wimpel69
10-26-2016, 11:01 AM
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!
It was once considered cute by Hollywood wits to poke fun at Russian-born composer Dimitri Tiomkin's borscht-flavored accent.
How amusing it was to hear him yell out "Switt lyand of lyaberty!" while orchestrating "The Star Spangled Banner" for Frank Capra's
Mr. Smith Goes to Washington (1939). A graduate of the St. Petersburg Academy (where he studied under the famed composer
Glazunov) and a holder of both a law and music degree, Tiomkin exhibited a fondness for Native American music early in his career.
While a touring concert pianist, it was Tiomkin who was most instrumental in introducing the works of Gershwin to Europe. Tiomkin
left Russia for the U.S. in 1925, becoming an American citizen 12 years later and making his conducting debut with the L.A. Philharmonic
in 1938. Most of his first compositions for American consumption were live ballets (his wife was choreographer Albertina Raasch);
he didn't start working in films until 1933. With Lost Horizon (1937), Tiomkin began a long association with director Frank Capra,
which unfortunately ended in bitterness due to artistic clashes on the set of It's a Wonderful Life (1946). Though jukebox
acceptance was probably never a priority with Tiomkin, he was responsible for several Top Ten hit songs, all of which originated
in his film scores: "Do Not Forsake Me" from High Noon (1952), the whistled main theme from The High and the Mighty (1954),
the credit music from Friendly Persuasion (1956), and "Green Leaves of Summer" from The Alamo (1960), among others.
The winner of five Academy Awards (among many other international honors), Tiomkin remained active in films until 1970,
the year that he produced, directed, and orchestrated the U.S./Soviet co-production Tschaikovsky.
This album of concert suites includes:
Cyrano de Bergerac (17'57)
High Noon (9'55)
The Alamo (27'21)
55 Days at Peking (22'34)
Music Composed by
Dimitri Tiomkin
Played by the
Rundfunk-Sinfonie-Orchester Berlin
With the
Rundfunkchor Berlin
Conducted by
Lawrence Foster
"Lawrence Foster is one of the few American conductors to have active careers in both his native country and in Europe.
He made his conducting debut at the age of 18 with an orchestra of young colleagues in Los Angeles. He studied with conductors
Fritz Zweig, Karl B�hm, and Bruno Walter, and participated in the Bayreuth Festival conducting master classes in the early '60s.
Soon thereafter, he was appointed associate conductor of the San Francisco Ballet, a position he held until 1965. In that year,
he became Zubin Mehta's assistant conductor with the Los Angeles Philharmonic. During this period, he continued his studies
at Tanglewood, where in 1966 he was awarded the Koussevitzky Conducting Prize. Foster's first European post came in 1969,
when he was named chief guest conductor of the Royal Philharmonic Orchestra. Since that time, he has held many conducting
positions in the United States and abroad, including music director of the Aspen Music Festival and school, music director of
the Monte Carlo Philharmonic, music director of the Jerusalem Symphony Orchestra, music director of the Houston Symphony
Orchestra, principal conductor of the Lausanne Chamber Orchestra, music director of the Barcelona Symphony Orchestra/National
Orchestra of Catalunya, and music director of the Gulbenkian Orchestra (a tenure that began with the 2002-2003 season).
Foster has worked extensively in the opera pit. In 1974, he began conducting at the Scottish Opera and two years later,
made his debut at Covent Garden, leading the revised version of William Walton's Troilus and Cressida featuring Janet Baker.
He has conducted at the Metropolitan Opera, Houston Grand Opera, Santa Fe Opera, the Royal Opera House Covent Garden,
and both the Opera-Comique and Bastille in Paris. He is a regular guest conductor at both the Deutsche Oper Berlin and the
Los Angeles Music Center Opera. Foster regularly guest conducts such orchestras as the Los Angeles Philharmonic, the
Pittsburgh Symphony, the Montreal Symphony, the Chicago Symphony, the Houston Symphony, the London Symphony,
the BBC Symphony Orchestra, Orchestre National de France, Berliner Rundfunk-Sinfonie-Orchester, the Budapest Festival
Orchestra, Monte Carlo Philharmonic, the Strasbourg Philharmonic, the Helsinki Philharmonic, the Bamberg Symphony,
the Orchestre National de Lyon, the Sydney Symphony, NHK Symphony, National Arts Centre Ottawa, and the Ensemble
Orchestral de Paris. He also serves as music director of Orchestre et Op�ra National de Montpellier.
Foster's career reveals a commitment to contemporary music. He has presented premieres of Harrison Birtwistle's
Tragoedia (1965) and The Triumph of Time (1972); Alexander Goehr's Piano Concerto (1972, with Daniel Barenboim
as soloist); Gordon Crosse's Symphony No. 2 (1975); and Paul McCartney's oratorio Standing Stone at the
Royal Albert Hall (1997). Foster's has recorded some unusual repertoire, such as Enescu's Oedipe (2001, with
Jos� van Dam and Barbara Hendricks, which was awarded the Grand Prix du Disque), and the first recording
of the revised version of Walton's Troilus and Cressida."
Source: RCA/BMG "100 Years of Film Music" CD, 1995 (My rip!)
Quality: FLAC 16-44 (image + cue + log, incl. complete artwork & booklet)
File Size: 435 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!
