Estas ediciones no llegan a tiendas físicas, ¿no?
Estas ediciones no llegan a tiendas físicas, ¿no?
Un mago nunca llega tarde, Frodo Bolsón. Ni pronto. Llega exactamente cuando se lo propone.
Otra cosa que probablemente jamas podré tener
Que maravilla de edición. La única pega que le puedo sacar, es que no me gusta esa numeración consecutiva en los discos. Si son 3 bandas sonoras, siempre prefiero que sea 1 y 2 en cada. Aunque son preferencias personales, supongo.
Yo espera que saliese Tomorrow Never Dies, aunque The World Is Not Enough no este mal.
Estoy llorando de pura felicidad:
HARRY POTTER AND THE SORCERER’S STONE (2001)
DISC 1
THE FILM SCORE
1. The Prologue – Privet Drive 4:33
2. Visit to the Zoo 3:01
3. Don’t Burn My Letter 2:08
4. Letters From Hogwarts 1:43
5. Harry’s Wish and Hagrid’s Entrance 1:24
6. You’re a Wizard, Harry 3:34
7. Diagon Alley and The Gringotts Vault [Extended Version] 4:50
8. Harry Gets His Wand 2:08
9. Hagrid’s Flashback 2:53
10. Platform Nine and Three Quarters 2:43
11. Chocolate Frog Escapes 0:52
12. The Journey to Hogwarts 2:07
13. Through the Doors 2:01
14. House Selection 3:31
15. Entry Into the Great Hall and The Banquet 3:44
16. Lonely First Night 1:08
17. The Daily Prophet 1:41
18. Mr. Longbottom Flies 3:37
19. The Moving Stairs 2:01
20. Introduction to Quidditch 1:35
21. Hermione’s Feather 0:37
22. Fighting the Troll 3:49
23. Owl Delivers Nimbus 2000 1:16
24. The Quidditch Match 8:29
Disc 1 Total Time: 65:25
DISC 2
THE FILM SCORE [continued]
1. Hagrid’s Christmas Tree 0:59
2. Cast a Christmas Spell 2:41
3. Christmas Morning and The Invisibility Cloak 7:22
4. The Mirror of Erised and A Change of Season 3:35
5. Hermione’s Reading 1:11
6. The Norwegian Ridgeback 1:41
7. Filch’s Fond Remembrance 1:31
8. The Dark Forest 5:17
9. The Stone 3:41
10. Running to McGonagall 2:16
11. Neville Stiffens 0:57
12. Fluffy’s Harp Lullaby 2:30
13. In the Devil’s Snare 2:29
14. The Flying Keys 2:01
15. The Chess Game [Extended Version] 7:27
16. The Face of Voldemort 6:13
17. Love, Harry 1:47
18. Gryffindor Wins the House Cup 2:40
19. Leaving Hogwarts 2:18
20. Harry’s Wondrous World [Extended Version] 5:26
21. Hedwig’s Theme 5:07
Disc 2 Total Time: 69:05
Total Score Time: 2:14:30
DISC 3
CHILDREN’S SUITE FOR ORCHESTRA
1. Prologue (Hedwig’s Flight) 2:15
2. Hogwarts Forever 1:55
3. Voldemort 2:16
4. Nimbus 2000 2:28
5. Fluffy’s Harp 2:42
6. Quidditch 1:53
7. Family Portrait 3:26
8. Diagon Alley 2:53
9. Harry’s Wondrous World 5:05
ADDITIONAL MUSIC
10. Hagrid’s Flute 0:58
11. The Leaky Cauldron 1:15
12. Hedwig’s Theme for Harp 2:06
13. Teaser 2:34
14. Hogwarts Forever [Vocal Version] 0:48
15. Logo 0:24
16. Owl’s Flight 1:08
17. Television Commercial 1:06
18. Trailer 2:27
Disc 3 Total Time: 37:37
Three-Disc Total Time: 2:52:07
HARRY POTTER AND THE CHAMBER OF SECRETS (2002)
DISC 4
THE FILM SCORE
1. Prologue: Book II 1:37
2. Vernon Gathers Family / Enter Dobby 2:15
3. Dobby Warns Harry 2:17
4. The Escape From the Dursleys 3:25
5. Magical Household And Letters From Hogwarts 2:42
6. Borgin and Burkes 0:53
7. Knockturn Alley 1:51
8. Flourish and Blotts / Harry Meets Lucius Malfoy 3:25
9. The Train Station and The Flying Car 6:01
10. Whomping Willow and The Car Escapes 1:55
