Jerry Will
03-30-2019, 02:18 AM
Tracklisting
1. Main Title/Villa Rides! [2:44]
2. Much More Money/Lee in Gonzales House [2:38]
3. Lee and Fina at the River/The Plane is Repaired [3:59]
4. Lee Gives the Burro to Gonzales [0:43]
5. Colorados in the Village/Too Many Guns/Ramirez Kicks the Chairs/The Villistas Are Appearing [6:20]
6. Hacienda Dance/Fierro After the Execution/Much More Money [3:20]
7. After the Marriage/Lee Teaching Villa to Fly/Waltz in the Clouds [3:56]
8. The Villistas Attacking the Train [1:28]
9. After the Battle/Love in the Boxcar [3:13]
10. Villa Has Taken Parral [1:08]
11. Cantina Dance [2:51]
12. Fina and Lee [1:02]
13. Villa in Mexico City/Villa and Madero [3:42]
14. Before the Battle [1:17]
15. The Battle [4:10]
16. Victorious Army/Much More Money [2:15]
17. Execution/Villa is to be Shot/Huerta Reads Madero's Message [3:29]
18. Go to Chupadero/El Paso [2:45]
19. Petite Cafe Concert [1:40]
20. End Title/Villa Rides [3:25]
21. The Life and Times of Judge Roy Bean: Main Title [4:37]
22. The Life and Times of Judge Roy Bean: Marmalade, Molasses and Honey [2:28]
23. El Condor: Main Title [3:32]
24. Red Sun: Main Title [2:44]
25. Cimarron Strip: Main Title [1:01]
26. The Professionals: Overture [5:12]
Maurice-Alexis Jarre (13 September 1924 – 29 March 2009)
Unlike many musicians who started to learn music while still in their childhood, Maurice Jarre was already late in his teens when he discovered music and decided to make a career in that field. Against his father's will, he enrolled at Conservatoire de Paris where he studied percussions, composition and harmonies. He also met and studied under Joseph Martenot, inventor of the Martenot Waves, an electronic keyboard that prefigured the modern synthesizer.
After leaving the Conservatoire, Jarre played percussion and Martenot Waves for a while at Jean-Louis Barrault's theater. In 1950, another actor-director, Jean Vilar, asked Jarre to score his production of Kleist's 'The Princess of Homburg', the first score Jarre wrote. Shortly after, Vilar created the 'Th��tre National Populaire' and hired Jarre as permanent composer, an association that lasted 12 years.
In 1951, filmmaker Georges Franju asked him to write the music of his 23 minutes documentary H�tel des Invalides (1952), Jarre's first composition for the movie screen. His first full-length feature, again directed by Georges Franju, was Head Against the Wall (1959) followed by Franju's best known film, Eyes Without a Face (1960).
Jarre's career took a spectacular turn in 1961 when producer Sam Spiegel asked him to work on David Lean's Lawrence of Arabia (1962). Initially, three composers were supposed to write the score, but for various reasons, Jarre ended up writing all the music himself and won his first Oscar. His second collaboration with David Lean on Doctor Zhivago (1965) earned him another Oscar and obtained a level of success rarely achieved by a film score. He collaborated with Lean again on Ryan's Daughter (1970) and A Passage to India (1984) for which he received a third Academy Award. He was set to score Lean's next movie, 'Nostromo', but the director became ill and died before the film could ever get made.
He also worked for directors as diverse as William Wyler (The Collector (1965)); John Huston (three films); Franco Zeffirelli (Jesus of Nazareth (1977)); Volker Schl�ndorff (The Tin Drum (1979) [The Tin Drum] and Circle of Deceit (1981) [Circle of Deceit]); Peter Weir (four films); Michael Apted (Gorillas in the Mist (1988)) and Alfonso Arau (A Walk in the Clouds (1995)).
Mainly perceived as a symphonist and known for his prominent use of percussions, Jarre often integrated ethnic instruments in his orchestrations like cithara on 'Lawrence of Arabia' or fujara (an old Slovak flute) on 'The Tin Drum'. During the eighties, he incorporated synthetic sounds in his music, writing his first entirely electronic score for El a�o que vivimos en peligro (1982). His son Jean-Michel Jarre is a well-known popular musician.
In the 1970s and 1980s, Jarre turned his hand to science fiction, with scores for The Island at the Top of the World (1974), Dreamscape (1984), Enemy Mine (1985), and Mad Max Beyond Thunderdome (1985). The latter is written for full orchestra, augmented by a chorus, four grand pianos, a pipe organ, digeridoo, fujara, a battery of exotic percussion, and three ondes Martenot, which feature in several of Jarre's other scores, including Lawrence of Arabia, Jesus of Nazareth, The Bride and Prancer. The balalaika features prominently in Jarre's score for Doctor Zhivago.
In 1990 Jarre was nominated for an Academy Award scoring the supernatural love story/thriller Ghost. His music for the final scene of the film is based on "Unchained Melody" composed by fellow film composer Alex North. Other films for which he provided the music include A Walk in the Clouds (1995), for which he wrote the score and all of the songs, including the romantic "Mariachi Serenade". Also to his credit is the passionate love theme from Fatal Attraction (1987), and the moody electronic soundscapes of After Dark, My Sweet (1990). He was well respected by other composers including John Williams, who stated on Jarre's death, "(He) is to be well remembered for his lasting contribution to film music...we all have been enriched by his legacy."
Jarre's television work includes the score for the miniseries Jesus of Nazareth (1977), directed by Franco Zeffirelli, Shōgun (1980), and the theme for PBS's Great Performances.
Jarre scored his last project in 2001, a television mini-series about the Holocaust entitled Uprising.
► Composer: Maurice Jarre
► Label: Tadlow Music
► Quality: Lossless
► Source: My CD's Rips
► Artwork: Complete artwork included. My Scans.
► Available at: Out of Print.
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