It was once considered cute by Hollywood wits to poke fun at Russian-born composer Dimitri Tiomkin's borscht-flavored accent.
How amusing it was to hear him yell out "Switt lyand of lyaberty!" while orchestrating "The Star Spangled Banner" for Frank Capra's
Mr. Smith Goes to Washington (1939). A graduate of the St. Petersburg Academy (where he studied under the famed composer
Glazunov) and a holder of both a law and music degree, Tiomkin exhibited a fondness for Native American music early in his career.
While a touring concert pianist, it was Tiomkin who was most instrumental in introducing the works of Gershwin to Europe. Tiomkin
left Russia for the U.S. in 1925, becoming an American citizen 12 years later and making his conducting debut with the L.A. Philharmonic
in 1938. Most of his first compositions for American consumption were live ballets (his wife was choreographer Albertina Raasch);
he didn't start working in films until 1933. With Lost Horizon (1937), Tiomkin began a long association with director Frank Capra,
which unfortunately ended in bitterness due to artistic clashes on the set of It's a Wonderful Life (1946). Though jukebox
acceptance was probably never a priority with Tiomkin, he was responsible for several Top Ten hit songs, all of which originated
in his film scores: "Do Not Forsake Me" from High Noon (1952), the whistled main theme from The High and the Mighty (1954),
the credit music from Friendly Persuasion (1956), and "Green Leaves of Summer" from The Alamo (1960), among others.
The winner of five Academy Awards (among many other international honors), Tiomkin remained active in films until 1970,
the year that he produced, directed, and orchestrated the U.S./Soviet co-production Tschaikovsky.
This album of concert suites includes:
Cyrano de Bergerac (17'57)
High Noon (9'55)
The Alamo (27'21)
55 Days at Peking (22'34)
Music Composed by
Dimitri Tiomkin
Played by the
Rundfunk-Sinfonie-Orchester Berlin
With the
Rundfunkchor Berlin
Conducted by
Lawrence Foster
"Lawrence Foster is one of the few American conductors to have active careers in both his native country and in Europe.
He made his conducting debut at the age of 18 with an orchestra of young colleagues in Los Angeles. He studied with conductors
Fritz Zweig, Karl B�hm, and Bruno Walter, and participated in the Bayreuth Festival conducting master classes in the early '60s.
Soon thereafter, he was appointed associate conductor of the San Francisco Ballet, a position he held until 1965. In that year,
he became Zubin Mehta's assistant conductor with the Los Angeles Philharmonic. During this period, he continued his studies
at Tanglewood, where in 1966 he was awarded the Koussevitzky Conducting Prize. Foster's first European post came in 1969,
when he was named chief guest conductor of the Royal Philharmonic Orchestra. Since that time, he has held many conducting
positions in the United States and abroad, including music director of the Aspen Music Festival and school, music director of
the Monte Carlo Philharmonic, music director of the Jerusalem Symphony Orchestra, music director of the Houston Symphony
Orchestra, principal conductor of the Lausanne Chamber Orchestra, music director of the Barcelona Symphony Orchestra/National
Orchestra of Catalunya, and music director of the Gulbenkian Orchestra (a tenure that began with the 2002-2003 season).
Foster has worked extensively in the opera pit. In 1974, he began conducting at the Scottish Opera and two years later,
made his debut at Covent Garden, leading the revised version of William Walton's Troilus and Cressida featuring Janet Baker.
He has conducted at the Metropolitan Opera, Houston Grand Opera, Santa Fe Opera, the Royal Opera House Covent Garden,
and both the Opera-Comique and Bastille in Paris. He is a regular guest conductor at both the Deutsche Oper Berlin and the
Los Angeles Music Center Opera. Foster regularly guest conducts such orchestras as the Los Angeles Philharmonic, the
Pittsburgh Symphony, the Montreal Symphony, the Chicago Symphony, the Houston Symphony, the London Symphony,
the BBC Symphony Orchestra, Orchestre National de France, Berliner Rundfunk-Sinfonie-Orchester, the Budapest Festival
Orchestra, Monte Carlo Philharmonic, the Strasbourg Philharmonic, the Helsinki Philharmonic, the Bamberg Symphony,
the Orchestre National de Lyon, the Sydney Symphony, NHK Symphony, National Arts Centre Ottawa, and the Ensemble
Orchestral de Paris. He also serves as music director of Orchestre et Op�ra National de Montpellier.
Foster's career reveals a commitment to contemporary music. He has presented premieres of Harrison Birtwistle's
Tragoedia (1965) and The Triumph of Time (1972); Alexander Goehr's Piano Concerto (1972, with Daniel Barenboim
as soloist); Gordon Crosse's Symphony No. 2 (1975); and Paul McCartney's oratorio Standing Stone at the
Royal Albert Hall (1997). Foster's has recorded some unusual repertoire, such as Enescu's Oedipe (2001, with
Jos� van Dam and Barbara Hendricks, which was awarded the Grand Prix du Disque), and the first recording
of the revised version of Walton's Troilus and Cressida."
Source: RCA/BMG "100 Years of Film Music" CD, 1995 (My rip!)
Quality: FLAC 16-44 (image + cue + log, incl. complete artwork & booklet)
File Size: 435 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!