German Film Score Composers

German Film Score Composers

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Contents Klaus Badelt

1

Claus Bantzer

4

Giuseppe Becce

6

Martin Böttcher

9

Reiner Bredemeyer

11

Hans Carste

12

Burkhard Dallwitz

13

Paul Dessau

15

Klaus Doldinger

20

Frank Duval

22

Stefan Eichinger

24

Werner Eisbrenner

28

Hanns Eisler

29

Christopher Evans Ironside

35

Harold Faltermeyer

36

Hartmut Geerken

41

Georg Haentzschel

42

Reinhold Heil

43

Werner R. Heymann

45

Michael Hoenig

46

Friedrich Hollaender

48

Michael Jary

50

Heinz Kiessling

51

Hermann Kopp

52

Henning Lohner

53

Edmund Meisel

56

Siggi Mueller

57

Peer Raben

58

Max van der Rose

59

Ludwig Schmidseder

60

Irmin Schmidt

62

Willy Schmidt-Gentner

63

Enjott Schneider

65

Wilhelm Dieter Siebert

66

Leonid Soybelman

67

Marc Streitenfeld

68

Tom Tykwer

69

Franz Waxman

72

Gert Wilden

76

Herbert Windt

76

Hans Zimmer

78

References Article Sources and Contributors

85

Image Sources, Licenses and Contributors

87

Article Licenses License

88

Klaus Badelt

1

Klaus Badelt Klaus Badelt

Klaus Badelt, 2007 Background information Birth name

Klaus Badelt

Born

12 June 1967

Origin

Frankfurt, Germany

Genres

Film scores

Occupations

Composer, producer, Arranger

[1]

Klaus Badelt (born 12 June 1967) is an award-winning German composer, best known for composing film scores.

Life and career Badelt was born in Frankfurt, Germany. He started his musical career composing for many successful movies and commercials in his homeland. In 1998, Oscar-winning film composer Hans Zimmer invited Badelt to work at Media Ventures in Santa Monica, his studio co-owned by Jay Rifkin. Since then, Badelt has been working on a number of his own film and television projects such as The Time Machine and K-19: The Widowmaker. He also collaborated with other Media Ventures composers, such as Harry Gregson-Williams, John Powell, and Zimmer; and mentored several others like Ramin Djawadi and Steve Jablonsky. While collaborating with Zimmer, Badelt contributed to the Oscar-nominated scores for The Thin Red Line and The Prince of Egypt, as well as writing music for many well known directors including Ridley Scott, Tony Scott, Terrence Mallick, John Woo, Kathryn Bigelow, Jeffrey Katzenberg, Werner Herzog, Sean Penn, Gore Verbinski, Michael Bay and Steven Spielberg. Badelt co-wrote and co-produced the score to Hollywood box office hit Gladiator, directed by Ridley Scott, along with Zimmer and singer/composer Lisa Gerrard. Having contributed music to Gladiator, Mission: Impossible 2 and Michael Kamen's score for X-Men, Badelt was involved in the three most successful movies in 2000. Badelt also collaborated with Zimmer on other successful films, such as The Pledge, and 2001 blockbusters Hannibal and Pearl Harbor. One of his more famous and popular scores was for the 2003 film Pirates of the Caribbean: The Curse of the Black Pearl.[2]

Klaus Badelt In 2004, Klaus branched out of Zimmer's studio and founded his own film music company, Theme Park Studios, in Santa Monica, CA. Since then, he has scored films like "Constantine", "Poseidon", "Rescue Dawn", and "TMNT", to name a few. Among Badelt's most critically celebrated scores are the Chinese fantasy film The Promise[3][4][5] and Dreamworks' remake of The Time Machine, the latter which earned him the Discovery of the Year Award at the World Soundtrack Awards 2003. He also wrote the music for the closing ceremonies at the Beijing Olympics in 2008, and was commissioned to write the opera about China's First Emperor, to be premiered in 2012. Known for his dedication, Klaus worked on the soundtrack for The Promise for almost 6 months. The song which can be heard in the movie's end credits is an ancient folk song in China, and very few people can still sing it. For that, Klaus traveled almost two weeks in China to find someone who was able to sing the whole folk song in order to rearrange it for the score. 2001 • Extreme Days • Invincible (with Hans Zimmer) • The Pledge (with Hans Zimmer) 2002 • • • •

Equilibrium K-19: The Widowmaker The Time Machine Teknolust

2003 • • • • •

Pirates of the Caribbean: The Curse of the Black Pearl Beat the Drum Basic Ned Kelly The Recruit

2004 • Catwoman 2005 • The Promise • Constantine (with Brian Tyler) 2006 • • • • •

Rescue Dawn Miami Vice Poseidon 16 Blocks Ultraviolet

2007 • • • •

Redline Heaven and Earth Skid Row Premonition

• TMNT 2008

2

Klaus Badelt • • • • •

The Scorpion King 2: Rise of a Warrior (direct-to-video) Starship Troopers 3: Marauder (direct-to-video) Pour Elle Dragon Hunters Beijing Olympics Closing Ceremonies

2009 • • • •

Le Petit Nicolas (French) Solomon Kane Waking Madison Killshot

2010 • • • • • •

Valentine Heartbreaker Dylan Dog: Dead of Night Shanghai The Extra Man À bout portant

• Happy People: A Year in the Taiga 2011 • • • • •

The Swarm MotorStorm: Apocalypse The Prodigies Seven Days in Utopia The Oranges

References [1] [2] [3] [4] [5]

http:/ / www. imdb. com/ name/ nm0046004/ http:/ / www. hans-zimmer. com/ fr/ newsite. php?rub=detail& id=522 "The Promise (Klaus Badelt)" (http:/ / www. filmtracks. com/ titles/ promise. html). Filmtracks. 2006-05-16. . Retrieved 2011-12-05. (http:/ / www. moviemusicuk. us/ promisekbcd. htm) Other reviews by Mike Brennan (2006-02-08). "The Promise (2006) Soundtrack Album" (http:/ / www. soundtrack. net/ albums/ database/ ?id=3972). Soundtrack.Net. . Retrieved 2011-12-05.

External links • • • • • • •

Klaus Badelt (http://www.imdb.com/name/nm0046004/) at the Internet Movie Database Klaus Badelt (http://www.allmusic.com/artist/q105145) at Allmusic Interview with Stumped Magazine (http://www.stumpedmagazine.com/interviews/klaus-badelt.html) Remote Control Fan Site (http://www.hans-zimmer.com/fr/mv/rcprod.php?numid=2) ScoreNotes Interview (http://www.scorenotes.com/interviews.html) Official Site (http://klausbadelt.com/) Swiss-German Fansite, visited by Klaus Badelt too (http://www.klaus-badelt.ch/)

3

Claus Bantzer

4

Claus Bantzer Claus Bantzer (born 10 October 1942 in Marburg) is a German church musician, composer and director.

Life and work Claus Bantzer was born in Marburg in 1942 into an artist's family. His older brother Christoph Bantzer is an actor. Bantzer began studying piano, organ, and conducting at the music school of the university of Frankfurt am Main. He continued his studies in Hamburg (Hochschule für Musik und Theater), where he became a master student of the organ teacher Heinz Wunderlich. He was also Wunderlich's assistant at the church St. Jacobi in Hamburg. Since 1975, Bantzer has been organist at the church of St. Johannis Harvestehude in Hamburg. Later, the honorary title of Kirchenmusikdirektor was conferred onto him. At this church, he leads two choirs, the main church choir of St. Johannis and the chamber choir Harvestehuder Kammerchor, which he founded.

Claus Bantzer

As a composer of music for more than 20 films, he has worked closely the film directors Peter Lilienthal, Doris Dörrie, Jan Schütte and Tevfik Başer. Apart from his compositions for film, he has also composed other works, usually combining religious lyrics with modern music, in particular jazz.

Film music composed by Bantzer • • • • • • • • • • • • • • • • • • •

Kirschblüten - Hanami (2008) Angesichts der Wälder (1996) Wasserman - Der singende Hund (1995) (TV) Auf Wiedersehen Amerika (1994) Lebewohl, Fremde (1991) Nach Patagonien (1991) Winckelmanns Reisen (1990) Abschied vom falschen Paradies (1989) Radfahrer von San Cristóbal, Der (1988) Wann, wenn nicht jetzt (1987) (TV) Drachenfutter (1987) Schweigen des Dichters, Das (1987) Adrian und die Römer (1987) Paradies (1986) 40 Quadratmeter Deutschland (1986) Männer... (1985) Im Innern des Wals (1985) Wagnis des Arnold Janssen, Das (1983) Dear Mr. Wonderful (1982)

• Geburt der Hexe (1980) • Insurrección, La (1980)

Claus Bantzer

Other compositions - selection • time before – time after, composed together with Stephan Krause for strings and percussion (2007) • Liebe ist nichts, sie wachse denn zuhöchst, composition for viola, chamber choir and percussion group based on a text by Paul Valéry (2002) • Tu deinen Mund auf für die Stummen, Jazz-cantata, original performance in 1993 by the choir of the Northern German Television (NDR) • Missa Popularis/Jazz Messe, original performance during the NDR Jazz-Workshop held in November 1980

Works on CD - selection • Claus Bantzer: Missa Popularis, Jazz-Messe, live recording made on June 16, 2001, director Claus Bantzer, Arte Nova (Sony BMG) 2001. • Es kommt ein Schiff, geladen..., Christmas music, Harvestehuder Kammerchor, director Claus Bantzer, Arte Nova (Sony BMG) 2000. • Das Hohelied Salomos, collection of love songs, Harvestehuder Kammerchor, director Claus Bantzer, Arte Nova (Sony BMG) 1999. • Samsara, organ improvisations by Claus Bantzer, Arte Nova (Sony BMG) 1998. • Chormusik der Romantik, Harvestehuder Kammerchor, director Claus Bantzer, Arte Nova (Sony BMG) 1997. • Mariengesänge, Harvestehuder Kammerchor, director Claus Bantzer, Arte Nova (Sony BMG) 1996.

Honours • • • •

2004 Member of the Hamburg Academy of Fine Arts (Freie Akademie der Künste in Hamburg) 2001 Max-Brauer-Preis in Hamburg 1994 Prix de la Sacem of the Jewish-Israeli Film festival in France 1987 Bantzer received the highest honour in German cinema at the Bundesfilmpreis, where the Filmband in Gold was conferred upon him in the category film music for 40m2 Deutschland, Paradies and Das Schweigen des Dichters

External links • Claus Bantzer [1] at the Internet Movie Database • Music at St. Johannis Harvestehude [2]

5

Giuseppe Becce

Giuseppe Becce Giuseppe Becce (February 3, 1877 – October 5, 1973) was an Italian-born film score composer who enriched the German cinema.

Biography Becce was born in Lonigo/Vicenza, Italy. He showed his musical talents early and was named the director of the student musical orchestra at the Padua University when he studied geography. In 1906 he moved to Germany and studied musical composition with Arthur Nikisch and Ferruccio Busoni. In the 1913 silent movie Richard Wagner, directed by Carl Froelich, Becce played the title role and wrote the accompanying music. He continued to write such music for a series of subsequent movies. A collection of these pieces, the so-called "Kinothek" was published between 1919 and 1933 by the Verlag Schlesinger'sche Buchhandlung in Berlin. From 1915 to 1923, Becce was the director of the little orchestra of the Berlin Mozartsaal am Nollendorfplatz. After World War I, he was named to direct the music department of the Decla-Bioscop AG and chief director of its movie orchestra, later to became the Universum Film AG (UFA) orchestra. He also worked at major movie theatres as director of the orchestras, among them the UFA-Pavillon am Nollendorfplatz, the Tauentzien-Palast, and the Gloria Palast. In this position he worked with the famous directors of the German silent movie era, namely Fritz Lang, Friedrich Wilhelm Murnau, Georg Wilhelm Pabst, Ernst Lubitsch, Ludwig Berger, Joe May and Berthold Viertel; he arranged and composed music for their movies. In 1920 Becce published the magazine Film-Ton-Kunst [1].[1] In 1927 he published, together with Hans Erdmann and Ludwig Brav, the Allgemeines Handbuch der Filmmusik; it was based on his Kinothek, amongst other items, and enabled the pianist of silent movies to accompany movies in the generalized style and motifs of renowned composers. With the arrival of sound movies Becce worked on musical movies and movies covering opera or operetta themes. He worked with Leni Riefenstahl, Luis Trenker, and Harald Reinl whose mountain films he scored. Becce was very prolific providing music to movies for more than four decades; he commonly mixed his own compositions with creations of other composers. Becce died in Berlin and is buried in the cemetery of Berlin-Wilmersdorf, Berliner Straße.

