wimpel69
11-01-2016, 11:35 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!
This is delightful, witty music - in character with the "touch" of the films. ;)
Sample cues: The Oyster Princess (Overture) (https://mega.nz/#!ntlghKpD!cp31V2_NzOm-YXGqrmLpADfPUDFA7aoXXUkIlmhSWfw) - The Doll (Lancelot Flees to a Monastery) (https://mega.nz/#!Cst3jLoK!3dDuFHT6U8FgwH9MssdrPlSYerjwBD1FYNZ4g7eb46o)
I believe it's fair to assume that of all the releases in the ambitious if flawed series "100 Years of Film Music",
this one was the worst seller (sales weren't all that great anyway, although the albums were clearly targeted
at an international audience). Who, outside of the former East Germany, knew Karl-Ernst Sasse? Hardly
anyone! True, he was the leading film composer of the GDR/DDR, and also the best craftsman. He scored
many of the country's most prestigious films - but except for a very few internationally released and applauded
ones, no one knew about those either. In total, Sasse scored over 500 films and television productions, including
many silent film scores (not unlike Carl Davis in England). The music is very well crafted, so you should definitely give it a
try for free. Enjoy!
The Oyster Princess (German: Die Austernprinzessin) is a 1919 German silent film directed by
Ernst Lubitsch. It is a grotesque comedy in 4 acts about an American millionaire’s spoiled daughter’s marriage
that does not go as planned. The film earned fame from his intangible use of style and sophistication in this film
among others. The term for his style was later dubbed "The Lubitsch Touch". Plot: Ossi, daughter of oyster-king
Quaker wants to marry a real prince, after the daughter of a shoe-polish manufacturer has married a count.
The marriage arranger finds prince Nucki, who sends his friend and secretary to the Quaker's mansion. Ossi is
in such a hurry that she doesn't ask who he is and marries him immediately. After a strange wedding party
and wedding night in separate rooms, she returns to her social work. The film has been interpreted as a
satire on American consumerism.
The Doll (German: Die Puppe) is a 1919 German romantic fantasy comedy film directed by
Ernst Lubitsch, The film is loosely based on the same short story which inspired the ballet Copp�lia.
Plot: Because the Baron of Chanterelle wants to preserve his family line, he forces his timid nephew Lancelot
to choose one of the village maidens to wed. Lancelot flees to a monastery to escape the forty eager maidens.
When the gluttonous monks discover that the Baron is offering a large sum for the marriage, they suggest
Lancelot marry a mechanical doll instead. The doll maker has just finished making a replica of his daughter
Ossi, but his assistant accidentally breaks it and convinces the real girl to mimic the doll. Lancelot buys her,
thinking she is a doll, and takes her back to the monastery, where they are wed.
These two early Lubitsch classics were restored in the late 1980s by the state television of the German
Democratic Republic. Since none of the original scores survived, several East German film composers were
hired/drafted to write new ones - chief among them Karl-Ernst Sasse, the leading GDR composer.
Unfortunately, I couldn't find an English-language biography of hi, nor even a decently sized photo!
Music Composed by
Karl-Ernst Sasse
Played by the
Filmorchester Babelsberg
Conducted by
Manfred Rosenberg
"The most widely imitated comic filmmaker of the sound era, Ernst Lubitsch perfected an urbane, graceful directorial
style so original and so distinctive that the phrase "Lubitsch Touch" was coined simply to describe it. Combining elegance
and wit to bring a tremendous warmth and humanity to even the thinnest of screenplays, he set a new standard of
achievement for the light romantic comedy, largely defining the genre while also helping to revolutionize the movie
musical as well as various recording techniques.
Lubitsch was born January 28, 1892, in Berlin, Germany. He first emerged as a stage performer, joining Max Reinhardt's
celebrated Deutsches Theater. He made his film debut in 1912, directing Passion. Lubitsch continued to work onscreen
as an actor as well, appearing in films including 1913's Die ideale Gattin and the next year's Firma Heiratet, but upon
directing three separate films in 1915 alone -- Zucker und Zimt, Blindekuh, and Aufs Eis gef�hrt, respectively --
his future behind the camera was sealed. After scoring a major hit with 1919's Die Austernprinzessin, he helmed a
number of lavish historical dramas including Madame Dubarry and 1920's Anna Boleyn. Alternately, he also worked
on smaller productions including the 1921 comedy Die Bergkatze, all of which proved critical to securing a market
for the German film industry even prior to the rise of the Expressionist movement.
After directing over 40 films in his native land, Lubitsch was contracted by Adolph Zukor to come to Hollywood and
shoot the 1923 Mary Pickford vehicle Rosita. Lubitsch decided to remain in the U.S., turning instead to the series of
films which established him as a major cinematic innovator. Beginning with 1924's The Marriage Circle, the famed
"Lubitsch touch" began to emerge in full as he honed a sophisticated combination of wit and understated sensuality
over the course of films including Kiss Me Again, Lady Windermere's Fan, So This Is Paris, and The Student Prince in
Old Heidelberg, all the while swiftly evolving into a director capable of approaching both drama and comedy with
equal flair.
