wimpel69
01-05-2017, 02:59 PM
For the FLAC link, please request the album in this thread. This is my own rip.
Both discs were ripped with EAC, Accurate Rip (Log/Cue). The complete artwork and booklet are included.
No PM's, please. Please don't share further and please add to my reputation when convenient.
"Silence is golden, granny always said. But for Carl Davis silents are golden, in a long profitable line stretching
from Abel Gance's epic ''Napoleon,'' by way of ''Broken Blossoms,'' ''The Thief of Bagdad'' and ''The Eagle,'' to
''The Big Parade,'' ''Greed'' and ''Intolerance.''
Mr. Davis is the London-based expatriate New Yorker who has cornered the new market for silent-film scores,
now that all the aged classics are being dusted off by British television and run at the right speed so they no
longer look comically breathless.
In the 1980's, Mr. Davis has become the most successful British-based film composer. ''Last month, I managed
to cram in three feature films, as well as 'Intolerance,' '' he said, ''and I'm reeling from it.''
Silent films were always intended to have music wherever they went: full orchestra in the grand movie palaces,
piano or Wurlitzer in the local cinema. As in opera and ballet, music underlines and adapts the visual message
and keeps the adrenaline pumping.
Mr. Davis's three latest feature films are not silents, but a pretty bag. There is Ken Russell's new D. H. Lawrence,
''The Rainbow,'' for which Mr. Davis had the luxury of full orchestra. There is ''Scandal,'' about the Stephen
Ward-John Profumo-Christine Keeler affair that rocked Harold Macmillan's Government in the year of the
Kennedy assassination. And there is ''Girl in a Fury,'' based on a Richard Adams novel.
Mr. Davis's best-known feature-film score is probably ''The French Lieutenant's Woman.'' There has suddenly
been an increase of activity on films. ''But I've always kept the telly going,'' he says: series like ''The World
at War,'' and ''Unknown Chaplin'' and ''Buster Keaton - A Hard Act to Follow.''
Then there's been the theater music - for Jonathan Miller's ''Tempest,'' currently at the Old Vic but actually
written for an earlier Miller staging of the Shakespeare 18 years ago, or for Alan Bennett's 1960's hit ''Forty
Years On'' (with Sir John Gielgud), or ''The Vaccies'' - a new musical, successful in the provinces, that is soon
to be revived for London.
And Mr. Davis is now increasingly busy as a conductor, not just with his live cinema performances of silent
classics at Radio City Music Hall, in Paris and in Berlin. He takes the London Philharmonic Orchestra through
programs of rediscovered Walton outakes, and next October he puts Kurt Weill's ''Street Scene'' into the
English National Opera repertory for the first time. It's a busy, busy life.
''He always used to compose at the keyboard,'' says David Matthews, the successful young English composer
of serious modern music who has orchestrated all the films in the ''Thames Silents'' series so far.
''Nowadays, he seems not to. He does most of it on planes, in hotel rooms, traveling round the world to
conduct his live cinema shows. I guess he starts off improvising at the piano; it would be the easiest way
to approach the task and match up with rhythmic actions in scenes, as well as with the more general
phrasing and feeling of the picture.''
Mr. Davis provides him, he says, with a kind of annotated piano score. ''He also gives me a cassette of
himself playing it on the piano, during which he from time to time calls out suggestions for the kinds of
orchestration he wants. It's great fun, and also a good way of improving my own skill at getting the colors
I want - especially since it's going to be played by good players immediately.''
Mr. Davis, explains Mr. Matthews, usually has a particular composer's sound in mind. One bit will be like
Tchaikovsky, another like Richard Strauss. Mr. Davis doesn't want to copy authentic silent-film music of
the era, which was often published by the studios and sent round with the movies.
His aim is to match the taste of the 1920's, but in good taste, always recalling that now he's writing for
today's viewers whose range of listening is far more sophisticated.
''I try and avoid too many well-known pieces,'' he says. ''I try and do things like them, rather than copy
them exactly, because for todays's audience it would be distracting.
''Sometimes there's a point to be made with direct recognition. Because of the Rimskyish orientalism
of 'Thief of Bagdad,' I was able to incorporate 'Flight of the Bumblebee' into the accompaniment of a
sequence where a bee flies out of a rose bush and upsets the hero's horse. There are often felicitous
things like that. One follows their practice, and they,'' Mr. Davis points out, ''were shameless about
robbing the classics.''
