wimpel69
01-03-2017, 12:43 PM
This is my DVD-to-FLAC rip of Carl Davis's wonderful score for Victor Sj�str�m's silent film masterpiece,
"The Wind" (1928). Arguably the composer's finest achievement, the score was never released independently
on CD (except for a 10-minute excerpt on The Silents by Virgin records). Only the Spanish DVD,
whose image is sourced from a VHS copy, includes the score in decent quality! I am offering the score
in two versions: as a single continuous 75 minutes file, and my own edit into 10 sections (including fade-ins
and outs) - which was not easy to do since the score has almost no breaks/silences in it.
Do not share my material any further. Request the FLAC links in this thread! PM's will be ignored.
The Wind, Victor Sjostrom's final American film, is a western only in its locale: its symbolism-laden story of physical
and spiritual repression, culminating in a violent, hysterical outburst, has more in common with the European or Scandanavian
cinema than with the usual MGM product. Lillian Gish plays a sheltered Virginia girl who heads to Texas to live with her male
cousin and his family. Upon arriving at her new home-actually little more than a squalid shack-she is treated as an unwelcome
interloper. Even worse is the omnipresecent wind, which howls ceaselessly all around. To quell the jealousy of her cousin's
wife, Lillian marries cowboy Lars Hanson, but this impulsive union seems foredoomed from the start. During Hanson's absence,
Lillian is visited by former suitor Montague Love. With rape on his mind, Love laughs derisively as Lillian aims a pistol at his
midsection. His laughter ceases when she pulls the trigger (the killing is subtly conveyed by a cutaway to a sand-covered plate,
which jiggles slightly from the impact of the shot). In near hysteria, she drags the dead man outside and buries him, the
mercilessly wind whipping and buffetting her about. Locking herself in the shack, Lillian looks out the window--and, in
fascinated horror, sees Love's body "emerging" from the constantly shifting sands. In the film's original ending, Lillian goes
completely mad, wandering blindly into the desert. Preview audiences were revolted by this denoument, so the film now
ends with Larson's return and a happy reconciliation (reportedly, director Sjostrom's original cut is still available from
European sources). In later years, Lillian Gish recalled The Wind as the toughest, most unpleasant picture she ever worked
on. The location scenes were shot in the Mojave Desert, where the combination of relentless heat and artificially induced
windstorms made working conditions virtually intolerable. At one point, Ms. Gish absentmindedly clutched the metal handle
of her car's door-immediately incurring a second-degree burn. Adapted by Frances Marion from a novel by
Dorothy Scarborough, The Wind, despite its artistic merit, was a box-office disappointment, resulting in a
parting of the ways between Lillian Gish and MGM.
The film was shot on location in the Mojave Desert in 120-degree heat. The heat’s intensity was so severe that Lillian
left the skin of her palm on a scorching door handle (Lillian Gish: Her Legend, Her Life). To stimulate the desert storms,
airplane propellers blew sand at the actors (a real sandstorm blew before they finished shooting). This type of dedication
to the job was not unusual for Gish though who had withstood the elements in previous films, including Way down East,
where she turned down the offer of a double and had herself endured the cold and ice. However, The Wind was Gish’s
“worst experience in film making” (The Movies, Mr. Griffith and Me).
According to Cari Beauchamp, Marion’s script, like the novel, ended with Letty (Gish) walking “away from the cabin and
the dead body, into the blowing sands and to her own death’ (Without Lying Down: Frances Marion and the Powerful
Women of Early Hollywood). Irving Thalberg at MGM supported this ending but Louis B Mayer and all-powerful exhibitors
apparently found this too depressing and asked for it to be reshot, much to Marion and Gish’s disappointment.
This reshooting of the ending was costly for the studio – the interior set had to be rebuilt, the studio had to wait for
actors to be available. Months went by before the film was released and its eventual reception was mixed. The new
sound technology was taking Hollywood by storm and silent films were becoming old hat. Similarly to other films of
this transitional period, it had a poor soundtrack added. Moreover, Lillian’s look and sensibility were seen as ill-suited
to the changing times and some reviewers found her acting mode outdated (see Marion Davies in The Patsy, released
the same year, for a delicious parody of Gish).
Gish’s relationship with MGM quickly turned sour. When her contract was revised, Gish told Mayer she wouldn’t sign
anything until she had consulted her lawyer, to which he retorted “If you don’t do as I say, I can ruin you” (The Movies,
Mr. Griffith and Me). Brooks accused MGM of trying to ruin Gish’s career. Gish, she said, was “marked first for
destruction” for it was her “who most painfully imposed her picture knowledge and business acumen upon the
producers” (Lulu in Hollywood). Indeed perhaps we should reconsider the familiar perception of Gish as simply one
of Griffith’s acquiescent heroines and instead view her as the unlikely bedfellow of Brooks – a fellow rebel and
Hollywood outcast.