With the advent of the sound era, Lubitsch's career truly took flight. He became a superb musical director, excelling
at seamlessly incorporating song-and-dance sequences into the fabric of the narrative (an innovation which
revolutionized the genre). Lubitsch also broke new ground by filming without recording any sound, later dubbing
whole scenes during post-production. The technique allowed him to shoot extreme close-ups and move his cameras
at will without running the risk of any set noise, an innovation still in widespread use decades later. With the 1929
musical The Love Parade, he also launched the career of actress Jeanette MacDonald, whom he discovered in
New York and cast opposite Maurice Chevalier, resulting in the beginning of one of the most legendary pairings
in the annals of Hollywood.
For 1931's The Smiling Lieutenant, Lubitsch first teamed with screenwriter Samson Raphaelson, who went on to
pen the scripts for many of the director's greatest efforts, including 1932's Broken Lullaby, One Hour with You
(the latter co-directed by an uncredited George Cukor), and Trouble in Paradise, as well as 1934's The Merry
Widow. In 1935, Lubitsch was tapped to become Paramount's new head of production, but he exited the post
after just one year to return his full focus to filmmaking, resurfacing with Desire in 1936. By the end of the
decade, he was regularly collaborating not only with Raphaelson but also the writing team of Charles Brackett
and Billy Wilder, who scripted 1938's Bluebeard's Eighth Wife and 1939 excellent Ninotchka.
At the dawn of the 1940s, Lubitsch entered the final and arguably greatest period of his career, opening the
decade with the superb Shop Around the Corner. After 1941's That Uncertain Feeling, he mounted his most
famed film, the following year's To Be or Not to Be, a black comedy focusing on a Polish acting troupe's flight
to freedom from Nazi oppression. Heaven Can Wait, another certified classic, appeared in 1943. Soon, however,
illness began plaguing Lubitsch, and the shoots for both 1945's Royal Scandal and 1946's Cluny Brown were
both hampered by his health problems. While filming 1948's That Lady in Ermine, Lubitsch suffered a heart
attack and died on November 30, 1947. The movie, released posthumously, was eventually completed by
Otto Preminger."
Die Austernprinzessin.
Die Puppe.
Karl-Ernst Sasse, Ernst Lubitsch.
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: 369 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!
This is delightful, witty music - in character with the "touch" of the films. ;)
Sample cues: The Oyster Princess (Overture) (https://mega.nz/#!ntlghKpD!cp31V2_NzOm-YXGqrmLpADfPUDFA7aoXXUkIlmhSWfw) - The Doll (Lancelot Flees to a Monastery) (https://mega.nz/#!Cst3jLoK!3dDuFHT6U8FgwH9MssdrPlSYerjwBD1FYNZ4g7eb46o)
I believe it's fair to assume that of all the releases in the ambitious if flawed series "100 Years of Film Music",
this one was the worst seller (sales weren't all that great anyway, although the albums were clearly targeted
at an international audience). Who, outside of the former East Germany, knew Karl-Ernst Sasse? Hardly
anyone! True, he was the leading film composer of the GDR/DDR, and also the best craftsman. He scored
many of the country's most prestigious films - but except for a very few internationally released and applauded
ones, no one knew about those either. In total, Sasse scored over 500 films and television productions, including
many silent film scores (not unlike Carl Davis in England). The music is very well crafted, so you should definitely give it a
try for free. Enjoy!
The Oyster Princess (German: Die Austernprinzessin) is a 1919 German silent film directed by
Ernst Lubitsch. It is a grotesque comedy in 4 acts about an American millionaire’s spoiled daughter’s marriage
that does not go as planned. The film earned fame from his intangible use of style and sophistication in this film
among others. The term for his style was later dubbed "The Lubitsch Touch". Plot: Ossi, daughter of oyster-king
Quaker wants to marry a real prince, after the daughter of a shoe-polish manufacturer has married a count.
The marriage arranger finds prince Nucki, who sends his friend and secretary to the Quaker's mansion. Ossi is
in such a hurry that she doesn't ask who he is and marries him immediately. After a strange wedding party
and wedding night in separate rooms, she returns to her social work. The film has been interpreted as a
satire on American consumerism.
The Doll (German: Die Puppe) is a 1919 German romantic fantasy comedy film directed by
Ernst Lubitsch, The film is loosely based on the same short story which inspired the ballet Copp�lia.
Plot: Because the Baron of Chanterelle wants to preserve his family line, he forces his timid nephew Lancelot
to choose one of the village maidens to wed. Lancelot flees to a monastery to escape the forty eager maidens.
