Qobuz Store wallpaper
Categorías:
Carrito 0

Su carrito está vacío

Slovak Radio Symphony Orchestra - SALTER / SKINNER: Sherlock Homes and the Voice of Terror

Mes favoris

Cet élément a bien été ajouté / retiré de vos favoris.

SALTER / SKINNER: Sherlock Homes and the Voice of Terror

Hans J. Salter - John Morgan - Frank Skinner

Libreto digital

Disponible en
16-Bit CD Quality 44.1 kHz - Stereo

Streaming ilimitado

Escuche este álbum ahora en alta calidad en nuestras apps

Comenzar mi periodo de prueba gratis y escuchar este álbum

Disfrute de este álbum en las apps Qobuz con sususcripción

Suscribir

Disfrute de este álbum en las apps Qobuz con sususcripción

Descarga digital

Compre y descargue este álbum en múltiples formatos, según sus necesidades.

Idioma disponible: inglés

Just a decade after doing a partial recording of the music for Ghost of Frankenstein, the Marco Polo label has come back with this new recording of virtually the entire score from that film, augmented by the music from Sherlock Holmes and the Voice of Terror and portions of the scores from Son of Dracula (1943), Black Friday (1940), and Man Made Monster (1941). All of this material was written (or co-authored) by either Frank Skinner or Hans J. Salter, who frequently worked together on these Universal horror and mystery titles, to the point where it is often difficult for the outside observer to say who did what, or which. The music is in many ways more impressive and subtle than the film itself, especially in the case of Ghost of Frankenstein; some of this scoring -- such as the pulsing strings under ominous reed and wind melodies, the horn calls evoking the presence of the monster, and also, more distantly, the melody associated with the broken-necked Ygor (Bela Lugosi) from the prior Son of Frankenstein -- will be familiar. Sharply juxtaposed with that material are the lyrical themes associated with "Frankenstein's Castle" and "Erik's Dilemma" -- crossing between them is "Elsa's Discovery," with its gentle motif for the scientist's daughter giving way to swirling string and flute parts, all built around the ominous theme associated with Ygor and the monster (as well as elements of Salter's earlier score for the movie The Wolf Man), the monster's on-screen arrival manifesting itself finally in a dark contrabassoon cadenza. The music may actually be more sophisticated than the final edit of the movie, and much of its construction as well; for many aficionados of classic horror, Ghost of Frankenstein was the film where the Universal horror series "jumped the shark," as they say in popular culture circles. Dr. Frankenstein's son unknowingly -- in a vain attempt to undo his father's mistake -- replaced the monster's original brain with that of Ygor, and created a monster 1,000 times worse. The movie has a threadbare look compared with past entries and few of the stylistic flourishes that made the three prior Frankenstein films such an unsettling delight to watch; the music, however, has surprising depth and class, as well as a fair degree of complexity. The other scores represented all have widely varying characters, despite being associated with horror and suspense films of the same era and having been written by the same composers -- Son of Dracula's main title is actually rather wistfully romantic. And the producers have excerpted the most playful section of Man Made Monster's score, one of the most guilelessly charming pieces ever written by Hans J. Salter. "Electro-Biology" from the same score is a dazzling workout for the percussion, horns, and upper strings. The music for Sherlock Holmes and the Voice of Terror contains musical elements (especially in the track "Voice of Terror") that would be explored further by Frank Skinner (and other members of the Universal music department staff) in the scoring for such 1950s films as It Came From Outer Space and Tarantula. Here, it's just beautifully moody, occasionally exciting, and generally underscores points in the film with more subtlety than much of the script did. The playing by the Slovak Radio Symphony Orchestra of Bratislava is inspired and flawless, with conductor William T. Stromberg finding the perfect balance between exposing musical detail and maintaining the tempo and tension demanded of film music; this conductor and orchestra avoid the pitfalls of other re-recordings (primarily from England) where the players act as though the music will break if they don't treat it gently.
© TiVo

Más información

SALTER / SKINNER: Sherlock Homes and the Voice of Terror

Slovak Radio Symphony Orchestra

launch qobuz app Ya he descargado Qobuz para Windows / MacOS Abrir

download qobuz app Todavía no he descargado Qobuz para Windows / MacOS Descargar la app Qobuz

Copie el enlace siguiente para compartirlo

Está escuchando muestras.

Escuche más de 70 millones de pistas con un plan de streaming ilimitado.

Escuche este álbum y más de 70 millones de pistas con los planes de streaming ilimitado.