Selected filmography • • • • • • • • • • • • • •

1913 Richard Wagner. Director: Carl Froelich Frau Eva (1916) The Robber Bride (1916) The Queen's Love Letter (1916) The Man in the Mirror (1917) The Marriage of Luise Rohrbach (1917) The Princess of Neutralia (1917) Countess Kitchenmaid (1918) Her Sport (1919) 1920 The Cabinet of Dr. Caligari. Director: Robert Wiene 1921 Hamlet. Director: Svend Gade 1921 Scherben. Director: Lupu Pick 1921 Der müde Tod. Director: Fritz Lang 1922 Sodom and Gomorrah. Director Michael Curtiz

• 1923 Der steinerne Reiter. Director: Fritz Wendhausen • 1924 Der letzte Mann. Director: Friedrich Wilhelm Murnau

6

Giuseppe Becce • • • • • • • • • • • • • • • • •

Peter the Pirate (1925) 1925 Wege zu Kraft und Schönheit. Director: Nicholas Kaufmann, Wilhelm Prager 1926 Tartüff. Director: Friedrich Wilhelm Murnau 1926 Die Abenteuer eines Zehnmarkscheines. Director: Berthold Viertel 1926 Geheimnisse einer Seele. Director: Georg Wilhelm Pabst 1927 Am Rande der Welt. Director: Karl Grune Leontine's Husbands (1928) Folly of Love (1928) Fight of the Tertia (1929) 1929 Die Frau, nach der man sich sehnt. Director: Curtis Bernhardt 1930 Skandal um Eva. Director: Georg Wilhelm Pabst 1931 Berge in Flammen. Director: Karl Hartl, Luis Trenker 1931 Zweierlei Moral. Director: Gerhard Lamprecht 1932 Razzia in St. Pauli. Director: Werner Hochbaum 1932 Das Blaue Licht. Director: Leni Riefenstahl 1933 Ekstase Director: Gustav Machaty 1933 Hans Westmar. Einer von vielen. Director: Franz Wenzler

• • • • • • • • • •

1934 Der ewige Traum. Director: Arnold Fanck 1934 Der verlorene Sohn. Director: Luis Trenker 1938 Der Berg ruft. Director: Luis Trenker 1941 Viel Lärm um Nixi. Director: Erich Engel 1949 Bergkristall, Director: Harald Reinl 1951 Nacht am Mont-Blanc, Director: Harald Reinl 1952 Der Herrgottschnitzer von Ammergau, Director: Harald Reinl 1954 Tiefland, Director: Leni Riefenstahl 1955 Das Schweigen im Walde, Director: Helmut Weiss 1957 Der Edelweißkönig, Director: Gustav Ucicky

List of Kinothek works (by reference number) [2] • • • • • • • • • • • • • •

Kinothek 11 - Situazione Pericolosa (Agitato) Kinothek 12 - Emotional Conflict (Sostenuto) Kinothek 13 - Battle-Tumult-Blaze (Allegro Agitato) Kinothek 14 - Tragic Moments (Andanted Mosso) Kinothek 15 - Agony of the Soul (Tragedia dell'Anima) Kinothek 16 - Insequimento E Fuga (Agitato) Kinothek 17 - Largo Tragico Kinothek 18 - Notte Misteriosa (Sinister) Kinothek 19 - Grave Humor (Intermezzo Serio) Kinothek 20 - Patience Under Pain (Resignation) Kinothek 21 - In a Critical Situation (Allegro Agitato) Kinothek 22 - Agitato Misterioso Kinothek 23 - The Hour of Ghosts (Heavy Misterious) Kinothek 24 - Battle and Disturbance (Agitato)

• Kinothek 25 - Andante Appassionato • Kinothek 26 - Mob-Rule (Agitato) • Kinothek 27 - Fanatic Dervish Dance

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Giuseppe Becce • • • • • • • • • • • • • • • • •

Kinothek 28 - Lynch-Law (Agitato) Kinothek 29 - Disperazione (Molto Largo-Agitato-Largo) Kinothek 30 - Sinister Agitato Kinothek 31 - Insurrezione (Agitato Vivace) Kinothek 32 - Grand Appassionato Kinothek 33 - Facing Death (Andante, Largo) Kinothek 34 - Semi Oriental Maetoso Kinothek 35 - A Critical Moment (Vivace) Kinothek 41 - Cryptic Shadoes (Agitato Mysterioso) Kinothek 42 - Dramatic Climax Kinothek 43 - Wild Chase (Allegro Vivace) Kinothek 44 - Threatening Danger (Andante Dramatic) Kinothek 45 - Happy Ending (Andante Largo) Kinothek 46 - Infatuation (Andante Largo) Kinothek 47 - Witchcraft (Semi Mysteriou Andante) Kinothek 48 - Anticipation of Danger Kinothek 49 - Emotional Climax

• Kinothek 50 - Chariot Race

Other musical works • 1910 "Das Bett der Pompadour", operetta • 1912 "Tullia", opera.

Notes [1] Hans Traub, Hanns W. Lavies: Das Deutsche Filmschrifttum. Bibliographie der Bücher und Zeitschirften über das Filmwesen 1896-1939. Hiersemann, Leipzig 1940, Stuttgart 1980(Repr.), S.20, 221. ISBN 3-7772-8016-X [2] Advertisement for Schlesinger-Belwin publication of Kinothek, 1926.

References • The start of this article is based on a translastion of the German Wikipedia, accessed on 2/24/2008.

Literature • Hans Erdmann, Giuseppe Becce, Ludwig Brav: Allgemeines Handbuch der Film-Musik. Schlesinger'sche Buchh., Berlin-Licherfelde 1927. • Film-Ton-Kunst. Eine Zeitschrift für die künstlerische Musikillustration des Lichtbildes. Gegr. v. G. Becce. Schlesinger'sche Buchhandlung, Berlin 1.1920-6.1927.

External links • Giuseppe Becce (http://www.imdb.com/name/nm0005959/) at the imdb • Cyranos (http://www.cyranos.ch/smbecc-d.htm) Biography in German • Biographie (http://www.filmportal.de/df/a8/ Uebersicht,,,,,,,,13B5865C465F4191A040EE9A8AC26612,,,,,,,,,,,,,,,,,,,,,,,,,,,.html) (German)

8

Martin Böttcher

9

Martin Böttcher Martin Böttcher (born June 17, 1927, Berlin) is a German composer, arranger and conductor.

The beginning Böttcher (on foreign records and articles often written "Bottcher" or "Boettcher", the latter being the correct transliteration of the German umlaut "ö") began taking piano lessons at an early age. But his first passion was flying, and he wanted to become a test pilot. Not yet seventeen years old, he got his military training in the German Luftwaffe. However, due to lack of fuel, he never went into action. As a prisoner of war, Böttcher managed to get hold of a guitar and taught himself to play it. Following his release from captivity, he went to Hamburg. There he started his musical career with the then Nordwestdeutscher Rundfunk, in the dance and entertainment orchestra which had been newly founded by Willi Steiner, and which was held in high esteem in England.

Martin Böttcher, 2002

At first, Böttcher concentrated on jazz, and he became the number two guitarist in a German jazz poll. He also gained important experience as an arranger for film composers, among them Michael Jary and Hans-Martin Majewski, for whom he arranged part of the music for Liebe '47.

Early years In 1950, Böttcher, who liked to work on new sounds, recorded the first trick guitar pieces in Germany in the style of Les Paul. In 1954, Böttcher left the music stand and turned to manuscript paper. His talent did not escape the attention of the German film industry, which was just gaining new momentum at that time. Thanks to producer Artur Brauner, Böttcher made his cinematic debut in 1955, composing the music for the military satire Der Hauptmann und sein Held. His second film score turned out to be a milestone in German film history. Die Halbstarken directed by Georg Tressler and starring Horst Buchholz, met with tremendous success. Mr. Martin's Band comprised the top German jazz musicians, among them Horst Fischer, Fatty George, Bill Grah, Ernst Mosch and Hans 'James' Last. Böttcher also composed for Hans Albers and Heinz Rühmann's 'Father Brown' movies. Max, der Taschendieb (1962) contained the track "Hawaii Tattoo" (recorded by "The Waikikis"), which Böttcher had written under the pseudonym of Michael Thomas. Within a short time, this theme became famous all over the world, and even received attention in the American Billboard charts.

The hit writer Martin Böttcher found his greatest success in the 1960s composing the score for ten of the Karl May films, the first being Der Schatz im Silbersee with the famous "Old-Shatterhand-Melodie". The films starred, among many others, American actor Lex Barker and British actor Stewart Granger. The audience was enthusiastic about the wistful melodies, the fanfare-like music accompanying attacks, and the cheerful hillbilly tunes. Martin Böttcher's main themes from these films reached top positions in the German charts and sold thousands of records. The music for the Karl May films is a landmark in German film music history. The success of these films, accompanied by Böttcher's

Martin Böttcher music, made possible the "Spaghetti Westerns" with the music of Ennio Morricone. With the German film industry declining at the end of the 1960s Martin Böttcher increasingly focused on working for German TV, which benefited from his talents in many films and series produced for TV. In the 1970s Martin Böttcher wrote a number of successful scores, among them music for the TV series Sonderdezernat K1 and numerous episodes of Der Alte and Derrick, which are also known outside Germany. He again came in contact with the works of Karl May when he wrote the score for the 26-episode series Kara Ben Nemsi Effendi. The writer of Der Illegale (a TV mini-series), Henry Kolarz, said, "Even if I spoilt it, Böttcher's music is much too good for everything to go wrong." Throughout the following years Martin Böttcher composed yet more evergreen themes for TV-series, such as It can't always be caviar (1977), Schöne Ferien (Beautiful holidays) or Forsthaus Falkenau. In the 1990s, among others, Air Albatros took off - a very special project for the composer, as he could pay a musical tribute to his passion for flying. And when Pierre Brice mounted his horse again as Winnetou for the ZDF television station, he was, of course, accompanied by a score by Martin Böttcher. Even the Americans became aware of him as an arranger and orchestra director. When they heard his renditions of the world-famous themes "Tara's Theme" and "Theme from 'A Summerplace'", Martin Böttcher was made an honorary member of the Max Steiner Society. In 1998, the composer once more conquered the German charts. A band from Cologne, the "Superboys", scored a hit with a vocal version of the "Winnetou-Melodie" from the second Winnetou film. Their song "Ich wünscht' du wärst bei mir" ("Wish U Were Here") even reached the top of the ZDF television charts. Another cover version by the Czech group Těžkej Pokondr called "Vinetu" even received double-platinum in their country in March 2000. The "master of tunes" was honoured in a very special way in 2002: as a jury member (Europäischer Förderpreis - a European talent award) Martin Böttcher represented Germany at that year's European Biennale for Film Music in Bonn.

Awards • On October 9, 1995, the Deutsche Filmmusikpreise (German film music awards) were awarded at the Bonner Bundeskunsthalle. Martin Böttcher was honoured with the prize for his "outstanding contribution to German film history, which shows in an abundant musical oeuvre"; he was the very first person to receive this prize (in later years also Mikis Theodorakis and Ennio Morricone were among the recipients). • The continuous success of the Karl May melodies was the reason why, at the Karl May Festival in Bad Segeberg in 1997, Schacht Music Publishers honoured the tremendously successful composer with a "special award". • On April 15, 2000, Martin Böttcher received the "Edgar Wallace Award in Gold" for his merits in German crime movies. • On January 25, 2004 Martin Böttcher was awarded in St. Moritz the German Bundesverdienstkreuz (Federal Cross of Merit) for his lifetime achievement. • On May 28, 2009 Martin Böttcher was honoured in Berlin with the Deutsche Musikautorenpreis (German music authors’ award), category "composition for films".

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Martin Böttcher

Literature • Reiner Boller: Winnetou-Melodie - Martin Böttcher - Die Biographie. Gryphon Verlag, 2003, 200 Seiten, mit einem Vorwort von Pierre Brice. ISBN 3-89602-444-2

External links • Martin Böttcher at the Internet Movie Database [1] • Official homepage of Martin Böttcher [2] • Discography of Martin Böttcher [3] (English)

Reiner Bredemeyer Reiner Bredemeyer (February 2, 1929 − December 5, 1995) was a German composer. He was born in Vélez, Santander and went to school in Breslau. In 1944 he began his military service. After World War II he met Karl Amadeus Hartmann. From 1949 to 1953 he studied composition with Karl Höller at the Munich Academy for Musical Arts. In 1954 Paul Dessau took him to East Germany, where Bredemeyer became a master student of Rudolf Wagner-Régeny at the Berlin Academy of the Arts. He taught at the Ernst Busch Academy of Dramatic Arts in Berlin and worked together with Bertold Brecht, Walter Felsenstein and Ernst Busch. From 1957 to 1960 he was arts director at the Theatre of Friendship in Berlin and from 1961 kapellmeister and composer at the German Theatre. His composers generation (among Friedrich Goldmann, Georg Katzer und Friedrich Schenker) broke with socialist realism and looked for orientation in western Avant-garde.[1] In 1978 he became a member of the Academy of Arts and in 1988 he was appointed professor. Until 1989 he served as a board member of the GDR's composers and musicologists Union. Bredemeyer died in Berlin. His grave is at Cemetery Pankow III, where many famous people are buried.