Now 52 years old, Mr. Davis decided early he wasn't going to be an ivory-tower composer on a grant
or at a university. ''I wanted to be in the marketplace, where one had to please other people,'' he says.
''In a way, it was far more demanding, far more precise.''
Music as a means to an end is basic to his art. ''You're not only in support of something, you're also
receiving stimulus from something. There are always the given time limits; you're always phrasing.
You have to be sensitive to how long a scene is.''
The greatest compliment Mr. Davis has ever received came from Ken Russell, just recently. ''Gosh,
I like that phrase,'' Mr. Russell apparently said. ''I'd like to add more film so you can complete it.''
The collaboration with film does not always put music in the inferior role. Says Mr. Davis, ''It is the
ultimate compliment, with someone like Ken as acutely aware of music's power to evoke and alter
communication that it has in combination with picture. It's been a very interesting process.
The music always is in dialogue with the image. It can change the implication of the story.
''For 'The Silents,' one has been able to write a big span, use a Wagnerian leitmotif system,
establish a code of themes that recur, undergo variation, combine. That's been fun.
''In a contemporary film with dialogue and sound effects, one isn't nearly given so much
opportunity. Also performing these silents live is very exciting: like an opera without voices.
It's a great satisfaction to get the timing right, come to 'The End' music just exactly when the
words flash up on the screen.''
The New York Times, December 11, 1988
Music Composed and Conducted by
Carl Davis
Played by the
London Philharmonic Orchestra
Royal Liverpool Philharmonic Orchestra
The Wren Orchestra of London
Orchestre Philharmonique du Luxembourg
City of Prague Philharmonic Orchestra
The City Lights Orchestra
Disc One
1. The Eagle of Destiny (03:32)
Tracks 1-3 from "Napoleon" (1927), performed by The Wren Orchestra
2. Pursued (03:44)
3. Bal des Victimes (02:22)
4. Moonbeams (08:21)
From "Broken Blossoms" (1919), performed by The London Philharmonic Orchestra
5. The Preview (02:22)
From "Show People" (1928), performed by The London Philharmonic Orchestra
6. The Announcement (06:07)
From "The Crowd" (1928), performed by The London Philharmonic Orchestra
7. March (01:38)
Tracks 7-9 from "The Big Parade" (1925), performed by The London Philharmonic Orchestra
8. The Rookies (02:18)
9. Night Battle (02:53)
10. The Ball / Garden Scene (08:15)
From "Flesh and The Devil" (1926), performed by The London Philharmonic Orchestra
11. Wedding Night (02:31)
Tracks 11 & 12 from "Greed" (1925), performed by The London Philharmonic Orchestra
12. Biting The Hand (03:17)
13. The Winged Horse / The Flying Carpet (03:55)
From "The Thief of Bagdad" (1924), performed by The London Philharmonic Orchestra
14. Reunion (01:51)
Tracks 14 & 15 from "Old Heidelberg" (1927), performed by The London Philharmonic Orchestra
15. Finale (05:27)
16. The Cyclone (02:22)
Tracks 16-18 from "The Wind" (1928), performed by The London Philharmonic Orchestra
17. The Wedding Night (02:03)
18. Finale (05:44)
Disc Two
1. Old Vienna (03:53)
Tracks 1-3 from "The Wedding March" (1928), performed by The City of Prague Philharmonic Orchestra
2. Ave Maria (03:29)
3. Drunken Party Polka (02:43)
4. Argentina (01:51)
Tracks 4-6 from "The Four Horsemen of The Apocalypse (1921), performed by La Orchestre Philharmonique du Luxembourg
5. The Tango (04:18)
6. The Inheritance (02:34)
7. Overture (04:15)
From "City Lights" (1931), composed by Charles Chaplin & performed by The City Lights Orchestra
8. Opening Titles (02:14)
Tracks 8-11 from "Wings" (1927), performed by La Orchestre Philharmonique du Luxembourg
9. The Big Fist Fight (03:39)
10. Dawn Patrol / The Troops Advance (05:36)
11. Reunited With Mary (02:52)
12. Prelude / The Royal Procession (03:52)
Tracks 12 & 13 from "The Iron Mask" (1929), performed by The City of Prague Philharmonic Orchestra
13. "One For All and All For One" (03:38)
14. Opening Titles (01:37)
Tracks 14 & 15 from "The Phantom of The Opera" (1925), performed by The City of Prague Philharmonic Orchestra
15. Bal Masque (02:06)
16. Opening Titles (03:27)
Tracks 16-18 from "Ben-Hur" (1925), performed by The Royal Liverpool Philharmonic Orchestra
17. Esther and The Young Prince (03:56)
18. The Chariot Race (13:58)
Total Time: 2:18'40
"New York-born and England-based composer/conductor Carl Davis has delivered ear-catching symphonic music
for more than four decades. His dramatic scores have been performed by the Royal Shakespeare Company and
the National Theater while the pieces he composed for ballet have been utilized by the London Contemporary Theater
Company, the Sadler Wells Royal Ballet, the Northern Ballet Theater, and the English National Ballet Company.