The Ghost of Frankenstein (Hans J. Salter)

1
Universal Signature (Jimmy McHugh)
William Stromberg
00:00:16

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

2
Main Title
William Stromberg
00:01:50

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

3
Blowing up the Castle
William Stromberg
00:01:48

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

4
Freeing the Monster
William Stromberg
00:02:10

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

5
Renewed Life
William Stromberg
00:01:30

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

6
Frankenstein's Castle
William Stromberg
00:00:59

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

7
Arrival at Vasaria
William Stromberg
00:04:22

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

8
Erik's Dilemma
William Stromberg
00:00:47

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

9
Baron Frankenstein's Dairy
William Stromberg
00:01:27

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

10
The Monster's Trail
William Stromberg
00:02:12

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

11
Elsa's Discovery
William Stromberg
00:02:44

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

12
Dr. Kettering's Death
William Stromberg
00:04:18

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

13
Ygor's Scheme
William Stromberg
00:01:51

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

14
Baron Frankenstein's Advice
William Stromberg
00:03:44

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

15
A New Brain
William Stromberg
00:01:11

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

16
Searching the Castle
William Stromberg
00:02:34

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

17
Monster Kidnaps Child / Monster's Desire
William Stromberg
00:02:13

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

18
Brain Transfer
William Stromberg
00:01:30

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

19
Mob Psychology
William Stromberg
00:02:36

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

20
Monster Talks
William Stromberg
00:02:27

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

21
Death of the Unholy Three
William Stromberg
00:01:58

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

22
End Cast
William Stromberg
00:00:35

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

Son of Dracula, Main Title (Hans J. Salter)

23
Main Title
William Stromberg
00:01:05

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - Frank Skinner, Composer - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

Black Friday, Hypnosis (Hans J. Salter)

24
Hypnosis
William Stromberg
00:01:53

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - Frank Skinner, Composer - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

Man Made Monster (Hans J. Salter)

25
Corky
William Stromberg
00:00:55

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - Frank Skinner, Composer - William Stromberg, Conductor - Hans J. Salter, Composer - William T. Stromberg, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

26
Electro-Biology
William Stromberg
00:03:53

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - Frank Skinner, Composer - William Stromberg, Conductor - Hans J. Salter, Composer - William T. Stromberg, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

Sherlock Holmes and the Voice of Terror (Hans J. Salter)

27
Main Title
William Stromberg
00:01:03

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - Frank Skinner, Composer - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

28
Limehouse
William Stromberg
00:01:35

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - Frank Skinner, Composer - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

29
Christopher Docks
William Stromberg
00:02:49

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - Frank Skinner, Composer - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

30
Voice of Terror
William Stromberg
00:01:41

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - Frank Skinner, Composer - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

31
The Spider
William Stromberg
00:02:04

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - Frank Skinner, Composer - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

32
No Time to Lose
William Stromberg
00:01:32

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - Frank Skinner, Composer - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

33
March of Hate
William Stromberg
00:01:18

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - Frank Skinner, Composer - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

34
End Title
William Stromberg
00:02:24

Slovak Radio Symphony Orchestra, Orchestra, MainArtist - Frank Skinner, Composer - John Morgan, Composer - William Stromberg, Conductor - Hans J. Salter, Composer

(C) 2000 Marco-Polo (P) 2000 Marco-Polo

Descripción del álbum

Just a decade after doing a partial recording of the music for Ghost of Frankenstein, the Marco Polo label has come back with this new recording of virtually the entire score from that film, augmented by the music from Sherlock Holmes and the Voice of Terror and portions of the scores from Son of Dracula (1943), Black Friday (1940), and Man Made Monster (1941). All of this material was written (or co-authored) by either Frank Skinner or Hans J. Salter, who frequently worked together on these Universal horror and mystery titles, to the point where it is often difficult for the outside observer to say who did what, or which. The music is in many ways more impressive and subtle than the film itself, especially in the case of Ghost of Frankenstein; some of this scoring -- such as the pulsing strings under ominous reed and wind melodies, the horn calls evoking the presence of the monster, and also, more distantly, the melody associated with the broken-necked Ygor (Bela Lugosi) from the prior Son of Frankenstein -- will be familiar. Sharply juxtaposed with that material are the lyrical themes associated with "Frankenstein's Castle" and "Erik's Dilemma" -- crossing between them is "Elsa's Discovery," with its gentle motif for the scientist's daughter giving way to swirling string and flute parts, all built around the ominous theme associated with Ygor and the monster (as well as elements of Salter's earlier score for the movie The Wolf Man), the monster's on-screen arrival manifesting itself finally in a dark contrabassoon cadenza. The music may actually be more sophisticated than the final edit of the movie, and much of its construction as well; for many aficionados of classic horror, Ghost of Frankenstein was the film where the Universal horror series "jumped the shark," as they say in popular culture circles. Dr. Frankenstein's son unknowingly -- in a vain attempt to undo his father's mistake -- replaced the monster's original brain with that of Ygor, and created a monster 1,000 times worse. The movie has a threadbare look compared with past entries and few of the stylistic flourishes that made the three prior Frankenstein films such an unsettling delight to watch; the music, however, has surprising depth and class, as well as a fair degree of complexity. The other scores represented all have widely varying characters, despite being associated with horror and suspense films of the same era and having been written by the same composers -- Son of Dracula's main title is actually rather wistfully romantic. And the producers have excerpted the most playful section of Man Made Monster's score, one of the most guilelessly charming pieces ever written by Hans J. Salter. "Electro-Biology" from the same score is a dazzling workout for the percussion, horns, and upper strings. The music for Sherlock Holmes and the Voice of Terror contains musical elements (especially in the track "Voice of Terror") that would be explored further by Frank Skinner (and other members of the Universal music department staff) in the scoring for such 1950s films as It Came From Outer Space and Tarantula. Here, it's just beautifully moody, occasionally exciting, and generally underscores points in the film with more subtlety than much of the script did. The playing by the Slovak Radio Symphony Orchestra of Bratislava is inspired and flawless, with conductor William T. Stromberg finding the perfect balance between exposing musical detail and maintaining the tempo and tension demanded of film music; this conductor and orchestra avoid the pitfalls of other re-recordings (primarily from England) where the players act as though the music will break if they don't treat it gently.
© TiVo