Awards • • • • • • •

1969: Art Prize of the FDGB 1969: Banner of Labor 1975: Art Prize of East Germany 1983: National Prize of East Germany 1983: FIPRESCI Prize at the Berlin International Film Festival 1986: Composition Award at the National Film Festival of the GDR 1989: Order of Merit for the Fatherland

External links • Reiner Bredemeyer [2] at the Internet Movie Database • Reiner Bredemeyer [3]

References [1] so nah - so fern (http:/ / www. dradio. de/ dkultur/ sendungen/ konzert/ 1055962/ ), Deutschlandradio Kultur, Monday 9 November 2009

11

Hans Carste

Hans Carste Hans Friedrich August Carste (5 September 1909 in Frankenthal – 11 May 1971 in Bad Wiessee) was a German composer and conductor. He arrived in Berlin in 1931 after working in Vienna and Breslau. He composed film music and as well as songs for the stage. Electrola offered him and his orchestra an exclusive recording contract and he recorded many high quality sides for them. Like so many, Hans Carste joined the Nazi Party in 1933. In 1937 when Ludwig Rüth, the Jewish Band Leader emigrated to South Africa, Hans Carste took up the baton. For some time the Orchestra was still known as the Ludwig (Lewis) Rüth Orchester but acknowledged that Carste was the conductor. Within a short time it became known as the Hans Carste Orchester. In 1942 he was drafted and sent to the Eastern front. He was badly injured and captured by the Red Army. He was released in 1948 and returned to Germany. He became one of the musical directors at Rundfunk im amerikanischen Sektor (RIAS) radio station in Berlin and once again worked for the stage and the movies. In 1957 he became president of BIEM in Paris. He withdrew from all activities in 1967 due to illness. One of his best known compositions is the opening tune of the "Tagesschau" - the TV news broadcast. [1]

Musical works • • • • •

Polonaise Aus "Eugen Onegin"/Pomp and Circumstance (1962) Zwischen Tag Und Traum Folge 1 bis Folge 5 Walzer-Synkopen (1956) Liedertexte aus der Operette Lump mit Herz (1952) Lüg' nicht, Baby! (1932)

References [1] Fink, Günter (2005-07-27). "Hätten Sie's gewußt?" (http:/ / www. abendblatt. de/ daten/ 2005/ 07/ 27/ 463564. html) (in German). Hamburger Abendblatt. .

External links • Hans Carste in the German National Library (https://portal.d-nb.de/opac.htm?query=Woe=10387643X& method=simpleSearch) • Hans Carste discography on Discogs (http://www.discogs.com/artist/Hans+Carste)

12

Burkhard Dallwitz

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Burkhard Dallwitz Burkhard von Dallwitz (born 1959) is a German-born composer based in Melbourne, Australia. He was born near Frankfurt and began ten years of classical piano training at the age of eight. By thirteen he was writing songs and music, and from fifteen, Burkhard wrote, arranged and performed for various musical groups. In 1979 Burkhard fulfilled his dream of travelling to Australia. There he studied music at Melbourne’s Latrobe University. He majored with Honours in Composition, and studied Advanced Composition under the tutelage of Professor Keith Humble. Since 1984, Burkhard has worked as a composer for feature films, television and commercials. In 1996 he released his first CD recording of original instrumental works called Worlds Apart. He won two Screen Music Awards from the Australian Guild of Screen Composers (1993 & 1996), and was also nominated in 1998 & 2000. In 1999, Burkhard and Philip Glass were awarded the Golden Globe for Best Original Score in a Motion Picture for The Truman Show. The score also won The Chicago Film Critics’ Award and the ASCAP Film and Television Award, and the soundtrack reached number two on the Billboard chart. In 2001 he won the APRA award for Best Television Theme for the Sydney Olympics in 2000. The world-renowned 385-voice Mormon Tabernacle Choir performed and recorded his 2002 theme for the Salt Lake Winter Olympics. In 2004 he won the APRA-AGSC (Australian Guild of Screen Componers) Screen Music Award 'Best Music For A Television Series' for CrashBurn. Burkhard has several soundtrack albums out in general release. Burkhard lives in Elsternwick with his wife Rebecca and daughter Carlotta. He works on Australian, European and U.S. film and television productions. Most recently Burkhard has worked on the Nine Network Australia television series Underbelly and the UK.TV mini-series False Witness where he wrote the theme and the original musical score. He also composed the theme for the Seven Network's coverage of the Beijing 2008 Olympics (in addition to the 2000, 2002, 2004 and 2006 compositions) and more recently the soundtrack for the movie "The Way Back" (2011).

Awards and nominations APRA-AGSC Awards The annual Screen Music Awards are presented by Australasian Performing Right Association (APRA) and Australian Guild of Screen Composers (AGSC) for television and film scores and soundtracks.[1] Year

Nominated work

2004 "Episode 13" – CrashBurn CrashBurn 2006 The Caterpillar Wish

Award Best Music for a Television Series or Serial

2008 "Episode 5" - Underbelly

[2]

[3]

Won Nominated

Best Television Theme

[4]

Nominated

Feature Film Score of the Year Best Soundtrack Album

Torino 2006 Winter Olympics

Result

[4]

Nominated

[4]

Nominated

Best Television Theme

Best Music for a Television Series or Serial

[5]

[5]

Underbelly

Best Television Theme

"It’s a Jungle Out There" – Underbelly

Best Original Song Composed for the Screen

Won Won

[6] Nominated

Burkhard Dallwitz

14 [7] Best Music for a Mini-Series or Telemovie

Nominated

"Episode 9 - Judas Kiss" – Underbelly: A Tale of Two Cities Best Music for a Television Series or Serial[7]

Nominated

2009 False Witness

References [1] "Screen Awards" (http:/ / www. apra-amcos. com. au/ APRAAwards/ ScreenAwards. aspx). Australasian Performing Right Association (APRA). . Retrieved 28 April 2010. [2] "2004 Winners - Screen Music Awards" (http:/ / www. apra-amcos. com. au/ APRAAwards/ ScreenAwards/ History/ 2004Winners. aspx). Australasian Performing Right Association (APRA). . Retrieved 7 September 2010. [3] "2004 Nominations - Screen Music Awards" (http:/ / www. apra-amcos. com. au/ APRAAwards/ ScreenAwards/ History/ 2004Nominations. aspx). Australasian Performing Right Association (APRA). . Retrieved 7 September 2010. [4] "2006 Nominations - Screen Music Awards" (http:/ / www. apra-amcos. com. au/ APRAAwards/ ScreenAwards/ History/ 2006Nominations. aspx). Australasian Performing Right Association (APRA). . Retrieved 7 September 2010. [5] "2008 Winners - Screen Music Awards" (http:/ / www. apra-amcos. com. au/ APRAAwards/ ScreenAwards/ History/ 2008Winners. aspx). Australasian Performing Right Association (APRA). . Retrieved 2 May 2010. [6] "2008 Nominations - Screen Music Awards" (http:/ / www. apra-amcos. com. au/ APRAAwards/ ScreenAwards/ History/ 2008Nominations. aspx). Australasian Performing Right Association (APRA). . Retrieved 2 May 2010. [7] "Nominations - Screen Music Awards" (http:/ / www. apra-amcos. com. au/ APRAAwards/ ScreenAwards/ Nominations. aspx). Australasian Performing Right Association (APRA). . Retrieved 2 May 2010.

Paul Dessau

15

Paul Dessau Paul Dessau

Kurt Hager, Ruth Berghaus, Werner Rackwitz, Paul Dessau and Hans-Joachim Hoffmann Born

19 December 1894 Hamburg, German Empire

Died

28 June 1979 (aged 84) Königs Wusterhausen, GDR

Nationality

German

Occupation

Composer and Conductor

Spouse(s)

Ruth Berghaus

Children

Maxim Dessau

Paul Dessau (19 December 1894 – 28 June 1979) was a German composer and conductor.

Biography Dessau was born in Hamburg into a musical family. His grandfather, Moses Berend Dessau, was a cantor, his uncle, Bernhard Dessau, a violinist at the Royal Opera House, Unter den Linden, and his cousin Max Winterfeld became generally known under the name Jean Gilbert as a composer of operettas. From 1909 he majored in violin at the Klindworth-Scharwenka Conservatory in Berlin. In 1912 he became répétiteur at the City Theatre (Stadttheater) in Hamburg. There he studied the works of the composers Felix von Weingartner and Arthur Nikisch and took classes in composition from Max Julius Loewengard. He was second Kapellmeister at the Tivoli Theatre in Bremen in 1914 before being drafted for military service in 1915. After World War I he became conductor at the Intimate Theatre (Kammerspiele), Hamburg, and was répétiteur and later Kapellmeister at the opera house in Cologne under Otto Klemperer between 1919 and 1923. In 1923 he became Kapellmeister in Mainz and from 1925 Principal Kapellmeister at the Städtische Oper Berlin under Bruno Walter. In 1933 Dessau emigrated to France, and 1939 moved further to the U.S. where initially he lived in New York before moving to Hollywood. Dessau returned to Germany with his second wife, the writer Elisabeth Hauptmann, and settled in East Berlin in 1948.

Paul Dessau

Starting in 1952 he taught at the Public Drama School (Staatliche Schauspielschule) in Berlin-Oberschöneweide where he was appointed to a professorship in 1959. He became a member of the Deutsche Akademie der Künste Berlin in 1952 and was vice-president of this institution between 1957 and 1962. He taught many Meisterschüler (pupils in a master class), including Friedrich Goldmann, Reiner Bredemeyer, Jörg Herchet, Hans-Karsten Raecke, Friedrich Schenker, Luca Lombardi and Karl Ottomar Treibmann.

16

Dessau's grave in Berlin

From 1954 he was married to the choreographer and director Ruth Berghaus. Their son Maxim Dessau (b. 1954) studied at the College of Film and Television (Hochschule für Film und Fernsehen) in Potsdam-Babelsberg. Maxim Dessau is now a movie director. Dessau died on 28 June 1979 at the age of 84, in the then East German city of Königs Wusterhausen, on the outskirts of Berlin.

Works Dessau composed operas, scenic plays, incidental music, ballets, symphonies and other works for orchestra, and pieces for solo instruments as well as vocal music. Since the 1920s he had been fascinated by film music. Among others he wrote compositions for early movies of Walt Disney, background music for silent pictures and early German films. While in exile in Paris he wrote the oratorio Hagadah shel Pessach after a libretto by Max Brod. In the 1950s in collaboration with Bertolt Brecht he focussed on the musical theatre. During that time his operas were produced. He also wrote Gebrauchsmusik (utility music) for the propaganda of the German Democratic Republic. At the same time he lobbied for the musical avant-garde (e.g. Witold Lutosławski, Alfred Schnittke, Boris Blacher, Hans Werner Henze and Luigi Nono).

Operas • "Die Reisen des Glücksgotts" (fragment), 1945 (after Bertolt Brecht) • Die Verurteilung des Lukullus [Das Verhör des Lukullus], 1949-1951 (after Bertolt Brecht), world premiere on March 17, 1951 at the Staatsoper • "Puntila", 1956-1959 (Peter Palitzsch and Manfred Wekwerth after Brecht play), world premiere on November 15, 1966 at the Staatsoper • "Die heilige Johanna der Schlachthöfe" [fragment], 1961 (after Bertolt Brecht) • "Lanzelot", 1967-9 (text: Heiner Müller and Ginka Tsholakova), world premiere on 19 December 1969 at the Staatsoper • "Einstein", 1969-1972, (text: Karl Mickel), world premiere on February 16, 1974 at the Staatsoper • "Leonce und Lena", 1976-1979 (Thomas Körner after Georg Büchner), world premiere on November 24, 1979

Paul Dessau

Incidental music • • • • • • • • • • • • •

"99%- eine deutsche Heerschau" (Furcht und Elend des Dritten Reiches) 1938 "Mutter Courage und ihre Kinder: Chronik aus dem Dreißigjährigen Krieg" 1946-1949 "Der gute Mensch von Sezuan" 1947-1948 "Die Ausnahme und die Regel" 1948 "Herr Puntila und sein Knecht Matti", Volksstück (folk play) 1949 "Wie dem deutschen Michel geholfen wird." Clownspiel (clown play) 1949 "Der Hofmeister" 1950 "Herrnburger Bericht" for youth choir, soloists and orchestra 1951 "Mann ist Mann" 1951-1956 "Urfaust" 1952-1953 "Don Juan" 1953 "Der kaukasische Kreidekreis" 1953-1954 "Coriolan" 1964

Film music • "Alice the Fire Fighter" (Alice und ihre Feuerwehr) (21.8.1928), "Alice's Monkey Business" (Alice und die Flöhe) (25.9.1928), "Alice in the Wooly West" (Alice und die Wildwest-Banditen) (18.10.1928) and "Alice Helps the Romance" (Alice und der Selbstmörder) (31.1.1929) by Walt Disney • "L'Horloge Magique. 2. La Forêt enchanté" (Der verzauberte Wald) (7.9.1928) and "L'Horloge Magique. 1. L'Horloge Magique" (Die Wunderuhr) (12.11.1928) by Ladislas Starewitch • "Doktor Doolittle und seine Tiere" (15.12.1928) by Lotte Reiniger with arrangements of music by Kurt Weill, Paul Hindemith and a private composition • Musical director in musical and operetta films together with Richard Tauber (among others "Das Land des Lächelns", "Melodie der Liebe"). with melodies by Franz Lehár and Bronislaw Kaper • 400 cm^3 documentary • "Stürme über dem Montblanc", "Der weiße Rausch" and "S.O.S. Eisberg" by Arnold Fanck • "Cargaison Blanche" (by Robert Siodmak), "Yoshiwara"" (by Max Ophüls), "Werther" (by Max Ophüls) • See also the extensive filmography in the IMD Movie Database, at http://www.imdb.com/name/nm0006036/

Works for choir • "Deutsches Miserere" for mixed choir, children's choir, soprano, alto, tenor and bass soloists, large orchestra, organ and trautonium 1943-1944 • "Internationale Kriegsfibel" for soloists, mixed choir and instruments 1944-45 • "Die Erziehung der Hirse", musical epic for one narrator, one solo voice, mixed choir, youth choir and large orchestra 1952-1954 • "Vier Grabschriften." • "Grabschrift für Gorki" for one or several male voices and brass (1947) • "Grabschrift für Rosa Luxemburg" for mixed choir and orchestra • "Grabschrift für Liebknecht" • "Grabschrift für Lenin" • 5 Songs for three female voices and cappella: • "Die Thälmannkolonne" • "Mein Bruder war ein Flieger" • "Vom Kind, das sich nicht waschen wollte" • "Sieben Rosen hat der Strauch"

