#soundtracks
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Richard Rodgers (1902–1979)
Was an American composer who worked primarily in musical theater. With 43 Broadway musicals and over 900 songs to his credit, Rodgers was one of the most important American composers of the 20th century, and his compositions had a significant influence on popular music.
He met Lorenz Hart in 1918 who was to write lyrics for Richard for the next 25 years. The produced many successful songs and musicals such as ‘Pal Joey’ and 'The Boys From Syracuse’. In 1943 Richard teamed up with Oscar Hammerstein to make a musical version of the play 'How Green Was Your Valley’ which became 'Oklahoma’ Richard also provided the music for 'Carousel’, 'South Pacific’. The king and I’ and 'The Sound of Music’.
Wrote over 1,500 songs (at least 85 regarded as standards) and 42 musicals, 19 of which were transferred to film.
Halloween III: Season of the Witch (Music from the Original Motion Picture Soundtrack)
(John Carpenter/Alan Howarth, MCA 1982)
Nicholas Britell and Hildur Guðnadóttir crowned winners at the 19th World Soundtrack Awards
After winning the Discovery of the Year Award in 2017, Nicholas Britell took home another award this year: he was named Best Film Composer of the Year by the World Soundtrack Academy for his soundtrack for ‘If Beale Street Could Talk.’
The prize for Best Television Composer of the Year went to special guest and Emmy winner Hildur Guðnadóttir, who created the score for the popular HBO series 'Chernobyl’. Last year, Guðnadóttir was one of the Discovery of the Year nominees for 'Sicario: Day of the Soldado’. In the meantime, both Britell and Guðnadóttir have made a name for themselves worldwide with their scores for the HBO series 'Succession’ and Todd Philips’ 'Joker’ respectively.
The prize for Best Original Song Written Directly for a Film was awarded to the track 'Shallow’ from 'A Star is Born’. This composition was written by Lady Gaga, Andrew Wyatt, Anthony Rossomando and Mark Ronson, and was performed by Lady Gaga and Bradley Cooper.
African-American composer Michael Abels was named Discovery of the Year for the score he created for Jordan Peele’s 'Us’. The pair had already collaborated before on the film 'Get Out’.
In the category of Best Original Score for a Belgian Production, Belgian Frédéric Vercheval was awarded for his score for Olivier Masset-Depasse’s 'Duelles’. The composer has already been nominated four times for the Magritte Award for Best Original Score for 'Diamant 13’ (2009), 'Krach’ (2010), 'Not My Type’ (2014) and 'Melody’ (2014).
Young American jazz pianist and composer Pierre Charles won the SABAM Award for the Most Original Composition by a Young International Composer. The Public Choice Award went to John Powell for his music in Dean Deblois’ 'How To Train Your Dragon: The Hidden World’.
As previously announced, Krzysztof Penderecki was honoured with a Lifetime Achievement Award. The Polish composer undoubtedly put his mark on film music history with his innovative and unconventional music. He collaborated with world famous composers such as Stanley Kubrick ('The Shining’), David Lynch ('Inland Empire’, 'Twin Peaks’), Martin Scorsese ('Shutter Island’) and William Friedkin ('The Exorcist’).
Frédéric Devreese was also given a Lifetime Achievement Award. In light of his 90th birthday, Brussels Philharmonic honoured the father of Belgian film music. Devreese is known for his collaboration with André Delvaux on Palme D'or nominee 'L'oeuvre au noir’, but also 'Du bout des lèvres’ (Jean-Marie Degesves) and 'Les Noces Barbares’ and 'Il Maëstro’ (Marion Hansëm).
During the award ceremony, compositions were performed live by Brussels Philharmonic, conducted by maestro Dirk Brossé, with accompanying clips on the big screen. Guest of honour this year was Marco Beltrami, known for his horror scores including the 'Scream’ franchise. He recently composed the music for box office hit 'A Quiet Place’, nominated for a Golden Globe for Best Score, Netflix’s 'Velvet Buzzsaw’ and Oscar-winning National Geographic documentary 'Free Solo’, for which he received an Emmy Award.
If you couldn’t make it to the World Soundtrack Awards, there is still a possibility to enjoy the collaboration between Marco Beltrami and Brussels Philharmonic. Following our yearly tradition, a selection of our guest of honour’s masterpieces were recorded with MotorMusic in Flagey’s legendary Studio 4. The result is the album 'Marco Beltrami: Music for Film’, featuring unique suites from 'Snowpiercer’, 'World War Z’ and 'A Quiet Place’.
Winners 19th World Soundtrack Awards
Best Film Composer of the Year
Nicholas Britell ('If Beale Street Could Talk’, 'Vice’)
Best TV Composer of the Year
Hildur Guðnadóttir (‘Chernobyl’, ‘Ófærð’)
Best Original Song written directly for a Film
'Shallow’ ('A Star Is Born’). Music & lyrics by Lady Gaga, Andrew Wyatt, Anthony Rossomando and Mark Ronson. Performed by Lady Gaga and Bradley Cooper.