Music Composed and Conducted by
Carl Davis
"I was born in New York in 1936. Pre-birth, my mother went to a lot of concerts and my reaction was quite passionate!
After, she played piano and I imitated her. My first lessons were at 7. I sacked my first teacher when, after seeing Disney’s
Fantasia, I insisted on studying Bach’s Toccata and Fugue and he refused. I kept playing though, driven by curiosity – pop
to Parsifal. We had good public libraries in Brooklyn with fairly comprehensive music sections and I devoured scores.
My mission was to be able to sight-read and sing operas, text and all. I went on to orchestral scores, helped by New York’s
two classical music radio stations. I was equally attracted by dance. After all, New York was home to American Ballet
Theatre, Ballet Russe, The New York City Centre Ballet and Martha Graham.
In my teens I widened my circle with singers and musicians. There were opera workshops, choirs, chamber music and
Leider to play. My first professional engagements were at Tanglewood, touring with the Robert Shaw Chorale and The New
York City Opera and at 18, composition. A choice had to be made and I chose composition and London.
Helped by Diversions, a revue written at college, that had won Off-Broadway prizes, my colleague, Steven Vinaver, who
had joined me in London, the revue Twists was produced at the Edinburgh Festival and then the Arts Theatre in the West
End. An encouraging review from Richard Buckle led to my first radio work and television. There were strong collaborators:
Jack Gold, Ronald Eyre and Patrick Garland. The breakthrough came in 1969 with Alan Bennett’s Forty Years On.
Jonathan Miller took me to The National Theatre and Ron to the RSC. A collaboration with John Wells produced three
full length musicals for stage: Alice in Wonderland, Peace (Aristophenes) and The Projector for Joan Littlewood’s Theatre
Workshop. There I met my future wife, Jean Boht and began a family: two daughters, Hannah and Jessie and currently
3 grandchildren.
In the 1970’s, Jeremy Isaacs commissioned The World at War TV Series and the BBC commissioned scores for classic
serials, including: The Snow Goose, Our Mutual Friend and The Mayor of Casterbridge. The decade ended working with
Producer, David Gill and film-maker and historian, Kevin Brownlow on the 13 Part Series Hollywood. In 1980 this led to
a landmark performance with orchestra of Kevin Brownlow’s restoration of the 5 hour epic Napoleon: live cinema was
re-born. Channel 4 continued this development with a chain of restorations of the major silent films featuring Garbo,
Gish, Fairbanks and the three great clowns: Chaplin, Keaton and Lloyd, as well as epics like Ben Hur and Intolerance.
Orchestras were now keen to mount these films and I fancied myself a conductor climaxing in an 8 year run in a series
of popular concerts in Big Top on The King’s Dock in Liverpool! This helped me develop a unique performance style
involving costumes and a rapport with my audience.
The 1990’s opened with a collaboration with Paul McCartney: The Liverpool Oratorio, and then there was ballet. First,
Gillian Lynne’s A Simple Man for The BBC’s Omnibus and Northern Ballet Theatre. Then, A Picture of Dorian Grey for
The Sadler’s Wells ballet, choreographed by Derek Deane, followed by Fire and Ice, a television ballet for LWT for Torvill
and Dean. The Millenium brought forth A Christmas Carol for NBT; Aladdin for Scottish Ballet and an Alice in Wonderland
ballet, again for Derek(now Artistic Director of The English National Ballet). A new collaboration began with choreographer
David Bintley when I was invited to compose a new score for his Cyrano ballet. This was followed by a revival of Aladdin
with new choreography by David Bintley for The National Ballet of Japan. Recently, created was a ballet based on
The Lady of the Camellias for the Croatian National Ballet with choreography by Derek Deane.
Welcome to my worlds."
Carl Davis
Source: DVD, Llamentol (Spain)
Format: FLAC(RAR), DDD Stereo
File Size: 338 MB (single file), 366 MB (edited version)
This is my DVD-to-FLAC rip of Carl Davis's wonderful score for Victor Sj�str�m's silent film masterpiece,
"The Wind" (1928). Arguably the composer's finest achievement, the score was never released independently
on CD (except for a 10-minute excerpt on The Silents by Virgin records). Only the Spanish DVD,
whose image is sourced from a VHS copy, includes the score in decent quality! I am offering the score
in two versions: as a single continuous 75 minutes file, and my own edit into 10 sections (including fade-ins
and outs) - which was not easy to do since the score has almost no breaks/silences in it.