17

Paul Dessau • "Lied von der Bleibe" • "Appell der Arbeiterklasse" for alto and tenor solo, narrator, children's and mixed choir and large orchestra, 1960-1961

Songs • • • • • • • • • • •

"Kampflied der schwarzen Strohhüte" 1936 "Die Thälmann-Kolonne" 1936 "Lied einer deutschen Mutter" 1943 "Das deutsche Miserere" 1943 "Horst-Dussel-Lied" 1943 "Wiegenlied für Gesang und Gitarre" 1947 "Aufbaulied der FDJ" 1948 "Zukunftslied" 1949 "Friedenslied" for one solo voice with one accompanying voice (text: Bertolt Brecht after Pablo Neruda) 1951 "Der Augsburger Kreidekreis." A dramatic ballad for music 1952 "Jakobs Söhne ziehen aus, im Ägyptenland Lebensmittel zu holen" for children's choir, soloists and instruments 1953

• • • • •

"Der anachronistische Zug." ballad for song, piano and percussion 1956 "Kleines Lied" for song and piano 1965 "Historie vom verliebten Schwein Malchus" for solo voice 1973 "Spruch für Gesang und Klavier" 1973 "Bei den Hochgestellten" 1975

Other compositions • • • • • • • • •

"In memoriam Bertolt Brecht" for large orchestra 1956-1957 "Bach-Variationen" for large orchestra 1963 Symphonic Mozart-Adaptation (after the Quintett KV 614) 1965 "Lenin", music for orchestra no. 3 with concluding chorus "Grabschrift für Lenin." 1969 "Für Helli", small piece for piano 1971 Bagatelles for viola and piano (1975) Sonatine for viola and piano (1929) two symphonies seven string quartets and others

Awards • • • • • • •

Award of the music publisher Schott 1925 National Prize III. Category 1953 National Prize II. Category 1956 National Prize I. Category 1965 Vaterländischer Verdienstorden (Decoration of Honour for Services to the GDR) in Gold 1965 Karl-Marx-Orden (Karl-Marx-Decoration) 1969 National Prize I. Category 1974

18

Paul Dessau

Literature • • • • •

Fritz Henneberg: "Dessau - Brecht. Musikalische Arbeiten." (Henschel, Berlin 1963) Fritz Hennenberg: "Paul Dessau. Eine Biographie." (VEB Deutscher Verlag für Musik, Leipzig 1965) Paul Dessau: "Notizen zu Noten" (ed. Fritz Henneberg, Reclam, Leipzig 1974) Paul Dessau: " Aus Gesprächen" (VEB Deutscher Verlag für Musik, Leipzig 1974) Joachim Lucchesi (ed.): "Das Verhör in der Oper. Die Debatte um die Aufführung »Das Verhör des Lukullus« von Bertolt Brecht und Paul Dessau." (BasisDruck, Berlin 1993)

External links • Paul Dessau [1] in the German National Library catalogue • Biography [2]

19

Klaus Doldinger

20

Klaus Doldinger Klaus Doldinger

Background information Birth name

Klaus Erich Dieter Doldinger

Born

12 May 1936 Berlin, Germany

Genres

Jazz

Occupations

Musician, composer

Instruments

Saxophone, keyboards, synthesizer, film scorer

Associated acts Passport Website

www.klaus-doldinger.de

[1]

Klaus Doldinger (born 12 May 1936) is a German saxophonist, especially well known for jazz and as a composer of film music. He was the recipient of 1997's Bavarian Film Awards (Honorary Award).

Life and work Doldinger was born in Berlin, and entered a Düsseldorf conservatory in 1947, originally studying piano and then clarinet,[1] graduating in 1957. In his student years, Doldinger gained professional performing experience, starting in 1953 in the German Dixieland band The Feetwarmers, and recording with them in 1955. Later that year he founded Oscar's Trio, modeled on Oscar Peterson's work. During the 1960s he worked as a tenor saxophonist, working with visiting American jazz musicians and recording in his own right.[1] Doldinger is perhaps best known for his film scores to the acclaimed German U-boat film Das Boot (1981) and later The NeverEnding Story (1984). Doldinger married Inge Beck in 1960; they have three children, Viola, Melanie and Nicolas Doldinger. Since 1968 they have resided in Icking, a small Bavarian village, south of Munich.

Klaus Doldinger

21

Doldinger's recurring jazz project Passport, started in 1971 (then called "Klaus Doldinger´s Passport"), still enjoys huge success in Germany. In its influence it was sometimes called the European version of Weather Report.[2] At various times members of Passport included Peter O’Mara (guitar), Roberto DiGioia (keyboards), Patrick Scales (bass, since 1994), Ernst Stroer (de:Ernst Ströer) (percussion, since 1989), Christian Lettner (drums, since 2000), Michael Hornek (keyboard since 2009), Biboul Darouiche (percussion, since 1995) and others. Guests include Brian Auger (1973), Johnny Griffin (1973) and Pete York (1973).[3]

Doldinger's jazz band Passport (2008)

Selected film and TV scores • Tatort (1970-) ongoing TV series • The Old Fox (1977-) ongoing TV series • Das Boot (1981) • • • •

The Neverending Story (1984) Nonni and Manni (1988) Salt on Our Skin (1992) Palmetto (1998)

References [1] Yanow, Scott. "Klaus Doldinger: Biography" (http:/ / www. allmusic. com/ artist/ klaus-doldinger-p8425). Allmusic. . Retrieved 2010-10-28. [2] "Klaus Doldinger's Passport" (http:/ / www. warnermusic. de/ klausdoldingerspassport/ bio/ ). Warnermusic.de. 1936-12-05. . Retrieved 2011-07-22. [3] Klaus Doldinger's Homepage (http:/ / www. klaus-doldinger. de/ ); Flash-based, preventing deep links -- to see the band lineup click "Musiker"

External links • • • •

Klaus Doldinger's homepage (http://www.klaus-doldinger.de/) Klaus Doldinger (http://www.imdb.com/name/nm0006041/) at the Internet Movie Database Fan page (http://www.doldinger.de/) Interview in Jazzdimensions (http://www.jazzdimensions.de/interviews/portraits/2004/klaus_doldinger. html)

Frank Duval

22

Frank Duval Frank Duval Born

November 22, 1940

Origin

Berlin, Germany

Genres

pop

Occupations Conductor/Composer/Singer Years active 1977—2001 Labels

Brunswick/Universal. (2001-) Eastwest (1989-1995) Teldec (1979-1989)

Website

Official site of Frank Duval

[1]

Frank Duval (born November 22, 1940, Berlin) is a German composer, conductor, record producer, songwriter and singer. Born into an artists' family, he studied as an actor and dancer, but also sang with his sister, Maria. By the 1960s, Duval was also composing music, both orchestral and pop, and his first soundtrack, for an episode of the German serial Tatort, was broadcast in 1977. From his 1979 first album, Die Schönsten Melodien Aus Derrick und der Alte, the song "Todesengel" became a moderate hit. During the 1980s, Duval released several soundtracks, as well as proper artist albums (with occasional lyrical help from his wife, Kalina Maloyer). He was in the German charts several times, with "Ways" (1983), "Lovers Will Survive" (1986) and "When You Were Mine" (1987). Duval wrote songs for Ivan Rebroff, Alexandra, Karin Huebner, Margot Werner, Klaus Löwitsch and Maria Schell.

Albums • • • • • • • • • • • • • • • • • • •

Die Schönsten Melodien Aus Derrick Und Der Alte (1979) Angel of Mine (1981) Face to Face - music from the serials Derrick and Der Alte (1982) If I Could Fly Away (1983) Orphee (1983) Living Like A Cry (1984) Die Grössten Erfolge (1985) (club edition) Time for Lovers (1985) Bitte Laßt Die Blumen Leben (1986) When You Were Mine (1987) Love Me, Love (1988) Greatest Hits (1988, AMIGA) Touch My Soul (1989) Seine Grössten Erfolge (1989) Solitude (1991) Vision (1994) Vision (Best Of Frank Duval) (1994) Derrick Forever (2000) Angel of Mine (2001)

Frank Duval • Spuren (2001) (3 CD-box) • Colour Collection (2006)

External links • • • • •

Frank Duval [2] at the Internet Movie Database Frank Duval [3] discography at MusicBrainz Frank Duval Website [4] (German) (English) Frank Duval Foundation [5] (German) (English) (Spanish) Frank Duval at Magazine-Music [6] (German)

23

Stefan Eichinger

24

Stefan Eichinger LOPAZZ

Background information Birth name

Stefan Eichinger

Also known as

Stef An LOPAZZ Bad Cop Bad Cop Jason Mason

Origin

Zurich, Germany

Genres

Electronic Electronica Techno House

Occupations

Composer Disc jockey Electronic musician

Years active

1994–present

Labels

Get Physical Music

Website

[1]

Since 1994 Stef An, also known as LOPAZZ, has been part of the Heidelberg based HD800 team; he also runs the multimedia label 800achtspur, and is renowned as a film composer and Mix-Mastering-Engineer, having written, produced and engineered many internationally acclaimed records and films. In 2001, he had success with Redagain P when they remixed the Miami Vice & Magnum themes; then, in 2003, Lopazz's self-titled EP was released by Output Recordings, followed by the singles 'Blood' (including a Tiefschwarz remix) and his first bona fide club hit ‘I Need Ya’ (later re-licensed by French fashion label Colette). Its success led to Lopazz remixing Germany's biggest pop act Xavier Nadoo, while techno legend Sven Väth snapped up ‘I Need Ya’ for his Sound of the Fourth Season mix CD. Stefan's relationship with Berlin-based Get Physical Music began when he was commissioned to remix Chelonis R. Jones' 'I Don't Know'. The label went on to issue Lopazz's own vocal track ‘Migracion’, which was subsequently remixed by Chilean producers Luciano and Ricardo Vilallobos. Releases for Pokerflat, Cocoon and Compost Black Label followed, along with remixes and productions for the likes of Isolee, DJ T, M.A.N.D.Y., Matthew Dear and

Stefan Eichinger Imagination.

Discography ( Excerpts ) • • • • • • • • • • • • • •

1993: KnoB - Karlsunruhe Compilation ( Sony / Subway Karlsruhe ) 1994: Mason&Mesud - The Tapes 1-5 ( HD800Achtspur ) 1995: Mason-Mesud-Stevensen - Ambiente ( HD800Achtspur ) 1996: Mason&Mesud - Eigentlich wollte ich frei sein ( 800trak Kassettensampler 1 ) 1996: Mason-Mesud-Stevensen - Contraband ( HD800Achtspur ) 1997: Mason-Mesud-Stevensen - High Baby ( HD800Achtspur ) 1997: Jason Mason - Headhouse E.P. ( HD800Achtspur ) 1998: Mason-Mesud-Stevensen - Tonband ( HD800Achtspur ) 1999: Fou Fou - Popkomm E.P. ( HD800Achtspur ) 2000: Redagain P & LOPAZZ Magnum & Miami Vice Remixes ( Rams Horn ) 2001: Output 64 - Commodore Remixes ( Enduro/Ladomat ) 2001: Electuz - Compilation - LOPAZZ "Libertad" 2002: Lounge Essenzen - Vol.2 ( DieLounge ) 2003: Nippon Connection - Compilation - LOPAZZ & A. Cortex "Chuo Ride..."