When the gluttonous monks discover that the Baron is offering a large sum for the marriage, they suggest
Lancelot marry a mechanical doll instead. The doll maker has just finished making a replica of his daughter
Ossi, but his assistant accidentally breaks it and convinces the real girl to mimic the doll. Lancelot buys her,
thinking she is a doll, and takes her back to the monastery, where they are wed.
These two early Lubitsch classics were restored in the late 1980s by the state television of the German
Democratic Republic. Since none of the original scores survived, several East German film composers were
hired/drafted to write new ones - chief among them Karl-Ernst Sasse, the leading GDR composer.
Unfortunately, I couldn't find an English-language biography of hi, nor even a decently sized photo!
Music Composed by
Karl-Ernst Sasse
Played by the
Filmorchester Babelsberg
Conducted by
Manfred Rosenberg
"The most widely imitated comic filmmaker of the sound era, Ernst Lubitsch perfected an urbane, graceful directorial
style so original and so distinctive that the phrase "Lubitsch Touch" was coined simply to describe it. Combining elegance
and wit to bring a tremendous warmth and humanity to even the thinnest of screenplays, he set a new standard of
achievement for the light romantic comedy, largely defining the genre while also helping to revolutionize the movie
musical as well as various recording techniques.
Lubitsch was born January 28, 1892, in Berlin, Germany. He first emerged as a stage performer, joining Max Reinhardt's
celebrated Deutsches Theater. He made his film debut in 1912, directing Passion. Lubitsch continued to work onscreen
as an actor as well, appearing in films including 1913's Die ideale Gattin and the next year's Firma Heiratet, but upon
directing three separate films in 1915 alone -- Zucker und Zimt, Blindekuh, and Aufs Eis gef�hrt, respectively --
his future behind the camera was sealed. After scoring a major hit with 1919's Die Austernprinzessin, he helmed a
number of lavish historical dramas including Madame Dubarry and 1920's Anna Boleyn. Alternately, he also worked
on smaller productions including the 1921 comedy Die Bergkatze, all of which proved critical to securing a market
for the German film industry even prior to the rise of the Expressionist movement.
After directing over 40 films in his native land, Lubitsch was contracted by Adolph Zukor to come to Hollywood and
shoot the 1923 Mary Pickford vehicle Rosita. Lubitsch decided to remain in the U.S., turning instead to the series of
films which established him as a major cinematic innovator. Beginning with 1924's The Marriage Circle, the famed
"Lubitsch touch" began to emerge in full as he honed a sophisticated combination of wit and understated sensuality
over the course of films including Kiss Me Again, Lady Windermere's Fan, So This Is Paris, and The Student Prince in
Old Heidelberg, all the while swiftly evolving into a director capable of approaching both drama and comedy with
equal flair.
With the advent of the sound era, Lubitsch's career truly took flight. He became a superb musical director, excelling
at seamlessly incorporating song-and-dance sequences into the fabric of the narrative (an innovation which
revolutionized the genre). Lubitsch also broke new ground by filming without recording any sound, later dubbing
whole scenes during post-production. The technique allowed him to shoot extreme close-ups and move his cameras
at will without running the risk of any set noise, an innovation still in widespread use decades later. With the 1929
musical The Love Parade, he also launched the career of actress Jeanette MacDonald, whom he discovered in
New York and cast opposite Maurice Chevalier, resulting in the beginning of one of the most legendary pairings
in the annals of Hollywood.
For 1931's The Smiling Lieutenant, Lubitsch first teamed with screenwriter Samson Raphaelson, who went on to
pen the scripts for many of the director's greatest efforts, including 1932's Broken Lullaby, One Hour with You
(the latter co-directed by an uncredited George Cukor), and Trouble in Paradise, as well as 1934's The Merry
Widow. In 1935, Lubitsch was tapped to become Paramount's new head of production, but he exited the post
after just one year to return his full focus to filmmaking, resurfacing with Desire in 1936. By the end of the
decade, he was regularly collaborating not only with Raphaelson but also the writing team of Charles Brackett
and Billy Wilder, who scripted 1938's Bluebeard's Eighth Wife and 1939 excellent Ninotchka.
At the dawn of the 1940s, Lubitsch entered the final and arguably greatest period of his career, opening the
decade with the superb Shop Around the Corner. After 1941's That Uncertain Feeling, he mounted his most
famed film, the following year's To Be or Not to Be, a black comedy focusing on a Polish acting troupe's flight
to freedom from Nazi oppression. Heaven Can Wait, another certified classic, appeared in 1943. Soon, however,
illness began plaguing Lubitsch, and the shoots for both 1945's Royal Scandal and 1946's Cluny Brown were
both hampered by his health problems. While filming 1948's That Lady in Ermine, Lubitsch suffered a heart
attack and died on November 30, 1947. The movie, released posthumously, was eventually completed by
Otto Preminger."
Die Austernprinzessin.
Die Puppe.
Karl-Ernst Sasse, Ernst Lubitsch.
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: 369 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!