Matthias Büdinger

Carl Davis Unbound

Like many contemporary film composers, Carl Davis has found his way to Munich, taking advantage of the Graunke Symphony’s growing reputation as a film music recording orchestra. For Carl Davis, the Graunke Symphony recorded his score for Ken Russell’s period drama, RAINBOW, and in December 1989 Davis was back recording a pair of documentaries, THE…

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David Newman on Scoring Flower Planet

David Newman is a self-declared pessimist. So he didn’t expect too much when coming to Munich for the first time to conduct and record his score for a 10-minute animated short called FLOWER PLANET. The film was produced by Bob Rogers, whose earlier film, RAINBOW WAR, was a hit at Vancouver’s Expo ‘86 and will…

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David Shire

There’s no business like show business. It’s a business of glamour, of stars and rainbows, of money and dreams come true, but above all it’s a business, with all its rules of supply and demand. Although Hollywood has always been famous for its greed, its superlatives, its appreciation and its perception of talent has sometimes…

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Eric Tomlinson: The Recording Engineer

Eric Tomlinson at the mixing console at CTS Studios in Bayswater during the early 1960s If there is a type of man we could call an ‘English Gentleman’ the name of Eric Tomlinson would come to mind. His distinct features, pleasant voice and fine and warmhearted way of dealing with others make him a person…

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Frank de Vol

How can anybody who was around the theater from the age of six, seeing all the shows that came through his city and who had a father who was a pit musician not be destined for a career as a musician with great dramatic instincts? Frank de Vol’s work for motion pictures, television, shows and…

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George Korngold

From February 12th to the 15th, John Scott, producer George Korngold and orchestrator John Fiddy were in the Bavaria Music Studio to record a film score for the Columbia picture THE RITES OF SUMMER (produced by Mark Tarlov, who was also present at the recording sessions). And from February 18th to 22nd, Elmer Bernstein and…

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Georges Delerue on Scoring A Show of Force

Georges Delerue recently has made a remarkable compositional transition from music of the “heart” to music of “crime” – to paraphrase the title of a picture he scored two years ago. He has changed his image and broadened his versatility with pictures such as PLATOON and SALVADOR which required harsher and more “neutral” scores rather…

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Henry Mancini

I have always been a great admirer of Henry Mancini’s music. His romanticism and his keen sense of musical humor are qualities rarely to be found in the world of film music. He is neither a strictly symphonic writer nor a lightweight tunesmith. Goldsmith fans and those who love full-blooded orchestral music are not likely…

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Howard Shore on The Silence of the Lambs

Film music is functional music. It has to serve the movie without drawing too much attention to itself. Film music depends upon the kind of movie it was composed for. So it is perhaps daring to think that a film score can give us an impression of the composer’s personality of his psyche, his character…

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