Do not share my material any further. Request the FLAC links in this thread! PM's will be ignored.
"The Wind" (1928). Arguably the composer's finest achievement, the score was never released independently
on CD (except for a 10-minute excerpt on The Silents by Virgin records). Only the Spanish DVD,
whose image is sourced from a VHS copy, includes the score in decent quality! I am offering the score
in two versions: as a single continuous 75 minutes file, and my own edit into 10 sections (including fade-ins
and outs) - which was not easy to do since the score has almost no breaks/silences in it.
Do not share my material any further. Request the FLAC links in this thread! PM's will be ignored.
The Wind, Victor Sjostrom's final American film, is a western only in its locale: its symbolism-laden story of physical
and spiritual repression, culminating in a violent, hysterical outburst, has more in common with the European or Scandanavian
cinema than with the usual MGM product. Lillian Gish plays a sheltered Virginia girl who heads to Texas to live with her male
cousin and his family. Upon arriving at her new home-actually little more than a squalid shack-she is treated as an unwelcome
interloper. Even worse is the omnipresecent wind, which howls ceaselessly all around. To quell the jealousy of her cousin's
wife, Lillian marries cowboy Lars Hanson, but this impulsive union seems foredoomed from the start. During Hanson's absence,
Lillian is visited by former suitor Montague Love. With rape on his mind, Love laughs derisively as Lillian aims a pistol at his
midsection. His laughter ceases when she pulls the trigger (the killing is subtly conveyed by a cutaway to a sand-covered plate,
which jiggles slightly from the impact of the shot). In near hysteria, she drags the dead man outside and buries him, the
mercilessly wind whipping and buffetting her about. Locking herself in the shack, Lillian looks out the window--and, in
fascinated horror, sees Love's body "emerging" from the constantly shifting sands. In the film's original ending, Lillian goes
completely mad, wandering blindly into the desert. Preview audiences were revolted by this denoument, so the film now
ends with Larson's return and a happy reconciliation (reportedly, director Sjostrom's original cut is still available from
European sources). In later years, Lillian Gish recalled The Wind as the toughest, most unpleasant picture she ever worked
on. The location scenes were shot in the Mojave Desert, where the combination of relentless heat and artificially induced
windstorms made working conditions virtually intolerable. At one point, Ms. Gish absentmindedly clutched the metal handle
of her car's door-immediately incurring a second-degree burn. Adapted by Frances Marion from a novel by
Dorothy Scarborough, The Wind, despite its artistic merit, was a box-office disappointment, resulting in a
parting of the ways between Lillian Gish and MGM.
The film was shot on location in the Mojave Desert in 120-degree heat. The heat’s intensity was so severe that Lillian
left the skin of her palm on a scorching door handle (Lillian Gish: Her Legend, Her Life). To stimulate the desert storms,
airplane propellers blew sand at the actors (a real sandstorm blew before they finished shooting). This type of dedication
to the job was not unusual for Gish though who had withstood the elements in previous films, including Way down East,
where she turned down the offer of a double and had herself endured the cold and ice. However, The Wind was Gish’s
“worst experience in film making” (The Movies, Mr. Griffith and Me).
According to Cari Beauchamp, Marion’s script, like the novel, ended with Letty (Gish) walking “away from the cabin and
the dead body, into the blowing sands and to her own death’ (Without Lying Down: Frances Marion and the Powerful
Women of Early Hollywood). Irving Thalberg at MGM supported this ending but Louis B Mayer and all-powerful exhibitors
apparently found this too depressing and asked for it to be reshot, much to Marion and Gish’s disappointment.
This reshooting of the ending was costly for the studio – the interior set had to be rebuilt, the studio had to wait for
actors to be available. Months went by before the film was released and its eventual reception was mixed. The new
sound technology was taking Hollywood by storm and silent films were becoming old hat. Similarly to other films of
this transitional period, it had a poor soundtrack added. Moreover, Lillian’s look and sensibility were seen as ill-suited
to the changing times and some reviewers found her acting mode outdated (see Marion Davies in The Patsy, released
the same year, for a delicious parody of Gish).
Gish’s relationship with MGM quickly turned sour. When her contract was revised, Gish told Mayer she wouldn’t sign
anything until she had consulted her lawyer, to which he retorted “If you don’t do as I say, I can ruin you” (The Movies,
Mr. Griffith and Me). Brooks accused MGM of trying to ruin Gish’s career. Gish, she said, was “marked first for
destruction” for it was her “who most painfully imposed her picture knowledge and business acumen upon the
producers” (Lulu in Hollywood). Indeed perhaps we should reconsider the familiar perception of Gish as simply one
of Griffith’s acquiescent heroines and instead view her as the unlikely bedfellow of Brooks – a fellow rebel and
Hollywood outcast.
