FNC 2017: Kwaidan – Cine Concert



for Cinetalk.net

Imagine you are in a museum looking at a Picasso and suddenly some kid Tags it with spray paint all over.

Well it is exactly what a group of musicians did this Thursday, under the direction of composer Sarah Pagé, to Masaki Kobayashi’s visually striking Kwaidan (1964), originally scored by legendary Toru Takemitsu.

Takemitsu’s soundtrack, ranked # 16 in Rolling Stone Magazine list of Greatest Horror Soundtracks, gave the John Cage treatment of theories and paradigm-shifting sounds to Kobayashi’s collection of ghost stories from the Japanese folklore, distorting traditional instruments and other ingenious devices, carefully balancing sound and silence.

In Music for Movies (1994), the composer explained, about the Continue reading


Fantasia 2017 : The MAN WHO LAUGHS – the Gabriel Thibaudeau Score


Concert time at Fantasia tonight!

German film maker Paul Leni shot Victor Hugo’s The Man who Laughs (1928), starring Conrad Veidt (WAXWORKS,THE CABINET OF DR. CALIGARI), in America. Seventy years later, this silent classic had a score commissioned to amazingly gifted specialist of the genre (live accompaniment for live silent films that is), Gabriel Thibaudeau that premiered at the Cannes Film Festival in 1998.

While the first incarnations for concert Hall purpose were performed by the Octuor de France, under the direction of Maestro Thibaudeau, a nine-piece orchestra (featuring the exquisite Quatuor Molinari), under the direction of the composer, will be on duty tonight.

Don’t miss this Gem!

July 20 • 8:00 PM Théâtre D.B. Clarke

Ciao, Maestro Alessandroni! (1925-2017)


for Cinetalk.net

Spaghetti Western’s main voice, Roman Maestro Alessandro Alessandroni, died Sunday. He was 92.

A gifted guitar player, Alessandroni is the famous whistling man heard on numerous Ennio Morricone scores, including those by the Sergio Leone-Clint Eastwood tandem. Beside playing various instruments he  founded (and directed) I Cantori Moderni, the insane ensemble choir  who provided for composer Ennio Morricone the hyenas sound and other thrilling voices to, as the best known example, The Good the Bad and the ugly, but also provided its fair share of gracious moments by featuring, among others, the voices of  Edda d’ell Orso (Once upon a time in the West) and Alessandroni’s  wife, Giulia De Mutiis.

Alessandro Alessandroni is a soundtrack hero who’s sound helped shape the soundtracks to come without ever being fully acknowledged for his valuable output.

I’ll cite soundtrack specialist Claudio Fuiano, about the death of the Maestro:

Ciao Alessandro!
Your guitar, your whistle, your choir are part of our existence of Cinema and Film Music lovers.

Well said. Ciao, Maestro!

One excerpt of a late Live performance – 2012:

Planet of the Apes OST – Jerry Goldsmith


for Cinetalk.net

Mondo Records edited a 2x LP version of Jerry Goldsmith seminal score to 1968 Sci-fi classic Planet of the Apes.

The first installment of the Arthur P. Jacobs franchise, based on the source novel by Pierre Boule, was to be helm by J. Lee Thompson who stepped down because of a schedule conflict (It was also, at one point,  a Blake Edwards project). Star Charlton Heston suggested Franklin J. Schaffner should direct relying on the work they did together with the under rated The Warlord (1965). Schaffner, who only directed the first film, provided strong and efficient direction in creating an overall ambiance for a strange new world that lifted the picture to critical and box office success spanning several sequels.

To achieve the full experience, a substantial supplement was needed. Enter Jerry Goldsmith. Already a rising voice in film and TV music, Continue reading

Twisted Nerve OST – Bernard Herrmann


for Cinetalk.net


It was worth the wait.

Stylotone, The Bernard Herrmann Estate, and Quentin Tarantino teamed up for the Release of ‘Twisted Nerve OST’

And it looks and sounds great!

After Tarantino revived Bernard Herrmann’s iconic whistled theme (used for his 2002 film ‘Kill Bill: Vol. 1’) after taken it from the obscure 60’s Brit Psycho thriller Twisted Nerve, it was exposed to a new audience.

All Herrmann’s sense for chilling and powerful evocation is at work. The score Continue reading