• • • • • • • • • • • • • • • • • • • • • • • • • • •

2003: LOPAZZ - E.P. ( Freundinnen ) 2003: Soehne Mannheims - Mein Name ist Mensch - LOPAZZ Remix ( Universal Music ) 2004: LOPAZZ - Migracion ( Get Physical Music ) 2004: LOPAZZ - I Need Ya! ( Output Recordings ) 2004: Sven Vaeth In The Mix: The Sound Of The Fourth Season - LOPAZZ "I need ya!" 2004: LOPAZZ - Blood ( Output Recordings ) 2005: Channel 4 - A Compilation Of Output Recordings - LOPAZZ "Blood" 2005: LOPAZZ - Allemann ( Compost Records ) 2005: Fabric 23 - Ivan Smagghe - LOPAZZ "Blood" 2005: Rio Reiser - Familienalbum 2 - LOPAZZ Remix ( Edel ) 2006: LOPAZZ - Lasergun ( Lasergun Records ) 2006: Compost Black Label Series Vol.1 - LOPAZZ: "C.o.D. + Estrella" 2006: Floorfiller - Restless - LOPAZZ / Tiefscharz "Blood"-Remix 2006: LOPAZZ - Ciegos ( Output Recordings ) 2006: Get Physical Vol. 2 - 4th Anniversary Label Compilation - Luciano "Migracion"-Remix 2006: Lasergun Compilation 2 - LOPAZZ "Lasergun" + Bad Cop Bad Cop "Cube No.1" 2006: M.A.N.D.Y. - At the Controls - LOPAZZ "share my rhythm"( Resist ) 2007: LOPAZZ - 12" Maxi mit Paul Ritch & Guillaume Remixes - 2 fast 4 u ( Get Physical Music ) 2007: Pomelo E.P. - 12" E.P. Thundercamel with Casio Casino ( Pomelo ) 2007: LOPAZZ - 2 fast 4 u ( Booka Shade K7 DJ Kicks ) 2007: LOPAZZ - Debütalbum CD & Vinyl, iTunes & Beatport-Exclusive - Kook Kook ( Get Physical Music ) 2007: A. Flatner & Deafny Moon - The Voice remix by LOPAZZ' ( Circle Music Germany ) 2007: LOPAZZ - Share my rhythm ( Get Physical Music ) 2007: LOPAZZ - The Fact ( 5 years Get Physical Music Compilation ) 2007: Anthony Collins - De Palma remix by LOPAZZ' ( Meerestief Schallplatten ) 2007: LOPAZZ - Chelonis Remix ( 5 years Get Physical Music Compilation ) 2007: LOPAZZ - E.P. mit Deafny Moon & S. Pascalidis F**ck Me! ( Gigolo Records )

• 2007: Richard Bartz - Remix by LOPAZZ' ( Kurbel records ) • 2007: LOPAZZ - Migracion remix by F+M' ( 5 years Get Physical Music Compilation ) • 2008: LOPAZZ - Split Vinyl with Chloé/Pleinsoleil "Parau Api" ( Resopal Red )

25

Stefan Eichinger • • • • • • • • • • • • • • • • •

2008: GPM 100 Compilation CD & Vinyl - LOPAZZ vs. Heidi "Funkshovel" ( Get Physical Music ) 2008: Alex Flatner feat. LOPAZZ "Perfect Circles" ( Circle Music ) 2008: Full Body Workout Compilation No.4 CD & Vinyl "Live in Brazil" ( Get Physical Music ) 2008: LOPAZZ - 12" Maxi with Rex the Dog & Einzelkind Remixes - "We Are" ( Get Physical Music ) 2008: BAD COP BAD COP - 12" Maxi "Top of the cops"( Kahlwild ) 2008: Sonne Mond Sterne Compilation "Let´s do it in the club" ( BCB / Indigo ) 2008: Felix da Housecat - GU34 Milan Mix-CD "2 fast 4 u" ( Global Underground ) 2008: Trip to Asia - Remix CD - Berlin Philharmonic Orchestra ( Boomtown Media ) 2008: Fabric38 - Mixed by M.A.N.D.Y. - LOPAZZ "2 fast 4 u" J. Ganzer Remix 2008: LOPAZZ - 12" Maxi with Jochen Trappe Remix - 24 hours ( Apparillo ) 2009: Alex Flatner & LOPAZZ "Make up your mind" ( Cocoon rec. ) 2009: Bronnt Industries Kapital - LOPAZZ Remix "Objects & Purpose" ( Get Physical Music ) 2009: Smalltown Collective - LOPAZZ Remix "Gruenwandler" ( Bacteria ) 2009: T. Becker feat. LOPAZZ "ltd.#012" ( Platzhirsch ) 2009: LOPAZZ & Casio Casino - Album: "Ambient Film Themes Vol.1" ( Get Physical Music & iTunes ) 2009: BAD COP BAD COP - 12" Maxi "Best of best of"( Kahlwild ) 2009: Lopazz feat. Eddie Zarook & The Fix "GPM 108 Credit Card Receipt" ( Get Physical Music )

• • • • • • • • • • • • • •

2009: Smalltown Collective - LOPAZZ Remix "Lotussaft" ( Session Deluxe Music ) 2009: Loco Dice The Lab Mix Cd "Perfect Circles" ( NRK ) 2009: DJ HELL / Gigolo 11 "Watermelon Man" ( International Deejay Gigolos ) 2009: Sven Vaeth "Sound of the 9th season" ( Cocoon rec. ) 2009: LOPAZZ & Casio Casino - Album: "Ambient Film Themes Vol.2" ( Get Physical Music & iTunes ) 2009: Lopazz & Eddie Zarook "Studerrevox Tape-Recordings" ( Circle Music ) 2009: Amnesia Compilation - LOPAZZ feat. Eddie Zarook "V-Point" 2009: Alex Flatner & LOPAZZ "Perfect Circles Remixes" ( Circle Music ) 2009: M.A.N.D.Y. vs LOPAZZ "Full Of..." - Renaissance Compilation ( Renaissance ) 2009: Kasper Bjorke "Young again" - LOPAZZ & Zarook RMX ( HFN ) 2009: BAD COP BAD COP - 12" Maxi "Rerooting to dusty"( MNX ) 2010: Raoul K - "Mystic Things" feat. LOPAZZ ( Baobab Secret ) 2010: Alex Flatner & LOPAZZ "Make up your mind Remixes" ( Cocoon rec. ) 2010: LOPAZZ & Friends feat. Imagination "GPM131" ( Get Physical Music )

Filmography • • • • • • • • • • •

2010: "Desertification" 2010: "Perfektes Promi-Dinner" 2010: Treasures of the World – Heritage of Mankind - Melaka & Georgetown, Malaysia 2010: "Biofach 2010" 2009: Food Hunter - Part 7-8 / In China 2009: Bread for the World Campaign in Durban, South Africa 2009: Bread for the World Campaign in Konso, Ethiopia 2009: Treasures of the World – Heritage of Mankind - Aoelian Islands / Italy 2008: Treasures of the World – Heritage of Mankind - Durmitor / Montenegro 2008: Perfume Hunter - Der Duftjaeger/ arte 2008: Bread for the World Campaign - "Yellow & Fair"

• 2007: Treasures of the World – Heritage of Mankind - Essauoira / Marokko- Wo der Sand das Meer trifft • 2007: Profession: Food Hunter - Auf kulinarischer Schatzsuche in Asien 2007 Teil 1-5

26

Stefan Eichinger • 2006: Treasures of the World – Heritage of Mankind - Koguryo-Graeber / Nordkorea- Kampfbereit bis in alle Ewigkeit • 2006: Treasures of the World – Heritage of Mankind - Merv / Turkmenistan - Ruinen einer Koenigsstadt • 2006: Treasures of the World – Heritage of Mankind - Mongolei - Orchon Tal - Steine, Stupas, Staedte • 2006: Treasures of the World – Heritage of Mankind - Macau / China • 2005: Laos - Wassertaxi zur Koenigsstadt • 2005: Profession: Food Hunter - Auf kulinarischer Schatzsuche in Asien • 2005: Treasures of the World – Heritage of Mankind - Victoria Terminus / Victoria Bahnhof in Mumbai • 2005: Reinhold Messner in der Mongolei - Mit Sohn Simon bei den Tuwa–Nomaden in der Mongolei • 2005: Treasures of the World – Heritage of Mankind - Turkestan, Pilgerfahrt nach Turkestan • 2004: Indien Maritime - Teil 1-3 & ARTE Beitrag für Lola • 2004: Treasures of the World – Heritage of Mankind - Altstadt Tunis, Mausoleum des Hodscha Ahmed Yasawi • 2004: Treasures of the World – Heritage of Mankind - Amalfi-Kueste Italien, Alles wie gemalt • 2003: GEO 360 Grad - Mission Nordkorea • 2003: Treasures of the World – Heritage of Mankind - Accra • 2003: Treasures of the World – Heritage of Mankind - Ashantiland • 2003: Treasures of the World – Heritage of Mankind - Samarkand • • • • • • • • • • • • •

2003: Treasures of the World – Heritage of Mankind - Hội An 2002: Treasures of the World – Heritage of Mankind - Vigan 2002: Treasures of the World – Heritage of Mankind - Dhofar 2002: Treasures of the World – Heritage of Mankind - Huế 2002: Jeder Wind hat seine Reise - Teil 1-3 2001: Treasures of the World – Heritage of Mankind - Kathmandu-Tal 2001: Treasures of the World – Heritage of Mankind - Luang Prabang 2001: Treasures of the World – Heritage of Mankind - Banaue 2001: Treasures of the World – Heritage of Mankind - Halong-Bucht 2000: Treasures of the World – Heritage of Mankind - Buchara - Perle an der Seidenstrasse 2000: Drei Wege nach Samarkand - Die Spur des Propheten 1999: Treasures of the World – Heritage of Mankind - Ghadames 1999: Treasures of the World – Heritage of Mankind - Leptis Magna

Sources • • • •

http://www.lopazz.com http://www.myspace.com/lopazz http://www.achtspur.com http://www.schaetze-der-welt.de

Stefan Eichinger [2] discography at Discogs This article incorporates information from the German Wikipedia.

References

27

Werner Eisbrenner

Werner Eisbrenner Werner Friedrich Emil Eisbrenner (2 December 1908, Berlin – 7 November 1981, Berlin) was a German composer and conductor, best known for his film music. Eisbrenner studied church music and musical education from 1927 to 1929 at the Berlin Staatlichen Musikademie. He then worked as a pianist, arranger, Kapellmeister and conductor, as well as composing violin concertos, orchestral music, the musical comedy Von Hand zu Hand and the music for film, radio and television for which he is best known. This includes the theme for Hans Albers's film Große Freiheit Nr. 7. Eisbrenner was a member of the jury at the 1st Berlin International Film Festival.[1] Eisbrenner also headed a private "Lehrinstitut für Kirchen- und Schulmusik". In 1974 he received the Filmband in Gold for his long and outstanding contributions to German film. On 23 April 1998 a plaque was unveiled at his former home at Wohnung Bismarckallee 32a in Berlin. He was married to Kathe (nee Jacobi) Eisbrenner (b. ?? - d. March 11, 1974). He is buried in the Waldfriedhof Dahlem.

Selected filmography • Anna Favetti (1938) • Between Yesterday and Tomorrow (1947)

References [1] "1st Berlin International Film Festival: Juries" (http:/ / www. berlinale. de/ en/ archiv/ jahresarchive/ 1951/ 04_jury_1951/ 04_Jury_1951. html). berlinale.de. .

External links • This page is a translation of its German equivalent Werner Eisbrenner. • Werner Eisbrenner (http://www.imdb.com/name/nm0006057/) at the Internet Movie Database • Werner Eisbrenner at German Composers' Archive (http://www.komponistenarchiv.de/eisbrenner-werner/)

28

Hanns Eisler

Hanns Eisler Hanns Eisler (6 July 1898 – 6 September 1962) was an Austrian composer.

Family background Eisler was born in Leipzig, the son of Marie (née Fischer) and Rudolf Eisler, a professor of philosophy at Leipzig. His father was Jewish and his mother was Lutheran.[1][2] In 1901, the family moved to Vienna. His brother was a Communist journalist, Gerhart Eisler.[3][4] His sister was Ruth Fischer (née Elfriede Hanns Eisler (left) and Bertolt Brecht, his close friend and Eisler), a leader of the German Communist Party collaborator, 1950 (KPD) in the mid-1920s, who later turned into an anti-communist writing books against her former political affiliation, and even testifying against her brothers before the HUAC. According to secret information declassified in 2010, Ruth Fischer was a key agent of the American intelligence service known as "The Pond".

Early years and Bertolt Brecht During World War I, Hanns Eisler served as a front-line soldier in the Austro-Hungarian army and was wounded several times in combat. Returning to Vienna after Austria's defeat, he studied from 1919 to 1923 under Arnold Schoenberg. Eisler was the first of Schoenberg's disciples to compose in the twelve-tone or serial technique. He married Charlotte Demant in 1920; they separated in 1934. In 1925, he moved to Berlin—then a hothouse of experimentation in music, theater, film, art and politics. There he became a member of the Communist Party of Germany and became involved with the November Group. In 1928, he taught at the Marxist Worker's School in Berlin and his son Georg Eisler, who would grow up to become an important painter, was born. His music became increasingly oriented towards political themes and, to Schoenberg's dismay, more "popular" in style with influences drawn from jazz and cabaret. At the same time, he drew close to Bertolt Brecht, whose own turn towards Marxism happened at about the same time. The collaboration between the two artists lasted for the rest of Brecht's life. In 1929, Eisler composed the song cycle Zeitungsausschnitte, Op. 11. The piece is dedicated to Margot Hinnenberg-Lefebre.[5] Though not written in the twelve-tone technique, the piece was perhaps the forerunner of a musical art style later known as "News Items" – musical compositions that parodied a newspaper's content and style, or that included lyrics lifted directly from newspapers, leaflets, magazines, and other written media of the day. Eisler's piece parodies a newspaper's layout and content, with songs in the cycle given titles similar to headlines. The piece offers evidence of Eisler's socialist leanings, as its lyrics indicate the struggles of ordinary Germans who, after World War I, encountered hardship.[6] Eisler wrote music for several Brecht plays, including The Decision (Die Maßnahme) (1930), The Mother (1932) and Schweik in the Second World War (1957). They also collaborated on protest songs that intervened in the political turmoil of Weimar Germany in the early 1930s. Their Solidarity Song became a popular militant anthem sung in street protests and public meetings throughout Europe, and their Ballad of Paragraph 218 was the world's first song protesting laws against abortion. Brecht-Eisler songs of this period tended to look at life from "below"—from the perspective of prostitutes, hustlers, the unemployed and the working poor. He worked with Brecht and the director Slatan Dudow on the film Kuhle Wampe which was banned by the Nazis in 1933.