11. Filch’s Warning and Boys Receive Detention 2:06
12. Introducing Colin / Errol Delivers Mail 0:55
13. Gilderoy Lockhart 2:09
14. Cornish Pixies 2:15
15. Eat Slugs 1:43
16. Hermione and Hagrid 1:20
17. The Writing on the Wall 3:21
18. Dumbledore’s Caution 2:01
19. The Library and Transformation Class 4:03
20. Quidditch, Second Year 6:15
21. Petrified Colin 2:26
22. Moaning Myrtle Appears 0:51
23. The Dueling Club [Extended Version] 4:25
24. Harry Is a Parselmouth 0:54
25. Petrified Justin 2:37
26. Harry Meets Fawkes 2:17
27. Christmas Break 2:31
28. Cakes for Crabbe and Goyle / Polyjuice Potion 4:14
29. Potion Wears Off / The Diary 3:29
Disc 4 Total Time: 76:11
DISC 5
THE FILM SCORE [continued]
1. Meeting Tom Riddle [Extended Version] 4:06
2. Ransacked Dormitory and Petrified Hermione 1:56
3. Dad’s Cloak and Hagrid’s Arrest 4:55
4. Follow the Spiders 1:16
5. Meeting Aragog 3:21
6. The Spiders Attack 3:55
7. Car Drives Off / It’s a Basilisk 2:14
8. Ginny Gets Snatched 2:24
9. Myrtle’s Tale 1:31
10. The Chamber Opens and The Search for Ginny 3:29
11. Dueling the Basilisk 5:06
12. Fawkes Heals Harry 1:34
13. Dumbledore and Harry 2:42
14. Lucius Returns / Dobby Is Freed 4:01
15. Reunion of Friends 5:12
END CREDITS SUITE
16. Harry’s Wondrous World 5:02
17. Fawkes the Phoenix 3:47
18. The Chamber of Secrets 3:51
Total Score Time: 2:16:30
ADDITIONAL MUSIC
19. Dobby the House Elf 3:32
20. Prologue: Book II [Alternate] 1:28
21. Filch’s Warning [Alternate] 0:22
22. Introducing Colin [Alternate] 0:55
23. Transformation Class [Alternate Segment] 0:58
24. Petrified Colin [Alternate] 2:35
25. Christmas Break [Short Version] 1:04
26. Follow the Spiders [Alternate] 1:23
27. Car Drives Off [Alternate Segment] 0:26
28. Fawkes Heals Harry [Alternate] 1:33
29. Television Commercial No. 1 0:38
30. Television Commercial No. 2 0:30
31. Television Commercial No. 3 1:07
HARRY POTTER AND THE PRISONER OF AZKABAN (2004)
DISC 6
THE FILM SCORE
1. Lumos! (Hedwig’s Theme) [Film Version] 1:43
2. Aunt Marge’s Waltz 2:18
3. Parents’ Portrait and The Empty Playground 1:02
4. The Knight Bus [Extended Version] 3:56
5. Monster Book and Discussing Black 2:00
6. Apparition on the Train [Film Version] 2:18
7. Double Trouble 1:38
8. Trouble Takes Many Forms 1:52
9. Rainy Nights, Dementors and Birds 1:03
10. The Courtyard and Sir Cadogan 1:23
11. The Hippogriff Lesson 1:31
12. Befriending the Hippogriff 1:45
13. Buckbeak’s Flight 2:10
14. The Grim / The Newspaper 1:11
15. The Boggarts 3:01
16. On the Bridge – Remembering Mother 1:47
17. The Portrait Gallery 2:08
18. The Big Doors and The Great Hall Ceiling 2:15
19. Page 394 and Quidditch, Third Year 4:02
20. A Walk in the Woods and Bird’s Flight 2:53
21. The Snowball Fight 1:05
22. The Three Broomsticks 3:51
23. Summoning the Patronus 3:26
24. Buckbeak’s Fate and The Marauder’s Map 3:15
25. About Pettigrew / The Crystal Ball 3:22
26. The Executioner 0:46
27. The Walk to Buckbeak 0:46
28. The Sentence 2:44
29. Chasing Scabbers 1:08
30. The Whomping Willow 1:30
31. Confrontation in the Shrieking Shack 6:31
32. Sirius and Harry 1:54
33. The Werewolf Scene 4:29
Disc 6 Total Time: 76:46
DISC 7
THE FILM SCORE [continued]
1. The Dementors Converge [Film Version] 3:10