Discovery of the Year 2019
Michael Abels ('Us’)
Best Original Score for a Belgian Production
‘Duelles’ (Frédéric Vercheval)
SABAM Award for the Most Original Composition By a Young International Composer
Pierre Charles
Public Choice Award
‘How to Train Your Dragon: The Hidden World’ (John Powell)
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Vangelis (RIP) - Blade Runner (30th Anniversary Edition)
Vangelis (RIP) – Blade Runner (30th Anniversary Edition)
Vangelis has passed away in Paris at the age of 79. His reputation needs no introduction to connoisseurs of music, especially those into soundtracks. For my money, Blade Runner was the jewel in his crown. May he Rest In Peace.
Jerzy Milian - Optima Fide
Jerzy Milian – Optima Fide
Jerzy Milian is one of the most important jazz musicians to ever come out of Poland. In this rather expensive album, he is collaborating with the BRT Radio (now VRT Radio) Orchestra during the late 1960s. The release showcases Milian’s vibraphone talents, but also shows how multi-faceted his music was, incorporating beat, rock and soundtrack music into his oeuvre.
TEKE::TEKE - Shirushi
TEKE::TEKE – Shirushi
TEKE::TEKE are a band out of Canada who combine a punk aesthetic with psychedelic music and Japanese soundtrack music from the 1960s. It’s about as unique a release as I’ve heard in some time.
[Travis] Scott says, “I was like, ‘If this world or this scene was a country, could this be the national anthem, or the soundtrack for a city, or a sports team’s theme song,’ you know? It definitely wasn’t like, ‘Oh, I’ve got an extra song on my hard drive here, y’all can have it.’ I was trying to embody all the movements and camera shots and vocal presence, and the actors’ voices and different scenes and scenarios.”
The song was born after Scott saw the film with Nolan — in a socially distanced manner, of course — on a big screen at Warner Bros. Studios in Los Angeles. Goransson says Scott was one of the first people on earth, apart from himself, Nolan, coproducer Emma Thomas, editor Jennifer Lame and a handful of others — to see the film.
“It was my first time watching a film of such caliber before it came out,” Scott says. “Seeing it with Chris [Nolan], having conversations with him about what I thought and what I took away from it, and what he thought and what his goal was, and just the whole experience in itself gave me the battery for what I wanted to do.”
Scott was joining a process that Goransson and a small group of others had been undertaking every week for several months: Watching the latest edit of the film in full. That was just one of many new experiences for the composer in working with Nolan, a process that began very early in the film’s production. “He doesn’t have any temp music [placeholder] music in his films, he likes create the sound world completely from scratch,” Goransson says. “He called me early in the script stage and I started recording music based on the script and conversations, so when he started shooting, he had maybe three hours of music. And when they started to edit the movie, every Friday we would watch it from beginning to end. To be able to see and hear it from beginning to end and reshape it, was such a great experience. We did that for six months.”
Bringing in Scott toward the end of that process brought another dimension to their work on the film. “His reaction to the film was amazing to see,” Goransson says. “And then he went off to write the song — I sent him a couple of pieces from the score and some beats, and he took that to the studio and wrote the song [with cowriter WondaGurl, who has also worked with Mariah Carey, Jay-Z, Kanye West]. We went back and forth a couple of times, and then Chris put the in the end titles, and it was perfect. Travis said later that the intro the to the song was him emulating the feeling of being in one of those masks [the characters in the film wear when traveling backward through time].”
Scott says, “The vocals and the chorus, to me it sounds like it’s reversed and slowed down and low on oxygen, which is the whole point. You know when you go to the dentist and you take that [anesthesia] and your voice drops down? This is what I felt it sounds like vocally, and the lyrics were just trying to embody every scene and color and angle. I was trying to embody all of that into the ‘DUN-dun-dun-dun, DUN-dun-dun-dun’ [rhythm]. I just tried to put all of those elements on the track.”
Nolan was so enthusiastic about “The Plan” that he placed Scott’s voice from the song into several parts of the film. “Chris said, ‘It sounds like an instrument, you can’t even tell it’s a voice,’” Goransson recalls. “So we took a snippet of that sound and placed it throughout different parts of the movie. That’s actually the first thing you hear in the movie: Travis Scott’s voice.”
https://variety.com/2021/music/news/travis-scott-tenet-the-plan-ludwig-goransson-1234895140/
The Heroic Weather- Conditions of the Universe, part 7.
Alexander Desplat.
Moonrise KingdomOST.
Vangelis’ soundtrack for Oliver Stone’s movie “Alexander”.
John Williams’ soundtrack for Alan Pakula’s movie “Presumed Innocent”.
Howard Shore’s soundtrack for “The Lord of the Rings”.
Howard Shore’s soundtrack for “The Silence of the Lambs” (Jonathan Demme).
Film composer Howard Shore.
Howard Shore’s soundtrack for “Cop Land”, a movie about police corruption.
He could have used this music for “The Silence of the Lambs”.
If that doesn’t tell you something is rotten in Denmark, nothing will.
Vangelis’ soundtrack for “Blade Runner”.
Yann Tiersen - Summer 78
Pino Donaggio - Carrie original motion picture soundtrack