29

Hanns Eisler

In exile After 1933, Eisler's music and Brecht's poetry were banned by the Nazi Party. Both artists fled, first to Moscow, where The Decision was produced and staged.[7] Eventually, Eisler and Brecht sought refuge in the United States, along with other exiles fleeing Nazi Germany. In New York City, Eisler taught composition at the New School and wrote experimental chamber and documentary music. Moving shortly before World War II to Los Angeles, he composed several Hollywood film scores, two of which—Hangmen Also Die! and None but the Lonely Heart—were nominated for Oscars. Also working on Hangmen Also Die! was Bertolt Brecht, who wrote the story along with director Fritz Lang. In 1947, he wrote the book Composing for the Films with Theodor W. Adorno. In several chamber and choral compositions of this period, Eisler returned to the twelve-tone method he had abandoned in Berlin. His Fourteen Ways of Describing the Rain—composed for Arnold Schoenberg's 70th birthday celebration—is considered a masterpiece of the genre. Eisler's works of the 1930s and 1940s included Deutsche Sinfonie (1935–57)—a choral symphony in eleven movements based on poems by Brecht and Ignazio Silone[8]—and a cycle of art songs published as the Hollywood Songbook (1938–43). With lyrics by Brecht, Eduard Mörike, Friedrich Hölderlin and Goethe, it established Eisler's reputation as one of the 20th century's great composers of German lieder.

The HUAC investigation Eisler's promising career in the U.S. was interrupted by the Cold War. He was one of the first artists placed on the Hollywood blacklist by the movie studio bosses. In two interrogations by the House Committee on Un-American Activities[9], the composer was accused of being "the Karl Marx of music" and the chief Soviet agent in Hollywood. Among his accusers was his sister Ruth Fischer, who also testified before the House Committee that her other brother, Gerhart, was a major Communist agent. The Communist press denounced her as a "German Trotskyite." Among the works that Eisler composed for the Communist Party was the "Comintern March", "The Comintern calls you/Raise high Soviet banner/In steeled ranks to battle/Raise sickle and hammer."

His supporters Eisler's supporters—including his friend Charlie Chaplin and the composers Igor Stravinsky, Aaron Copland[10] and Leonard Bernstein—organized benefit concerts to raise money for his defense fund, but he was deported early in 1948. Folksinger Woody Guthrie protested the composer's deportation in his lyrics for "Eisler on the Go"—recorded fifty years later by Billy Bragg and Wilco on Mermaid Avenue album (1998). In the song, an introspective Guthrie asked himself what he would do if called to testify before the House Committee on Un-American Activities, "I don't know what I'll do/I don't know what I'll do/Eisler's on the come and go/and I don't know what I'll do."[11]

On departing from the USA On 26 March 1948, Eisler and his wife, Lou, departed from LaGuardia Airport flying to Prague. Before he left he read a statement: "I leave this country not without bitterness and infuriation. I could well understand it when in 1933 the Hitler bandits put a price on my head and drove me out. They were the evil of the period; I was proud at being driven out. But I feel heart-broken over being driven out of this beautiful country in this ridiculous way."

30

Hanns Eisler

In East Germany Eisler returned to Austria and later moved to Berlin, GDR. Back in Germany, he composed the national anthem of the German Democratic Republic, a cycle of cabaret-style songs to satirical poems by Kurt Tucholsky, and incidental music for theater, films and television, and party celebrations. His most ambitious project of the period was the opera Johannes Faustus on the Faust theme. The libretto, written by Eisler himself, was published in the fall of 1952. It portrayed Faust as an indecisive person who betrayed the cause of the working class by not joining the German Peasants' War. In May 1953, Eisler's libretto was attacked by a Eisler's grave in Berlin big article in Neues Deutschland, the SED organ.[12] All of these disapproved of the negative depiction of Faust as a renegade and accused the work of being "a slap in the face of German national feeling" and of having "formalistically deformed one of the greatest works of our German poet Goethe" (Ulbricht). Eisler's opera project was discussed in three of the bi-weekly meetings "Mittwochsgesellschaft" [Wednsday club] of a circle of intellectuals under the auspices of the Berlin Academy of Arts beginning 13 May 1953. The last of these meetings took place on Wednesday, 10 June 1952.[13] A week later the workers rebellion of 17 June 1953 pushed those debates from the agenda. Eisler fell into a depressive mood, and did not write the music for the opera. In his last work "Ernste Gesänge" (Serious Songs) written between spring 1961 and August 1962, Eisler worked on his depression, taking up the 20th Congress of the Communist Party of the Soviet Union with its demise of the Stalin cult, as a sign of hope for a future enabling to "live without fear". Although he continued to work as a composer and to teach at the East Berlin conservatory, the gap between Eisler and the cultural functionaries of East Germany grew wider in the last decade of his life. During this period, he befriended musician Wolf Biermann and tried to promote him[14], whose critical attitude towards the GDR government later led him to be stripped of the GDR citizenship while he was on a concert tour in West Germany. Eisler collaborated with Brecht until the latter's death in 1956. He never recovered completely from his friend's demise and his remaining years were marred by depression and declining health. He died of a heart attack (his second)[15] in East Berlin and is buried near Brecht in the Dorotheenstadt cemetery.

Compositions • 1918: Gesang des Abgeschiedenen ("Die Mausefalle" (after Christian Morgenstern); "Wenn es nur einmal so ganz still wäre" (after Rainer Maria Rilke) • 1919: Drei Lieder (Li-Tai-Po, Klabund); "Sehr leises Gehn im lauen Wind"; "Spartakus" • 1922: Allegro moderato and Waltzes; Allegretto and Andante for Piano • 1923: Divertimento; Four Piano Pieces • 1925: Eight Piano Pieces • 1926: Tagebuch des Hanns Eisler (Diary of Hanns Eisler); 11 Zeitungsausschnitte; Ten Lieder; Three Songs for Men's Chorus (after Heinrich Heine) • 1928: "Drum sag der SPD ade"; "Lied der roten Matrosen" ("Song of the Red Sailors", with Erich Weinert); Pantomime (with Béla Balázs); "Kumpellied"; "Red Sailors' Song"; "Couplet vom Zeitfreiwilligen"; "Newspaper's Son"; "Auch ein Schumacher (verschiedene Dichter)"; "Was möchst du nicht" (from Des Knaben Wunderhorn); "Wir sind das rote Sprachrohr"

31

Hanns Eisler • 1929: Tempo der Zeit (Tempo of Time) for chorus and small orchestra, Op. 16; Six Lieder (after Weinert, Weber, Jahnke and Vallentin); "Lied der Werktätigen" ("Song of the Working People"; with Stephan Hermlin) • 1930: "Die Maßnahme" ("The Measure", Lehrstück, text of Bertolt Brecht), Op. 20; Six Ballads (after Weber, Brecht, and Walter Mehring); Four Ballads (after B. Traven, Kurt Tucholsky, Wiesner-Gmeyner, and Arendt); Suite No. 1, Op. 23 • 1931: "Lied der roten Flieger" (after Kirsanow); Four Songs (after Frank, Weinert) from the film Niemandsland'; Three Songs from the film Kuhle Wampe (texts of Brecht); "Ballad of the Pirates", "Song of Mariken", Four Ballads (with Bertolt Brecht); Suite No. 2, Op. 24 ("Niemandsland"); Three Songs after Erich Weinert; "Das Lied vom vierten Mann" ("The Song of the Fourth Man"); "Streiklied" ("Strike Song"); Suite No. 3, Op. 26 ("Kuhle Wampe") • 1932: "Ballad of the Women and the Soldiers" (with Brecht); Seven Piano Pieces; Kleine Sinfonie (Little Symphony); Suite No. 4, Music for the Russian film Pesn' o geroyakh (Song of Heros) by Joris Ivens with "Song from the Urals" (after Sergei Tretyakov); reused as instrumental piece Op. 30 ("Die Jugend hat das Wort") • 1934: "Einheitsfrontlied" ("United Front Song"); "Saarlied" ("Saar Song"), "Lied gegen den Krieg" ("Song Against War"), "Ballade von der Judenhure Marie Sanders" ("Ballad of the Jews' Whore Marie Sanders"), Songs from Die Rundköpfe und die Spitzköpfe; "Sklave, wer wird dich befreien" ("Slave, who will liberate you"; with Brecht); "California Ballad"; Six Pieces; Prelude and Fugue on B–A–C–H (string trio) • 1935: "Die Mutter" ("The Mother", with Brecht; cantata) • 1935: Lenin Requiem for solo voices, chorus and orchestra • 1937:

• • • • • • • • • • • • • • • •

• Seven cantatas based on texts taken from Ignazio Silone's novels Bread and Wine and Fontamara for solo voice, strings and woodwind instruments: * Die Römische Kantate, opus 60; * Kantate im Exil (Man lebt von einem Tag zu dem andern), opus 62; * Kantate "Nein" (Kantate im Exil No. 2); * Kantate auf den Tod eines Genossen, opus 64; * Kriegskantate, opus 65; * Die den Mund auf hatten; * Die Weißbrotkantate • "Friedenssong" ("Peace Song", after Petere); "Kammerkantaten" ("Chamber Cantatas"); Ulm 1592; "Bettellied "("Begging Song", with Brecht); "Lenin Requiem" (with Brecht) 1938: Cantata on Herr Meyers' First Birthday; String Quartet; Theme and Variations "Der lange Marsch" 1939: Nonet No. 1 1940:*Music for the documentary film "White Flood" (Frontier Films), reused as Chamber Symphony (Kammersymphonie)[16] 1941: Music for the documentary film "A Child went forth", reused as Suite for Septet No. 1, op. 92a[17] 1940/41: Film Music to The Forgotten Village 1940/41: Nonet No. 2 1941: Woodburry-Liederbüchlein (Woodbury Songbook, 20 Songs); "14 Arten den Regen zu beschreiben" (14 ways to describe rain) (for the 70th birthday of Arnold Schoenberg) 1942: "Hollywood-Elegien" ("Hollywood Elegies"; with Brecht) in the Hollywooder Liederbuch (Hollywood Songbook) 1943: Film music for Hangmen Also Die!; Piano Sonata No. 3 1943: Songs to "Schweik in the Second World War"; "Deutsche Misere" (with Brecht) 1946: "Glückliche Fahrt" ("Prosperous Voyage", after Goethe); Incidental music to The Life of Galileo 1946: Film score for A Scandal in Paris 1947: Septet No. 2 1947: music for The Woman on the Beach, film directed by Jean Renoir 1948: Incidental music for Johann Nestroy's play Höllenangst 1948: "Lied über die Gerechtigkeit" ("Song of Justice", after W. Fischer)

• 1949: Rhapsody; "Lied über den Frieden" ("Song about Peace"); National Anthem of the DDR (text by Becher); "Treffass"

32

Hanns Eisler • 1950: "Mitte des Jahrhunderts" (after Becher); Four Lieder on Die Tage der Commune; Children's Songs (with Brecht) • 1952: "Das Lied vom Glück" ("The Song of Happiness"; after Brecht); "Das Vorbild" (after Goethe) • 1955: Night and Fog (film), Songs for the film Herr Puntila und sein Knecht Matti; "Im Blumengarten" ("In the flower garden"); "Die haltbare Graugans"; Three Lieder after Brecht; "Bel Ami" • 1956: Vier Szenen auf dem Lande ("Four Scenes from the Country", after Erwin Strittmatter); Children's Songs (after Brecht); "Fidelio" (after Beethoven) • 1957: Deutsche Sinfonie (after texts of Bertolt Brecht and Ignazio Silone); Bilder aus der Kriegsfibel; "Die Teppichweber von Kujan-Bulak" ("The Carpetweavers of Kujan-Bulak", with Brecht); "Lied der Tankisten" (text by Weinert); "Regimenter gehn"; "Marsch der Zeit" ("March of Time", after Mayakovsky); Three Lieder (after Mayakovsky and Peter Hacks); "Sputnik-Lied" ("Sputnik Song", text of Kuba) • 1958: "Am 1. Mai" ("To May Day", with Brecht) • 1959: 40 songs on texts by Kurt Tucholsky for Ernst Busch; • 1962: "Ernste Gesänge" ("Serious Songs"), seven Lieder after Friedrich Hölderlin, Viertel, Giacomo Leopardi, Richter, and Stephan Hermlin