2. Time Past / Saving Buckbeak 9:57
3. Lupin’s Transformation 2:05
4. Buckbeak Saves the Day / Watching the Past 2:43
5. The Rescue of Sirius 1:22
6. Sirius Says Goodbye / Turning Time Back 2:16
7. Lupin’s Departure 1:22
8. The Firebolt and End Credits Suite 7:22
Total Score Time: 1:47:00
SOURCE MUSIC
9. The Wizards’ Consort 2:48
10. Hogsmeade Candy Box 1:21
11. A Winter’s Spell 1:14
ADDITIONAL MUSIC
12. Lumos! (Hedwig’s Theme) 1:40
13. Aunt Marge’s Waltz [Alternate] 2:34
14. The Knight Bus [Alternate] 3:58
15. Apparition on the Train 2:20
16. More Grim and Boggarts 1:37
17. Quidditch, Third Year 3:54
18. Window to the Past 3:58
19. Saving Buckbeak [Alternate Segment] 4:24
20. Lupin’s Transformation [Alternate] 2:05
21. Watching the Past [Alternate] 2:21
22. The Dementors Circle 0:46
23. The Patronus Light 1:16
24. The Patronus Power 0:47
25. The Dementors Converge 3:15
26. The Firebolt [Alternate] 1:30
27. Teaser 1:27
28. Trailer 1:52
Disc 7 Total Time: 75:20
Última edición por Branagh/Doyle; 23/11/2018 a las 16:38
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
(...)this set features music you've NEVER heard before. For all three scores!
Even if you're intimately familiar with the albums and the music in the films themselves, there is music here you've NEVER heard before. For all three scores!
Even if you downloaded the recording session leaks, there is music here you've NEVER heard before. For all three scores!
AND ALSO even if you downloaded sheet music leaks, there is music here you NEVER knew existed before. For all three scores!
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
TRACK LISTING:
DISC 1 • The Original Soundtrack Album
1. Theme From Schindler’s List * 4:14
2. Jewish Town [Krakow Ghetto – Winter ’41] * 4:38
3. Immolation [With Our Lives, We Give Life] 4:43
4. Remembrances 4:19
5. Schindler’s Workforce 10:36
6. OYF’N Pripetshok *** and Nacht Aktion ** 3:51
7. I Could Have Done More * 5:52
8. Auschwitz-Birkenau * 3:41
9. Stolen Memories 4:17
10. Making The List 5:06
11. Give Me Your Names 4:56
12. Yeroushalaim Chel Zahav [Jerusalem Of Gold] 2:14
13. Remembrances [with Itzhak Perlman] * 5:16
14. Theme From Schindler’s List [Reprise] 3:57
Total Disc 1 Time: 67:40
DISC 2 • Additional Music From Schindler’s List
1. Schindler's Workforce (Film Version) 12:10
2. Reflections 2:39
3. Theme For Recorder 2:15
4. Remembrances (Alternate) 4:33
5. The Perlman Family 1:14
6. I Could Have Done More (Film Version) * 5:54
Total Disc 2 Time: 28:52
Total Two-Disc Time: 96:32
* Violin Solos by Itzhak Perlman accompanied by members of The Boston Symphony Orchestra
** Clarinet solos performed by GIORA FEIDMAN
***OYF’N Pripetshok; Composed by Mark WarshawskyPerformed by The Li-Ron Herzeliya Children’s Choir, Tel-Aviv, Israel, Conducted by Ronit Shapira
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Making the list![]()
Bottom line is, even if you see 'em coming, you're not ready
for the big moments.No one asks for their life to change, not really. But it
does.So what are we, helpless? Puppets? No. The big moments are
gonna come. You can't help that. It's what you do afterwards that
counts. That's when you find out who you are. You'll see what I mean.
Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
¿Cuándo sale esa edición de Schindler's List? Me daba pereza pedirme Saving Private Ryan sólo por dos temas nuevos (bueno, y el librito de Mike Mathesino, que siempre es jugoso), pero ahora con esta otra igual me hago un pedido conjunto. Las de Harry Potter me tientan, pero voy a centrarme en Spielberg, que mi economía tampoco está para tanta alegría.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Venía a ver si estabais hablando de los lanzamientos de LLL. Era previsible.
Vaya sacada de mandoble se han marcado y yo pelado.
Ya sumé el mes pasado a mi lista de pendientes la nueva edición de Die Hard y el Drácula de Williams. Y ahora toca añadir otro Drácula más, Schindler y esa trilogía HP.
![]()
Por supuesto. El corazón del film. El momento. Ni la niña de rojo, ni esconderse en la mierda, ni Schindler llorando, ni el tren: ESE MOMENTO, cuando terminan la lista y Itzhak (así me llamo yo pero en su versión Isaac) dice que esa lista es el bien supremo.
Spielberg es otro terrorista emocional cuando quiere.
Bottom line is, even if you see 'em coming, you're not ready
for the big moments.No one asks for their life to change, not really. But it
does.So what are we, helpless? Puppets? No. The big moments are
gonna come. You can't help that. It's what you do afterwards that
counts. That's when you find out who you are. You'll see what I mean.
Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
"All around its margins lies the gulf."
![]()
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Bestial el score que se marcó Williams. Se habló de las interpretaciones de Neeson y Fiennes, pero el papelón de Kingsley......![]()
We few, we happy few, we band of brothers; for he to-day that sheds his blood with me shall be my brother; be he ne'er so vile, this day shall gentle his condition; and gentlemen in England now-a-bed shall think themselves accurs'd they were not here, and hold their manhoods cheap whiles any speaks that fought with us upon Saint Crispin's day.
Las ediciones de Potter y Schindler están a la altura de las circunstancias. Tengo todo, menos la serie de TV, y si existiese un Plan Renove oficial el alemán se vendría a casa.
Una pena que El Coloso en Llamas siga haciéndose rogar desde que se anunció que estaban en ello; debe ser un proyecto complicado, la edición de comienzos de este siglo de FSM tenía unos cuantos tracks catalogados como "damaged" y quizá hayan buscado mejores fuentes originales para lograr mejorar ampliamente el producto, como ha pasado con Die Hard. Todo especulaciones, por supuesto.
A ver con qué nos obsequian Intrada o Quartet, entre otros sellos. Que no tenga que vaciar el monedero en esta ocasión me servirá para organizar la adquisición de los también williamsianos The Cowboys y Dracula.
PD: Schindler - Estoy de acuerdo, ésa es una de las escenas cumbre del film, por no decir EL MOMENTO. La implicación, energía, el ímpetu liberador y justiciero que recorre la escenal.
"¿Cuántos van?"
"....XXXXXX...."
"......¡Más, más, más!"
El aftermath, cuando Schindler ser derrumba y asegura apesadumbrado que podría haber libertado a más gente -"con esta insignia podría haber salvado a 3 ó 4 vidas más" -dice con manos temblorosas, y va y se le cae la insignia nazi al suelo- no suele estar tan bien valorado por dibujar un Spielberg más sensiblero y tal, pero a mí me pone el nudo en la garganta siempre que lo veo. La puesta en escena, la actuación grupal......me resulta triunfal..... triunfal en un instante....amargo.
Magnífico Neeson, hasta su propia sombra -¡qué demonios!-, un intérprete al que rara vez he visto más perdido que a un pulpo en un garaje. Desearía que se hubiese prodigado más en el género de la comedia, más o menos explícita.
Bottom line is, even if you see 'em coming, you're not ready
for the big moments.No one asks for their life to change, not really. But it
does.So what are we, helpless? Puppets? No. The big moments are
gonna come. You can't help that. It's what you do afterwards that
counts. That's when you find out who you are. You'll see what I mean.
Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
No desmerezcamos esa maravilla que es el Dracula de Kilar de 3 discos.
Caerá más entrado el 2019 seguro pero mientras Williams abarca todo mi presupuesto.
me acabo de enterar ahora.