A master at composing scores to accompany silent films, Davis has provided soundtracks for Napolean, Flesh and
the Devil, Ben-Hur, Thief of Baghdad, Greed and Intolerance, and Phantom of the Opera. His work in television
includes composing scores for Pride and Prejudice, which received a BASCA Ivor Novello Award for "best music
for a television production" in 1996. His score for the film The French Lieutenant's Woman received BAFA "original
film score" and Ivor Novello Awards. Davis' collaboration with Sir Paul McCartney on his symphonic piece "Liverpool
Oratorio" attracted worldwide attention in 1991. He conducted the piece's premier at Anglican Church.
Born to a Jewish family, with roots in Poland and Russia, Davis began studying piano at the age of seven.
He attended his first opera three years later.
After attending the New England Conservatory of Music and graduating from Bard College, Davis worked with
the New York City Opera and toured with choral conductor Robert Shaw as accompanist. He relocated to England
after marrying British actress Jean Boht in 1971.
Appointed artistic director and conductor of the Royal Liverpool Philharmonic Orchestra's summer pops season
in 1993, Davis serves as vice chancellor of the University of Liverpool.
Davis was made a Chevalier de L'Ordre des Arts et des Lettres by the French ministry of culture."
Source: Silva Screen Records, 2000(My rip!)
Format: FLAC/RAR, DDD Stereo (incl. artwork, booklet, log & cue)
File Size: 784 MB
For the FLAC link, please request the album in this thread. This is my own rip.
Both discs were ripped with EAC, Accurate Rip (Log/Cue). The complete artwork and booklet are included.
No PM's, please. Please don't share further and please add to my reputation when convenient.
Both discs were ripped with EAC, Accurate Rip (Log/Cue). The complete artwork and booklet are included.
No PM's, please. Please don't share further and please add to my reputation when convenient.
"Silence is golden, granny always said. But for Carl Davis silents are golden, in a long profitable line stretching
from Abel Gance's epic ''Napoleon,'' by way of ''Broken Blossoms,'' ''The Thief of Bagdad'' and ''The Eagle,'' to
''The Big Parade,'' ''Greed'' and ''Intolerance.''
Mr. Davis is the London-based expatriate New Yorker who has cornered the new market for silent-film scores,
now that all the aged classics are being dusted off by British television and run at the right speed so they no
longer look comically breathless.
In the 1980's, Mr. Davis has become the most successful British-based film composer. ''Last month, I managed
to cram in three feature films, as well as 'Intolerance,' '' he said, ''and I'm reeling from it.''
Silent films were always intended to have music wherever they went: full orchestra in the grand movie palaces,
piano or Wurlitzer in the local cinema. As in opera and ballet, music underlines and adapts the visual message
and keeps the adrenaline pumping.
Mr. Davis's three latest feature films are not silents, but a pretty bag. There is Ken Russell's new D. H. Lawrence,
''The Rainbow,'' for which Mr. Davis had the luxury of full orchestra. There is ''Scandal,'' about the Stephen
Ward-John Profumo-Christine Keeler affair that rocked Harold Macmillan's Government in the year of the
Kennedy assassination. And there is ''Girl in a Fury,'' based on a Richard Adams novel.
Mr. Davis's best-known feature-film score is probably ''The French Lieutenant's Woman.'' There has suddenly
been an increase of activity on films. ''But I've always kept the telly going,'' he says: series like ''The World
at War,'' and ''Unknown Chaplin'' and ''Buster Keaton - A Hard Act to Follow.''
Then there's been the theater music - for Jonathan Miller's ''Tempest,'' currently at the Old Vic but actually
written for an earlier Miller staging of the Shakespeare 18 years ago, or for Alan Bennett's 1960's hit ''Forty
Years On'' (with Sir John Gielgud), or ''The Vaccies'' - a new musical, successful in the provinces, that is soon
to be revived for London.