References [1] Levi, Erik (August 1998). "Hanns Eisler: Life: BBC Composer of the Month" (http:/ / eislermusic. com/ eriklevi. htm). eislermusic.com. North American Hanns Eisler Forum. . Retrieved 30 September 2012. [2] (http:/ / books. google. ca/ books?id=LV0eAAAAMAAJ& q="Hanns+ Eisler"+ LUTHERAN+ mother& dq="Hanns+ Eisler"+ LUTHERAN+ mother& hl=en& redir_esc=y) [3] Freeman, Ira Henry (22 May 1949). "A COMMUNIST'S CAREER - THE 'STORY OF EISLER - For Thirty Years His Has Been a Life Of Adventure on Three Continents" (http:/ / select. nytimes. com/ gst/ abstract. html?res=F70D10F63859157A93C0AB178ED85F4D8485F9) (Editorial). select.nytimes.com. New York Times. . Retrieved 30 September 2012. "Gerhart Eisler, who was caught a week ago Saturday in England in an attempt to escape 'persecution' by the United States Government, is that twentieth-century phenomenon — the professional, international, Communist revolutionary." [4] "COMMUNISTS: The Man from Moscow" (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,778951,00. html). time.com. Time Magazine. 17 February 1947. . Retrieved 30 September 2012. "Gerhart Eisler [...] had just been accused of being the No. I U.S. Communist" [5] Eisler, Hanns. Zeitungsausschnitte. Hackensack, New Jersey: Joseph Boonin, Inc., 1972. [6] Thomas, H. Todd. News Items: An Exploratory Study of Journalism in Music. Abilene, Texas: 1992. [7] Bertolt Brecht and the Politics of Secrecy (http:/ / magazines. documenta. de/ attachment/ 000000622. pdf) by Eva Horn, p. 17 [8] Arnold Pistiak (2009). "Skovbostrand 1937: Nein und Ja. Erinnerung an Hanns Eislers Kantaten auf Texte von Ignazio Silone und Bertolt Brecht [Skovbostrand 1937: No and yes. Remeniscences to Hanns Eisler's cantatas on texts by Ignazio Silone and Bertolt Brecht]". In Frank Stern (in German). Feuchtwanger und Exil. Glaube und Kultur 1933 – 1945. „Der Tag wird kommen“ [Feuchtwanger and Exile. Belief and Culture 1933-1945. "The day will come"]. Feuchtwanger Studies, Volume 2. Bern. 2011. pp. 305-331.. ISBN 978-3-03-430188-6. [9] Lang, Andrew (2005). "Hanns Eisler: Life: Eisler in the McCarthy Era" (http:/ / eislermusic. com/ huac. htm). eislermusic.com. North American Hanns Eisler Forum. . Retrieved 30 September 2012. "To the rising anticommunist star Richard Nixon, then serving his first term as a U.S. Congressman, "the case of Hanns Eisler" was "perhaps the most important ever to have come before the committee."" [10] "McCarthy Hearings" (http:/ / www. gpo. gov/ congress/ senate/ mccarthy/ 83870. html). McCarthy Hearings 1953–54 Vol. 2. U.S. Government Printing Office. . Retrieved 1 June 2011. [11] Guthrie, Woody (1948). "'Eisler on the Go'" (http:/ / www. woodyguthrie. org/ Lyrics/ Eisler_on_the_Go. htm). woodyguthrie.org (lyrics). Woody Guthrie Publications, Inc. administered by Bug Music. . Retrieved 30 September 2012. [12] Redaktionskollegium "Neues Deutschland" (14 May 1953). "Das "Faust"-Problem und die deutsche Geschichte. Bemerkungen aus Anlaß des Erscheinens des Operntextes "Johann Faustus" von Hanns Eisler [The "Faust"-Problem and the German History. Remarks occasioned by the publication of the opera text "Johannes Faustus" by Hanns Eisler]" (in German). Neues Deutschland. [13] Transscript of those sessions together with related documents in Bunge, Hans (1991). Brecht-Zentrum Berlin. ed (in German). Die Debatte um Hanns Eislers "Johann Faustus": eine Dokumentation [The debate on Hanns Eisler's "Johann Faustus": a documentation]. pp. 45-248. ISBN 978-3-86163-019-7. [14] Biermann, Wolf (October 1983). Interview with James K. Miller. "Hanns Eisler: Life: Interview with Wolf Biermann" (http:/ / eislermusic. com/ biermann. htm) (Originally published in "Communications", Vol. 18, No. 2, pp. 21-35, International Brecht Society.). eislermusic.com (North American Hanns Eisler Forum). . Retrieved 30 September 2012. "Eisler is part of the most precious legacy which they must appropriate. And if I can contribute something to that, by telling people here (in America) about Eisler — from my very limited perspective, of course — then it's a good thing and I'm happy about it. Ja."

33

Hanns Eisler [15] Jackson, Margaret R. (2003). "Workers, Unite! The Political Songs of Hanns Eisler, 1926–1932" (http:/ / etd. lib. fsu. edu/ theses/ available/ etd-11172003-180442/ unrestricted/ MargaretJackson. pdf) (PDF). Florida State University School of Music. p. 16. . Retrieved 19 August 2010. [16] "Hanns Eisler DVD-Edition Rockefeller Filmmusik Projekt 1940-42: White Flood" (http:/ / www. hanns-eisler. de/ DVD/ index/ index. php?Seite=White& Sprache=en). hanns-eisler.de. Internationale Hanns-Eisler-Gesellschaft. 2012 [last update]. . Retrieved 25 September 2012. [17] Internationale Hanns-Eisler-Gesellschaft (2012 [last update]). "Hanns Eisler DVD-Edition Rockefeller Filmmusik Projekt 1940-42: A Child went forth" (http:/ / www. hanns-eisler. de/ DVD/ index/ index. php?Seite=Child& Sprache=en). hanns-eisler.de. . Retrieved 25 September 2012.

Literature • Weber, Horst: “I am not a hero, I am a composer”: Hanns Eisler in Hollywood. Hildesheim: Georg Olms Verlag, 2012. ISBN 978-3-487-14787-1.

External links • The International Hanns Eisler Society (http://www.hanns-eisler.com/index/index.php?Seite=&Sprache=en) • EislerMusic.com (http://eislermusic.com/) • Orel Foundation (http://orelfoundation.org/index.php/composers/article/hanns_eisler/) Hanns Eisler – biography, bibliography, works and discography. • Hans Eisler at the IMDB (International Movie Database) (http://www.imdb.com/name/nm0006058/) • Hanns Eisler Project (http://www.tonttu.com/projects/page22) • Georg Eisler Gallery (http://www.georgeisler.at/) • Eisler FBI File (http://vault.fbi.gov/Hanns Eisler)

34

Christopher Evans Ironside

35

Christopher Evans Ironside Christopher Evans-Ironside Also known as Overdrive Origin

Wiltshire

Genres

Soundtracks, Pop music, Progressive rock

Occupations

Keyboardist, arranger and composer.

Instruments

Piano, Keyboards

Years active

fl. ca. 1974 - present

Labels

EMI Electrola, WEA

Website

Ironside Music

[1]

Christopher Evans-Ironside is a successful and award-winning songwriter, composer and music producer. Born in England and based in Hamburg, Germany, his awards have included Gold and Platinum discs for collaborations with Nino de Angelo and Drafi Deutscher as Mixed Emotions and Masquerade. In the early eighties Evans-Ironside produced three progressive rock albums, the first two as a duo with singer David Hanselmann, "Stonehenge" and "Symbols", and the third as a solo project, "Empty Spaces," in addition collaborating with Michael Chambosse on a concept album, "The Timemachine." Evans Ironside is a prolific soundtrack composer for film, television and theatre, with work including Die Rättin and Fisimatenten, and music for ballet productions by the Görlitz Theatre.

External links • Official website [2] Christopher Evans Ironside [3] discography at Discogs

Harold Faltermeyer

36

Harold Faltermeyer Harold Faltermeyer Birth name

Harald Faltermeier

Born

October 5, 1952 Munich, Germany

Genres

Film score, synthpop, electronic dance music

Occupations Musician, composer, producer Instruments Synthesizer, keyboard, piano Years active 1970s–present Labels

Deutsche Grammophon, MCA Records

Harold Faltermeyer (born Harald Faltermeier; October 5, 1952) is a German musician, keyboardist, composer and record producer. He is recognized as one of the composers/producers who best captured the zeitgeist of 1980s synthpop in film scores. He is best known for writing and composing "Axel F" electronic theme for Beverly Hills Cop and the Top Gun Anthem from the soundtrack for Top Gun—both often imitated, highly influential instrumental hits that to some extent practically redefined action film scoring in the '80s. As a session musician, arranger and producer, Faltermeyer has worked with several international pop stars including Donna Summer, Amanda Lear, Patti LaBelle, Barbra Streisand, Glenn Frey, Blondie, Laura Branigan, La Toya Jackson, Billy Idol, Jennifer Rush, Alexis, Cheap Trick, Sparks, Bob Seger, Chris Thompson, Bonnie Tyler, Valerie Claire and Pet Shop Boys. He has won two Grammy Awards: the first in 1986 for Best Album of original score written for a motion picture or television special, as a co-writer of the Beverly Hills Cop soundtrack; and the second in 1987 for Best Pop Instrumental Performance with guitarist Steve Stevens for Top Gun Anthem from the soundtrack.

Background Faltermeyer was born in Munich, Germany, the son of Anneliese (née Schmidt), a homemaker, and Hugo Faltermeier, a construction businessman.[1] Encouraged by his parents (the owners of a civil engineering firm), he started playing piano at the age of 6. At 11, a Nuremberg music professor discovered that Harold was gifted with absolute pitch. His boyhood years combined training in classical music with a developing interest in rock 'n roll. He played organ in a rock combo and studied trumpet and piano at the Munich music academy. While waiting to begin university studies he found work at a recording studio. Within three years he was engineering major classical sessions for the prestigious Deutsche Grammophon label. Then in 1978, Giorgio Moroder recognized his promise and brought him to Los Angeles to play keyboards and arrange the soundtrack for the film Midnight Express. Moroder and Faltermeyer continued their collaboration the next decade, producing Donna Summer albums and several hits for various artists. Soon Faltermeyer was earning an international reputation for both precise workmanship and trendsetting creativity in his use of synthesizer technology.[2]

Harold Faltermeyer

Soundtrack work Alongside a busy schedule as a record producer, he became increasingly involved in soundtrack work on Moroder's scores (Midnight Express, American Gigolo and Foxes) and was soon hired as composer in his own right—usually composing, performing and producing the complete score as well as a number of pop songs penned for various artists. Early on he created arguably one of his finest works for 1984's Thief of Hearts—a highly sought after CD with noteworthy electronic scoring and songs for Melissa Manchester, Annabella Lwin, Elizabeth Daily and others. Then came his big break with the landmark Hip hop / Breakdance influenced score for Beverly Hills Cop featuring the worldwide hit, the "Axel F" theme (referred to by Faltermeyer himself as the banana theme[3] as it was originally written for a specific scene where Detroit policeman Axel Foley gives a pair of Beverly Hills police officers the slip by shoving bananas up their exhaust pipe, causing their car to stall when they try and tail him). The year after, the Fletch theme expanded on his trademark electronic soundscapes with experimental phase modulated percussion effects woven into the largely analog synth melodies. He also composed the theme song, "Bit by Bit", sung by Stephanie Mills. The full scores of these films were not released on album. Only a handful of additional score tracks complemented these hits on vinyl: "The Discovery" and "Shoot-out" from Beverly Hills Cop and "Memories" from Top Gun, and only ever as B-sides on singles. However, The Running Man and Kuffs were graced with full score albums and the Thief of Hearts and Fletch scores also received reasonably good coverage on their respective soundtrack albums. In January 2007, La La Land Records finally released a limited edition soundtrack (3000 CD copies) for Tango & Cash. In 1987 Faltermeyer recorded an album called Harold F with vocal tracks featuring various guest singers plus "Axel F" which appears as a bonus track. The song "Bad Guys" is based on the (otherwise unavailable) main theme for Beverly Hills Cop II. In 1990 he co-produced the album Behaviour with Pet Shop Boys at his studio near Munich after Neil and Chris were looking for his "sound", being longtime fans. The album was released later the same year and is considered by many to be Pet Shop Boys' best album.

Influence The highly recognizable "Axel F" theme was recorded using five instruments: a Roland Jupiter-8 (lead), a Moog modular synthesizer 55 (bass), a Roland JX-3P (chord stabs), a Yamaha DX7 (bell/marimba), and a LinnDrum drum machine. It has been covered by numerous artists and in May 2005 a re-recording of the classic reached number one in the UK singles chart after being remixed with the Crazy Frog ringtone. The theme changed the sound of contemporary urban action/comedy, just as the Top Gun Anthem became synonymous with seductive depictions of working class heroes striving for the top (like Bill Conti's "Rocky theme" did 10 years earlier). The music for 1988's flight simulator computer game F/A-18 Interceptor from Electronic Arts was obviously inspired by the "Top Gun Anthem" and many film scenes, spoof or serious, have been scored in a faux-Top Gun fashion. In 1991 Sylvester Levay (himself a past Moroder collaborator) faithfully re-created the theme's atmosphere in his Hot Shots! parody score (paradoxically, this score was released on CD by Varese Sarabande while the original Top Gun score has still not been released officially, although in 2006 a bootleg appeared in small circulation among collectors.) In many ways, Faltermeyer's work on action films during the 1980s presaged the work that Hans Zimmer would embody and perpetuate during the mid 1990s. Faltermeyer's style defined the 1980s style of action scoring, heavily synthesized, very tuneful and rhythmic. Zimmer and his many protégés redefined it for the 1990s and beyond, but embodied the same kind of hybrid textures that Faltermeyer first laid down in the 1980s.

37

Harold Faltermeyer

Later career "After Tango & Cash I made a decision to go back and raise my children in Germany, where I was born", Faltermeyer said in a 2006 interview for the Tango & Cash soundtrack CD. From his Red Deer Studios Estate in Munich, Germany, he has continued producing hit records and soundtracks mainly for the German market. In 2002, he went to Vienna and wrote a musical with Rainhard Fendrich, Wake Up, which played for nearly two years in Vienna's famous Raimund Theater. The following soundtrack CD employed Copy Control technology and features an orchestral ouverture as well as 16 songs. "But now I think it's time to come back where I started from." Faltermeyer has become re-associated with his Los Angeles agency, Creative Artists Agency, and is looking forward to getting involved again in Hollywood film scoring. Earlier in 2006, Faltermeyer wrote the in-game soundtrack music for the computer game, Two Worlds. In late 2009, Faltermeyer was approached by Kevin Smith, director of the action comedy Cop Out starring Bruce Willis, to do the soundtrack score. Faltermeyer's return to scoring was for this film, which opened in February 2010.

