wimpel69
01-06-2017, 01:37 PM
Please request the FLAC link in this thread. PMs will be ignored!
This is my own rip (BD-Audio to FLAC) - single audio file. Since most people seem to prefer it that way,
I did not go to the trouble again to edit it into separate tracks. Please do not share my material further,
also please add to my reputation! Limited sharing period!
And I've decided to throw the SILVA SCREEN CD release in as well, a fresh EAC/AccurateR rip,
including the complete artwork and booklet, LOG and CUE.
Lon Chaney stars as Erik, the Phantom, in what is probably his most famous and certainly his most horrifying role.
Produced by Universal, the film shot in 1923 and shelved for nearly two years, and was subjected to intensive studio
tinkering. While many expected a disaster, the film turned out to be a rousing success. It was both the stepping off
point for Chaney's run as a superstar at MGM and the prototype for the horror film cycle at Universal in the 1930s.
The story concerns Erik, a much-feared fiend who haunts the Paris Opera House. Lurking around the damp, dank
passages deep in the cellars of the theater, he secretly coaches understudy Christine Daae (Mary Philbin) to be an
opera star. Through a startling sequence of terrors, including sending a giant chandelier crashing down on the opera
patrons, the Phantom forces the lead soprano to withdraw from the opera, permitting Christine to step in. Luring
Christine into his subterranean lair below the opera house, the Phantom confesses his love. But Christine is in love
with Raoul de Chagny (Norman Kerry). The Phantom demands that Christine break off her relationship with Raoul
before he'll allow her to return to the opera house stage. She agrees, but immediately upon her release from the
Phantom's lair, she runs into the arms of Raoul and they plan to flee to England after her performance that night.
The Phantom overhears their conversation and, during her performance, the Phantom kidnaps Christine, taking
her to the depths of his dungeon. It is left to Raoul and Simon Buquet (Gibson Gowland), a secret service agent,
to track down the Phantom and rescue Christine.
Original prints of the film were fully tinted, with some sequences in Technicolor, and a rooftop scene using a
special process that enabled the Phantom's cloak to show red against the blue night sky. This Photoplay
restoration carefully re-instates all these effects, and is accompanied by Carl Davis' celebrated score
which draws heavily on Charles Gounod's music to "Faust", which is the opera being performed in the film.
Music Composed and Conducted by
Carl Davis
Based on Music Composed by
Charles Gounod
Played by the
City of Prague Philharmonic Orchestra
The Silva Screen Album:
Tracks:
1. Opening Titles (01:38)
2. Faust Ballet - Waltz (03:02)
3. Faust Ballet - Galop (02:15)
4. Carlotta's Mama And Faust Finale (03:02)
5. Christine's Triumph (03:46)
6. Jewel Song And Chandelier (06:43)
7. Through The Mirror (07:12)
8. His Plea (04:53)
9. Revealed (05:41)
10. Bal Masque (02:03)
11. Red Detail (01:37)
12. Rooftop (05:38)
13. Kidnap (02:44)
14. Underground (02:42)
15. Confrontation (01:06)
16. Underwater (02:47)
17. "Heat, Intolerable Heat" (03:05)
18. Flood (01:35)
19. Escape (04:50)
Total Time: 66'19
"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
Sources: BD, British Film Institute (United Kingdom) / Silva Screen Records
Format: FLAC(RAR), DDD Stereo
File Size: 411 MB / 393 MB
Please request the FLAC link in this thread. PMs will be ignored!
This is my own rip (BD-Audio to FLAC) - single audio file. Since most people seem to prefer it that way,
I did not go to the trouble again to edit it into separate tracks. Please do not share my material further,
also please add to my reputation! Limited sharing period!
And I've decided to throw the SILVA SCREEN CD release in as well, a fresh EAC/AccurateR rip,
including the complete artwork and booklet, LOG and CUE.
This is my own rip (BD-Audio to FLAC) - single audio file. Since most people seem to prefer it that way,
I did not go to the trouble again to edit it into separate tracks. Please do not share my material further,
also please add to my reputation! Limited sharing period!
And I've decided to throw the SILVA SCREEN CD release in as well, a fresh EAC/AccurateR rip,
including the complete artwork and booklet, LOG and CUE.
Lon Chaney stars as Erik, the Phantom, in what is probably his most famous and certainly his most horrifying role.
Produced by Universal, the film shot in 1923 and shelved for nearly two years, and was subjected to intensive studio
tinkering. While many expected a disaster, the film turned out to be a rousing success. It was both the stepping off
point for Chaney's run as a superstar at MGM and the prototype for the horror film cycle at Universal in the 1930s.
The story concerns Erik, a much-feared fiend who haunts the Paris Opera House. Lurking around the damp, dank
passages deep in the cellars of the theater, he secretly coaches understudy Christine Daae (Mary Philbin) to be an
opera star. Through a startling sequence of terrors, including sending a giant chandelier crashing down on the opera
patrons, the Phantom forces the lead soprano to withdraw from the opera, permitting Christine to step in. Luring
Christine into his subterranean lair below the opera house, the Phantom confesses his love. But Christine is in love
with Raoul de Chagny (Norman Kerry). The Phantom demands that Christine break off her relationship with Raoul
before he'll allow her to return to the opera house stage. She agrees, but immediately upon her release from the
Phantom's lair, she runs into the arms of Raoul and they plan to flee to England after her performance that night.
The Phantom overhears their conversation and, during her performance, the Phantom kidnaps Christine, taking
her to the depths of his dungeon. It is left to Raoul and Simon Buquet (Gibson Gowland), a secret service agent,
to track down the Phantom and rescue Christine.
Original prints of the film were fully tinted, with some sequences in Technicolor, and a rooftop scene using a
special process that enabled the Phantom's cloak to show red against the blue night sky. This Photoplay
restoration carefully re-instates all these effects, and is accompanied by Carl Davis' celebrated score
which draws heavily on Charles Gounod's music to "Faust", which is the opera being performed in the film.
Music Composed and Conducted by
Carl Davis
Based on Music Composed by
Charles Gounod
Played by the
City of Prague Philharmonic Orchestra
The Silva Screen Album:
Tracks:
1. Opening Titles (01:38)
2. Faust Ballet - Waltz (03:02)
3. Faust Ballet - Galop (02:15)
4. Carlotta's Mama And Faust Finale (03:02)
5. Christine's Triumph (03:46)
6. Jewel Song And Chandelier (06:43)
7. Through The Mirror (07:12)
8. His Plea (04:53)
9. Revealed (05:41)
10. Bal Masque (02:03)
11. Red Detail (01:37)
12. Rooftop (05:38)
13. Kidnap (02:44)
14. Underground (02:42)
15. Confrontation (01:06)
16. Underwater (02:47)
17. "Heat, Intolerable Heat" (03:05)
18. Flood (01:35)
19. Escape (04:50)
Total Time: 66'19
"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
Sources: BD, British Film Institute (United Kingdom) / Silva Screen Records
Format: FLAC(RAR), DDD Stereo
File Size: 411 MB / 393 MB
Please request the FLAC link in this thread. PMs will be ignored!
This is my own rip (BD-Audio to FLAC) - single audio file. Since most people seem to prefer it that way,
I did not go to the trouble again to edit it into separate tracks. Please do not share my material further,
also please add to my reputation! Limited sharing period!
And I've decided to throw the SILVA SCREEN CD release in as well, a fresh EAC/AccurateR rip,
including the complete artwork and booklet, LOG and CUE.