DISC 1
COMPOSED SCORE PRESENTATION
1. Dracula – The Beginning (original extended version) 8:53
2. The Journey (original extended version) 3:28
3. The Castle 1:34
4. The Legacy 1:45
5. Spilled Ink 1:34
6. Lucy’s Party (original version) 2:10
7. The Book (original version) 1:32
8. To the Brides (original version) 1:53
9. The Brides (original version) 2:01
10. The Storm (original version) 4:38
11. The Letter I 1:13
12. Love Remembered 1:08
13. Lucy’s Neck (original version) 0:14
14. The Cinema (original version) 2:18
15. Lucy’s Window (original version) 1:58
16. Rules Café Waltz 1:12
17. Rules Café (original version) 4:23
18. Lucy Squirms 1:12
19. The Letter II 2:52
20. The Hunt Builds (original version) 3:28
21. Dracula Revealed 1:03
22. Lucy’s Lullaby (vocal) 0:41
23. The Stake 0:32
24. Vampire Hunters (original version) 1:40
25. The Hunter’s Prelude 1:30
26. The Green Mist (original version) 1:30
27.Mina/Dracula (original extended version) 4:50
DISC 1 TOTAL TIME 62:06
DISC 2
COMPOSED SCORE PRESENTATION (CONTINUED)
1. The Fire 1:48
2. So Cold (original version) 2:23
3. Mina Possessed 0:59
4. Ring of Fire (original version) 0:48
5. Race Against the Sunset 3:58
6. Love Remembered/Love Eternal (original finale) 3:33
7. The End (original version) 1:30
8. End Credits (original version) 3:23
BONUS TRACKS
9. Dracula – The Beginning (alternate) 4:28
10. The Journey (alternate) 2:33
11. The Book (alternate) 1:32
12. To the Brides (alternate) 1:52
13. The Storm (extended no choir) 4:54
14. Love Remembered (alternate) 1:11
15. Lucy Squirms (alternate) 1:00
16. The Letter II (alternate) 1:19
17. The Stake (alternate) 0:51
18. The Green Mist (alternate no mutes) 1:30
19. The Fire (alternate introduction) 1:52
20. So Cold (alternate) 2:16
21. Race Against the Sunset (no brass) 3:58
22. Race Against the Sunset (alternate) 1:05
23. Dracula Toolbox D18A 0:50
24. Dracula Toolbox D18B 0:49
25. Dracula Toolbox D18C 0:48
26. Dracula Toolbox: Lucy’s Lullaby (harp) 0:36
27. Dracula Toolbox: Tears to Diamonds (music box) 1:23
28. Whispered Drac (choir) 0:24
DISC 2 TOTAL TIME 54:32
DISC 3
ORIGINAL SOUNDTRACK ALBUM
1. Dracula – The Beginning 6:41
2. Vampire Hunters 3:06
3. Mina’s Photo 1:25
4. Lucy’s Party 2:57
5. The Brides 4:56
6. The Storm 5:05
7. Love Remembered 4:10
8. The Hunt Builds 3:26
9. The Hunters Prelude 1:30
10. The Green Mist 0:55
11. Mina/Dracula 4:47
12. The Ring of Fire 1:52
13. Love Eternal 2:24
14. Ascension 0:51
15. End Credits 6:43
16. Love Song for a Vampire (From Bram Stoker’s Dracula) 4:20
Performed and Written by Annie Lennox
BONUS ALBUM TRACKS
17. Mina/Dracula (extended suite) 5:13
18. Rules Café (extended album version) 3:13
19. The Hunt Builds (extended album version) 3:17
20. Mina/Jonathan (unused album suite) 2:35
21. Dracula Toolbox D21 (unused album suite) 3:35
DISC 3 TOTAL TIME 73:46
TOTAL ALBUM TIME: 195:57
![]()
![]()
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Just curious: Was Coppola involved or asked to sign off on this? Not sure how involved he is with soundtrack re-releases for his films.
-
100% involved. Was great to work with.
MV
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Habiendo escuchado ya Crimes of Grindelwald de Newton Howard, soy el único al que el corte "Newt tracks Tina" le recuerda a Dany Elfman y Silvestri?
We few, we happy few, we band of brothers; for he to-day that sheds his blood with me shall be my brother; be he ne'er so vile, this day shall gentle his condition; and gentlemen in England now-a-bed shall think themselves accurs'd they were not here, and hold their manhoods cheap whiles any speaks that fought with us upon Saint Crispin's day.