,
buying yourself a drink out of the office bottle, cars with running boards, all-night diners, protecting kids
who shouldn't be playing with the big guys, being on first-name terms with homicide cops, knowing a lot of
people whose descriptions end in "ies," such as bookies, newsies, junkies, alkys, jockeys and cabbies.
8. Movies either shot in black and white, or feeling like they were.
9. Relationships in which love is only the final flop card in the poker game of death.
10. The most American film genre, because no society could have created a world so filled with doom,
fate, fear and betrayal, unless it were essentially naive and optimistic."
Roger Ebert
Music Composed by
Adolph Deutsch
Frederick Hollander
Franz Waxman
Max Steiner
Played by the
Brandenburg Philharmonic Orchestra
Orchestrated & Arranged by
John Morgan
Conducted by
William Stromberg
"William T. Stromberg has become almost uniquely identified with the performance and recording of neglected
classic and B-movie film scores. A composer in his own right mainly of film music, he has also devoted much time
to the unearthing and restoration of numerous forgotten film scores. Several of his recordings have been premiere
efforts of complete films scores, such as the 1954 classic The Egyptian by Bernard Herrmann and Alfred Newman.
Other recordings excise repetitive cues while offering virtually the complete score, such as the 1944 Max Steiner
music for The Adventures of Mark Twain. Stromberg has often been aided in the restoration process by film composer
John Morgan. The two have teamed up in a series of recordings for the Naxos label (and its sister label Marco Polo)
that have involved film scores by Erich Wolfgang Korngold, Hugo Friedhofer, Hans J. Salter, Frank Skinner, Dimitri
Tiomkin, and many others. Stromberg has also recorded pure symphonic music; but here again he has often
delved into reviving music long forgotten, such as the Symphonies No. 1 and No. 2 by Meredith Willson, a
composer chiefly known for his popular musical The Music Man. Beside Naxos and Marco Polo, Stromberg
has recorded for VCE, Tribute Film Classics, and RCA.
William T. Stromberg was born in Oceanside, CA, on May 23, 1964. He was precocious: at 11 he was studying
composition and soon after started providing scores for amateur films. He took private lessons in conducting
and orchestration after his 1982 relocation to Hollywood.
Stromberg soon began composing scores for films, and among his earlier efforts were a pair from 1991, Oddball
Hall and Edge of Honor. Among his more memorable projects was the score for the 1995 documentary Trinity and
Beyond, which he recorded in 1997 with the Moscow Symphony Orchestra for VCE. By the mid-'90s Stromberg was
immersed in the restoration and recording of film scores for Marco Polo. Among the first releases in the series
were a pair of 1997 releases: a Hugo Friedhofer collection that included music from The Rains of Ranchipur (1955)
and two Korngold scores, Another Dawn (1937) and Escape Me Never (1935). Stromberg was also exploring
concert music with several Ferde Grof� albums, including the 2002 Naxos release of Death Valley Suite.
His newer recordings include the 2007 CD of Korngold's The Sea Hawk (1940) and Deception (1946),
also on Naxos."
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: 398 MB
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 further, also please
add to my reputation!