Acerca del álbum

Mejorar esta página

Qobuz logo Por qué comprar en Qobuz...

De oferta actualmente...

Debussy – Rameau

Víkingur Ólafsson

Debussy – Rameau Víkingur Ólafsson

Philip Glass: Piano Works

Víkingur Ólafsson

Philip Glass: Piano Works Víkingur Ólafsson

Prokofiev: Piano Concerto No.3 / Ravel: Piano Concerto In G Major

Martha Argerich

The Köln Concert (Live at the Opera, Köln, 1975)

Keith Jarrett

Más en Qobuz
Por Slovak Radio Symphony Orchestra

Dances from Slovakia

Slovak Radio Symphony Orchestra

Dances from Slovakia Slovak Radio Symphony Orchestra

HOLBROOKE: Orchestral Works

Slovak Radio Symphony Orchestra

HOLBROOKE: Orchestral Works Slovak Radio Symphony Orchestra

Jacques Ibert : Orchestral Works

Slovak Radio Symphony Orchestra

Jacques Ibert : Orchestral Works Slovak Radio Symphony Orchestra

Volume 1

Slovak Radio Symphony Orchestra

Volume 1 Slovak Radio Symphony Orchestra

Prokofiev: Peter and the Wolf / Britten: Young Person's Guide To Orchestra / Saint-Saens: Carnival

Slovak Radio Symphony Orchestra

Playlists

Quizás también le guste...

Road to the Sun

Pat Metheny

Road to the Sun Pat Metheny

Debussy, Szymanowski, Hahn, Ravel

Fanny Robilliard

Seasons: Orchestral Music of Michael Fine

The Royal Scottish National Orchestra

Seasons: Orchestral Music of Michael Fine The Royal Scottish National Orchestra

All Shall Not Die - Haydn String Quartets

Quatuor Hanson

Händel: Suites pour clavecin

Pierre Hantaï

Los Grandes Angulares...
Sofia Coppola on Air

En su nuevo film, La seducción, Sofia Coppola cuenta de nuevo con la colaboración de Thomas Mars, cantante del grupo francés Phoenix, habitual en las películas de la realizadora. Una buena ocasión para revisitar algunos de los mejores pasajes musicales en la filmografía de la hija de Francis Ford, y en particular la banda sonora de culto de Las vírgenes suicidas, firmada por el conjunto versallés Air.

El peregrinaje de Gardiner a través de las cantatas de Bach

John Eliot Gardiner creció bajo uno de los dos auténticos retratos de Johann Sebastian Bach que sus padres habían guardado celosamente, escondiéndolo en su granja en Dorset durante la Segunda Guerra Mundial. Convertido en uno de los «popes» de la música barroca, la total devoción de Gardiner por Bach ha concebido un emocionante libro, La música en el castillo del cielo, publicada en francés por Flammarion y en español por Acantilado. «¿Cómo pudo crear una obra tan sublime un hombre tan común y opaco?», se pregunta Gardiner en un libro lleno de ternura y de una rara erudición, que no es una nueva biografía del compositor alemán, sino la suma de su propia experiencia como intérprete, que le va dictando diversas consideraciones estéticas, y la de un análisis sensible de los fundamentos armónicos, contrapuntísticos y polifónicos de su obra. Un exitoso intento de descubrir al hombre a través de su música.

La edad de oro de la comedia musical hollywoodiense

Junto con el wéstern y la película de gánsteres, la comedia musical es uno de los géneros más emblemáticos del clasicismo hollywoodiense. He aquí, desde los años 1930 hasta los años 1960, un pequeño panorama de un cine ciertamente glamuroso y pintoresco, y a menudo menos superficial de lo que parece.

De actualidad...