And Mr. Davis is now increasingly busy as a conductor, not just with his live cinema performances of silent
classics at Radio City Music Hall, in Paris and in Berlin. He takes the London Philharmonic Orchestra through
programs of rediscovered Walton outakes, and next October he puts Kurt Weill's ''Street Scene'' into the
English National Opera repertory for the first time. It's a busy, busy life.
''He always used to compose at the keyboard,'' says David Matthews, the successful young English composer
of serious modern music who has orchestrated all the films in the ''Thames Silents'' series so far.
''Nowadays, he seems not to. He does most of it on planes, in hotel rooms, traveling round the world to
conduct his live cinema shows. I guess he starts off improvising at the piano; it would be the easiest way
to approach the task and match up with rhythmic actions in scenes, as well as with the more general
phrasing and feeling of the picture.''
Mr. Davis provides him, he says, with a kind of annotated piano score. ''He also gives me a cassette of
himself playing it on the piano, during which he from time to time calls out suggestions for the kinds of
orchestration he wants. It's great fun, and also a good way of improving my own skill at getting the colors
I want - especially since it's going to be played by good players immediately.''
Mr. Davis, explains Mr. Matthews, usually has a particular composer's sound in mind. One bit will be like
Tchaikovsky, another like Richard Strauss. Mr. Davis doesn't want to copy authentic silent-film music of
the era, which was often published by the studios and sent round with the movies.
His aim is to match the taste of the 1920's, but in good taste, always recalling that now he's writing for
today's viewers whose range of listening is far more sophisticated.
''I try and avoid too many well-known pieces,'' he says. ''I try and do things like them, rather than copy
them exactly, because for todays's audience it would be distracting.
''Sometimes there's a point to be made with direct recognition. Because of the Rimskyish orientalism
of 'Thief of Bagdad,' I was able to incorporate 'Flight of the Bumblebee' into the accompaniment of a
sequence where a bee flies out of a rose bush and upsets the hero's horse. There are often felicitous
things like that. One follows their practice, and they,'' Mr. Davis points out, ''were shameless about
robbing the classics.''
Now 52 years old, Mr. Davis decided early he wasn't going to be an ivory-tower composer on a grant
or at a university. ''I wanted to be in the marketplace, where one had to please other people,'' he says.
''In a way, it was far more demanding, far more precise.''
Music as a means to an end is basic to his art. ''You're not only in support of something, you're also
receiving stimulus from something. There are always the given time limits; you're always phrasing.
You have to be sensitive to how long a scene is.''
The greatest compliment Mr. Davis has ever received came from Ken Russell, just recently. ''Gosh,
I like that phrase,'' Mr. Russell apparently said. ''I'd like to add more film so you can complete it.''
The collaboration with film does not always put music in the inferior role. Says Mr. Davis, ''It is the
ultimate compliment, with someone like Ken as acutely aware of music's power to evoke and alter
communication that it has in combination with picture. It's been a very interesting process.
The music always is in dialogue with the image. It can change the implication of the story.
''For 'The Silents,' one has been able to write a big span, use a Wagnerian leitmotif system,
establish a code of themes that recur, undergo variation, combine. That's been fun.
''In a contemporary film with dialogue and sound effects, one isn't nearly given so much
opportunity. Also performing these silents live is very exciting: like an opera without voices.
It's a great satisfaction to get the timing right, come to 'The End' music just exactly when the
words flash up on the screen.''