Music Composed and Conducted by
Carl Davis
"I was born in New York in 1936. Pre-birth, my mother went to a lot of concerts and my reaction was quite passionate!
After, she played piano and I imitated her. My first lessons were at 7. I sacked my first teacher when, after seeing Disney’s
Fantasia, I insisted on studying Bach’s Toccata and Fugue and he refused. I kept playing though, driven by curiosity – pop
to Parsifal. We had good public libraries in Brooklyn with fairly comprehensive music sections and I devoured scores.
My mission was to be able to sight-read and sing operas, text and all. I went on to orchestral scores, helped by New York’s
two classical music radio stations. I was equally attracted by dance. After all, New York was home to American Ballet
Theatre, Ballet Russe, The New York City Centre Ballet and Martha Graham.
In my teens I widened my circle with singers and musicians. There were opera workshops, choirs, chamber music and
Leider to play. My first professional engagements were at Tanglewood, touring with the Robert Shaw Chorale and The New
York City Opera and at 18, composition. A choice had to be made and I chose composition and London.
Helped by Diversions, a revue written at college, that had won Off-Broadway prizes, my colleague, Steven Vinaver, who
had joined me in London, the revue Twists was produced at the Edinburgh Festival and then the Arts Theatre in the West
End. An encouraging review from Richard Buckle led to my first radio work and television. There were strong collaborators:
Jack Gold, Ronald Eyre and Patrick Garland. The breakthrough came in 1969 with Alan Bennett’s Forty Years On.
Jonathan Miller took me to The National Theatre and Ron to the RSC. A collaboration with John Wells produced three
full length musicals for stage: Alice in Wonderland, Peace (Aristophenes) and The Projector for Joan Littlewood’s Theatre
Workshop. There I met my future wife, Jean Boht and began a family: two daughters, Hannah and Jessie and currently
3 grandchildren.
In the 1970’s, Jeremy Isaacs commissioned The World at War TV Series and the BBC commissioned scores for classic
serials, including: The Snow Goose, Our Mutual Friend and The Mayor of Casterbridge. The decade ended working with
Producer, David Gill and film-maker and historian, Kevin Brownlow on the 13 Part Series Hollywood. In 1980 this led to
a landmark performance with orchestra of Kevin Brownlow’s restoration of the 5 hour epic Napoleon: live cinema was
re-born. Channel 4 continued this development with a chain of restorations of the major silent films featuring Garbo,
Gish, Fairbanks and the three great clowns: Chaplin, Keaton and Lloyd, as well as epics like Ben Hur and Intolerance.
Orchestras were now keen to mount these films and I fancied myself a conductor climaxing in an 8 year run in a series
of popular concerts in Big Top on The King’s Dock in Liverpool! This helped me develop a unique performance style
involving costumes and a rapport with my audience.
The 1990’s opened with a collaboration with Paul McCartney: The Liverpool Oratorio, and then there was ballet. First,
Gillian Lynne’s A Simple Man for The BBC’s Omnibus and Northern Ballet Theatre. Then, A Picture of Dorian Grey for
The Sadler’s Wells ballet, choreographed by Derek Deane, followed by Fire and Ice, a television ballet for LWT for Torvill
and Dean. The Millenium brought forth A Christmas Carol for NBT; Aladdin for Scottish Ballet and an Alice in Wonderland
ballet, again for Derek(now Artistic Director of The English National Ballet). A new collaboration began with choreographer
David Bintley when I was invited to compose a new score for his Cyrano ballet. This was followed by a revival of Aladdin
with new choreography by David Bintley for The National Ballet of Japan. Recently, created was a ballet based on
The Lady of the Camellias for the Croatian National Ballet with choreography by Derek Deane.
Welcome to my worlds."
Carl Davis
Source: DVD, Llamentol (Spain)
Format: FLAC(RAR), DDD Stereo
File Size: 338 MB (single file), 366 MB (edited version)
This is my DVD-to-FLAC rip of Carl Davis's wonderful score for Victor Sj�str�m's silent film masterpiece,
"The Wind" (1928). Arguably the composer's finest achievement, the score was never released independently
on CD (except for a 10-minute excerpt on The Silents by Virgin records). Only the Spanish DVD,
whose image is sourced from a VHS copy, includes the score in decent quality! I am offering the score
in two versions: as a single continuous 75 minutes file, and my own edit into 10 sections (including fade-ins
and outs) - which was not easy to do since the score has almost no breaks/silences in it.
Do not share my material any further. Request the FLAC links in this thread! PM's will be ignored.