The New York Times, December 11, 1988
Music Composed and Conducted by
Carl Davis
Played by the
London Philharmonic Orchestra
Royal Liverpool Philharmonic Orchestra
The Wren Orchestra of London
Orchestre Philharmonique du Luxembourg
City of Prague Philharmonic Orchestra
The City Lights Orchestra
Disc One
1. The Eagle of Destiny (03:32)
Tracks 1-3 from "Napoleon" (1927), performed by The Wren Orchestra
2. Pursued (03:44)
3. Bal des Victimes (02:22)
4. Moonbeams (08:21)
From "Broken Blossoms" (1919), performed by The London Philharmonic Orchestra
5. The Preview (02:22)
From "Show People" (1928), performed by The London Philharmonic Orchestra
6. The Announcement (06:07)
From "The Crowd" (1928), performed by The London Philharmonic Orchestra
7. March (01:38)
Tracks 7-9 from "The Big Parade" (1925), performed by The London Philharmonic Orchestra
8. The Rookies (02:18)
9. Night Battle (02:53)
10. The Ball / Garden Scene (08:15)
From "Flesh and The Devil" (1926), performed by The London Philharmonic Orchestra
11. Wedding Night (02:31)
Tracks 11 & 12 from "Greed" (1925), performed by The London Philharmonic Orchestra
12. Biting The Hand (03:17)
13. The Winged Horse / The Flying Carpet (03:55)
From "The Thief of Bagdad" (1924), performed by The London Philharmonic Orchestra
14. Reunion (01:51)
Tracks 14 & 15 from "Old Heidelberg" (1927), performed by The London Philharmonic Orchestra
15. Finale (05:27)
16. The Cyclone (02:22)
Tracks 16-18 from "The Wind" (1928), performed by The London Philharmonic Orchestra
17. The Wedding Night (02:03)
18. Finale (05:44)
Disc Two
1. Old Vienna (03:53)
Tracks 1-3 from "The Wedding March" (1928), performed by The City of Prague Philharmonic Orchestra
2. Ave Maria (03:29)
3. Drunken Party Polka (02:43)
4. Argentina (01:51)
Tracks 4-6 from "The Four Horsemen of The Apocalypse (1921), performed by La Orchestre Philharmonique du Luxembourg
5. The Tango (04:18)
6. The Inheritance (02:34)
7. Overture (04:15)
From "City Lights" (1931), composed by Charles Chaplin & performed by The City Lights Orchestra
8. Opening Titles (02:14)
Tracks 8-11 from "Wings" (1927), performed by La Orchestre Philharmonique du Luxembourg
9. The Big Fist Fight (03:39)
10. Dawn Patrol / The Troops Advance (05:36)
11. Reunited With Mary (02:52)
12. Prelude / The Royal Procession (03:52)
Tracks 12 & 13 from "The Iron Mask" (1929), performed by The City of Prague Philharmonic Orchestra
13. "One For All and All For One" (03:38)
14. Opening Titles (01:37)
Tracks 14 & 15 from "The Phantom of The Opera" (1925), performed by The City of Prague Philharmonic Orchestra
15. Bal Masque (02:06)
16. Opening Titles (03:27)
Tracks 16-18 from "Ben-Hur" (1925), performed by The Royal Liverpool Philharmonic Orchestra
17. Esther and The Young Prince (03:56)
18. The Chariot Race (13:58)
Total Time: 2:18'40
"New York-born and England-based composer/conductor Carl Davis has delivered ear-catching symphonic music
for more than four decades. His dramatic scores have been performed by the Royal Shakespeare Company and
the National Theater while the pieces he composed for ballet have been utilized by the London Contemporary Theater
Company, the Sadler Wells Royal Ballet, the Northern Ballet Theater, and the English National Ballet Company.
A master at composing scores to accompany silent films, Davis has provided soundtracks for Napolean, Flesh and
the Devil, Ben-Hur, Thief of Baghdad, Greed and Intolerance, and Phantom of the Opera. His work in television
includes composing scores for Pride and Prejudice, which received a BASCA Ivor Novello Award for "best music
for a television production" in 1996. His score for the film The French Lieutenant's Woman received BAFA "original
film score" and Ivor Novello Awards. Davis' collaboration with Sir Paul McCartney on his symphonic piece "Liverpool
Oratorio" attracted worldwide attention in 1991. He conducted the piece's premier at Anglican Church.
Born to a Jewish family, with roots in Poland and Russia, Davis began studying piano at the age of seven.
He attended his first opera three years later.
After attending the New England Conservatory of Music and graduating from Bard College, Davis worked with
the New York City Opera and toured with choral conductor Robert Shaw as accompanist. He relocated to England
after marrying British actress Jean Boht in 1971.
Appointed artistic director and conductor of the Royal Liverpool Philharmonic Orchestra's summer pops season
in 1993, Davis serves as vice chancellor of the University of Liverpool.
Davis was made a Chevalier de L'Ordre des Arts et des Lettres by the French ministry of culture."
Source: Silva Screen Records, 2000(My rip!)
Format: FLAC/RAR, DDD Stereo (incl. artwork, booklet, log & cue)
File Size: 784 MB
For the FLAC link, please request the album in this thread. This is my own rip.
Both discs were ripped with EAC, Accurate Rip (Log/Cue). The complete artwork and booklet are included.
No PM's, please. Please don't share further and please add to my reputation when convenient.