Discography Soundtrack albums As composer • • • • • • • • • • • • • • • • • • • • • • • •

Didi – der Doppelgänger (1983) (with Arthur Lauber) Thief of Hearts (1984) (with Giorgio Moroder) Beverly Hills Cop (1984) Fletch (1985) Top Gun (1986) (with Giorgio Moroder) Fire and Ice (Feuer und Eis (1986) (with Hermann Weindorf, one song) Fatal Beauty (1987) (one song) Beverly Hills Cop II (1987) (one song) The Running Man (1987) Starlight Express (1987) Formel Eins / Formula One (1986) Blaues Blut / Blue Blood (1989) (with Hermann Weindorf) Tango & Cash (1989, released 2006) Fire, Ice & Dynamite (Feuer, Eis & Dynamit) (1990) Kuffs (1992) White Magic (1994) Zeit der Sehnsucht (1994) Asterix Conquers America (1994) Frankie (1995) Der König von St. Pauli (1997) Jack Orlando (1997) (computer game score) Wake Up (2002) Two Worlds (2007) (computer game score) (Collector's Edition inclusion) Cop Out (2010)

As arranger only • Midnight Express (1978) • Foxes (1979) • American Gigolo (1980)

38

Harold Faltermeyer

Albums As songwriter / producer / arranger / musician / remixer • • • • • • • • • • • • • • •

Amanda Lear: I am a Photograph (1977) Suzi Lane: Ooh, La, La (1978) Roberta Kelly: Gettin' The Spirit (1978) Dee D Jackson: Cosmic Curves (1978) Giorgio Moroder and Chris Bennett: Love's in You, Love's in Me (1978) Giorgio Moroder: Battlestar Galactica (1978) Janis Ian: Night Rains (1979) The Sylvers: Disco Fever (1979) The Three Degrees: Three D (1979) Donna Summer: Bad Girls (1979) Donna Summer: The Wanderer (1980) Sparks: Terminal Jive (1980) Giorgio Moroder: E=mc2 (1980) Donna Summer: I'm a Rainbow (1981, shelved until 1996) Al Corley: Square Rooms (1984)

• • • • • • • • • • • • • • • •

Laura Branigan: Self Control (1984) Laura Branigan: Hold Me (1985) Richard T. Bear: The Runner (1985) E. G. Daily: Wildchild (1985) Billy Idol: Whiplash Smile (1986) Donna Summer: All Systems Go (1987) Jennifer Rush: Heart Over Mind (1987) Jennifer Rush: Passion (1988) Pet Shop Boys: Behaviour (1990) Dominoe: The Key (1990) Chris Thompson: Beat of Love (1991) Falco: Jeanny (Remix) (1991) Falco: Emotional (Remix) (1991) Chaya: Here's to Miracles (1993) Marshall & Alexander: Marshall & Alexander (1998) Bonnie Tyler: All in One Voice (1999)

Selected singles As songwriter / arranger / producer • • • •

Camino De Lobo: "Carmen Disco Suite" (1983) Valerie Claire: "I'm a Model (Tonight's the Night)" (1984) Valerie Claire: "Shoot Me Gino" (1985) John Parr: "Restless Heart (Running Away with You)" (1987) (not available on the Running Man soundtrack album) • Kathy Joe Daylor: "With Every Beat of My Heart" (1990)

39

Harold Faltermeyer

Selected singles including instrumental themes • • • • • • • •

Artists United For Nature: "Yes We Can" (1989) (7" & CD including instrumental version) Harold Faltermeyer: "Axel F" (1984) (7" including "Shoot Out") Harold Faltermeyer: "The Race Is On / Starlight Express" (1987) Harold Faltermeyer & Steve Stevens: "Top Gun Anthem" (1986) (including "Memories") Glenn Frey: "The Heat Is On" (1984) (7" including "Shoot Out") Patti LaBelle: "Stir It Up" (1984) (7" including "The Discovery") Marietta: "Fire and Ice" (1986) (7" & 12" including instrumental dub version) Chris Thompson: "The Challenge (Face It)" (Wimbledon 1989 theme, 7" & CD including instrumental version)

Solo releases • Harold F (1987) • Worldhits (1988?) (Instrumental disco arrangements of various well-known songs) • Harold Faltermeyer featuring Joe Pizzulo: "Olympic Dreams" (1992) (CD single)

Collections • Portrait of Harold Faltermeyer: His Greatest Hits (2003 double CD) • Movie Greats (1986) (only CD to feature the Fletch theme) • Stephanie Mills: The Collection (1990) (CD including "Bit by Bit (Theme from Fletch)", otherwise LP-only track)

Further reading • Kuffs soundtrack, liner notes (unknown author), Milan 10151-2 (1992 CD) • Tango & Cash soundtrack, liner notes by Randall D. Larson, La-La Land Records LLLCD 1052 (2006 CD)

References [1] "Harold Faltermeyer Biography (1952-)" (http:/ / www. filmreference. com/ film/ 63/ Harold-Faltermeyer. html). Filmreference.com. . Retrieved 2012-02-15. [2] Schweiger, Daniel - "AUDIO: On The Score With Harold Faltermeyer" (http:/ / web. archive. org/ web/ 20100430203054/ http:/ / www. filmmusicmag. com/ ?p=4908) - FilmMusicMag.com [3] CreaTVty Ltd, Take 2 TV Partnerships and NBD Television Ltd: Music Behind The Scenes, Episode 4 - Humour (http:/ / www. nbdtv. com/ frames_main/ product. asp?ProductID=330)

External links • Official website (http://haroldfaltermeyer.net/) • Harold Faltermeyer (http://www.imdb.com/name/nm0266536/) at the Internet Movie Database

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Hartmut Geerken

Hartmut Geerken Hartmut Geerken (born 15 January 1939 in Stuttgart, Germany) is a German musician, composer, writer, journalist, playwright, and filmmaker.

Life Geerken studied orientalism, philosophy, German studies and comparative religion in Tübingen and Istanbul, and produced a dissertation on Hellmut Ritter. He gave German language courses in Turkey for the first Turkish guest workers planning to go to Germany. As an employee at the Goethe Institute, he lived in Cairo from 1966–1972, in Kabul from 1972–1979, and in Athens from 1979–1983. Since then he has lived in Herrsching am Ammersee.

Achievements Geerken is as artist and arts organizer. As a percussionist, he has collaborated with a variety of free jazz musicians such as Sun Ra, John Tchicai, Sainkho Namtchylak. As a poet, he is a practitioner of concrete poetry and organizes events such as the annual Bielefeld New Poetry Colloquium. As an actor, he appeared in six films by Herbert Achternbusch and appeared in two of Achternbusch's plays at the Munich Kammerspiele. From 1991–1992, he held the Chair of Poetics at the Folkwang Hochschule in Essen. Geerken was also dedicated to the memory of the German literati Anselm Ruest. When he was on the trail of the estate of Victor Hadwiger, Geerken investigated an uninhabited house in southern France, where he instead found parts of the estate of Ruest, who had died in 1943. Ruest was, along with Mynona, editor of the Stirnerite journal Der Einzige, which was published in a small edition from 1919–1925. From the funds of the estate, Geerken found it was possible to reprint a complete set of Der Einzige, which was published in 1980. In 1979, while Geerken was living in Afghanistan, Geerken made a study of the ethnomycology of the areas of Afghanistan in which he traveled, co-authoring two papers on the topic. In the second paper, he states that he had discovered a tradition of recreational use of the Amanita muscaria use among the Parachi-speaking people of the Shutul Valley.[1]

Awards Munich Literature Year (1984), Schubart Literary Prize (1986), Karl Sczuka Prize for Works of Radio Art: "südwärts, südwärts" (BR 1989) and "hexenring" (BR 1994).

Major works • Book publications include "murmel gedichte" (1965), "verschiebungen" (1972), "sprünge nach rosa hin" (1981), "poststempel jerusalem" (1993), "kant" (1998), "ogygia: vom ende des südens" (2004), "phos" (2005), "forschungen etc.'" (2006), "klafti" (2007), "kyrill" (2007), "soyd" (2008), "moos" (2008). • Co-editor of the series "Frühe Texte der Moderne". Editor of the works of Salomo Friedlaender, of various articles from expressionists, dadaists, and anarchists from the first half of the 20th Century, and the German biographer of Sun Ra. • Compositions, installations, albums, films, and radio plays.

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Hartmut Geerken

References This article incorporates information from the equivalent article on the German Wikipedia. • Hartmut Geerken: Bio [2], HartmutGeerken.de. (German) [1] Mochtar, S. G.; Geerken, H.; Werner. P. G. (trans) (1979). "The Hallucinogens Muscarine and Ibotenic Acid in the Middle Hindu Kush: A contribution on traditional medicinal mycology in Afghanistan" (http:/ / www. erowid. org/ plants/ amanitas/ references/ journal/ 1979_mochtar_afghanistan1. shtml) (in German). Afghanistan Journal. pp. 62–65. . Retrieved 2009-02-27.

External links • • • •

Official website (http://www.hartmutgeerken.de) Hartmut Geerken at Kunstradio.at (http://www.kunstradio.at/BIOS/geerkenbio.html) Jungle World (http://www.jungle-world.com/seiten/2006/32/8290.php) Hartmut Geerken (https://portal.d-nb.de/opac.htm?query=Woe=119073846&method=simpleSearch) in the German National Library catalogue • Hartmut Geerken (http://www.imdb.com/name/nm0311647/) at the Internet Movie Database

Georg Haentzschel Georg Haentzschel (born in Berlin 23 December 1907, died in Cologne 12 April 1992) was a German pianist, broadcaster, composer and arranger. Haentzschel studied at the Stern Conservatoire in Berlin and made a career which eventually left him as the last remaining representative composer from what he considered the golden age of German film music. He worked equally happily as a jazz pianist, regularly collaborating with the similarly gifted Peter Igelhoff. He directed the Deutsche Tanz-und-Unterhaltungsorchester (German Dance and Light Music Orchestra). After the war, he moved to West Germany and worked in Cologne. Haentzschel's most famous film score, for the wartime extravaganza Münchhausen (1943) recalls his mentor Theo Mackeben. The score is flooded with romantic melody and effective scoring. Representative work may be heard in many other film scores, such as Via Mala (released 1948), Annelie (1941) and Robinson soll nicht sterben. He died during an earthquake.[1]

References [1] Georg Haentzschel (http:/ / www. allmovie. com/ cg/ avg. dll?p=avg& sql=2:217382~T1)

External links • Georg Haentzschel (http://www.imdb.com/name/nm0003170/) at the Internet Movie Database

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Reinhold Heil

Reinhold Heil Reinhold Heil is a film and television composer based in Los Angeles. Born in Schlüchtern, West Germany, he first came to prominence as the keyboarder of the legendary German punk band the Nina Hagen Band. He is a former member of Spliff, one of Germany's most successful rock bands of the 1980s. His film and television credits include Run Lola Run, One Hour Photo, The International, Perfume: The Story of a Murderer, HBO’s Deadwood, CBS’s Without a Trace, NBC’s Awake, and Cloud Atlas, directed by Lana Wachowski, Andy Wachowski, and Tom Tykwer. His partners in film scoring have been Johnny Klimek and sometimes German film director Tom Tykwer. He continues to collaborate with Johnny Klimek on selected projects while working primarily as an individual composer. He is represented by First Artists Management.[1][2][3][4]

Partial Filmography • I, Frankenstein (2013) • Cloud Atlas (2012) • Awake (NBC) (2012) • • • • • • • • • • • • • • • • • • • •

Locke & Key (TV Pilot, Fox) (2011) Killer Elite (2011) Three (2010) Tomorrow When the War Began (2010) The International (2009) Perfume: The Story of a Murderer (Nominated for Saturn Award for Best Music and German Film Awards, Film Award in Gold for Best Film Score) (2006) John From Cincinnati (HBO) (2007) Anamorph (2007) Blood and Chocolate (2007) Deadwood (HBO) (2006) Paris, je t'aime (2006) Land of the Dead (2005) The Cave (2005) Sophie Scholl: The Final Days (2005) Iron Jawed Angels (HBO) (2004) Without A Trace (CBS) (2002) One Hour Photo (Nominated for Saturn Award for Best Music) (2002) The Princess and the Warrior (2000) Run Lola Run (Nominated for Chicago Film Critics Association award for Best Original Score) (1999) Winter Sleepers (1997) [5]

43

Reinhold Heil

References [1] "Dynamic Duo: A Composer Team On The Rise" (http:/ / www. ascap. com/ playback/ 2003/ july/ radar-duo. aspx/ ). ASCAP. . Retrieved 6 October 2012. [2] "ASCAP Sponsored Hollywood Reporter/Billboard Film & TV Music Conference" (http:/ / www. ascap. com/ Playback/ 2007/ SPRING/ FACES_PLACES/ filmtv/ hollywood_reporter. aspx?print=1). ASCAP. . [3] "Film Music Friday: Johnny Klimek/Reinhold Heil on Cloud Atlas" (http:/ / www. ascap. com/ Playback/ 2012/ 10/ wecreatemusic/ fmf-johnny-klimek-reinhold-heil-on-cloud-atlas. aspx). ASCAP. . [4] Schweiger, Daniel. "On the Score with Johnny Klimek, Reinhold Heil and Tom Tykwer" (http:/ / www. filmmusicmag. com/ ?p=10158). Film Music Magazine. . [5] "Internet Movie Database" (http:/ / www. imdb. com/ name/ nm0374112/ ). .

External links • Reinhold Heil official website (http://www.reinholdheil.com/) • Reinhold Heil on Internet Movie Database (http://www.imdb.com/name/nm0374112/)

44

Werner R. Heymann

45

Werner R. Heymann Werner R. Heymann

Born

14 February 1896 Königsberg, East Prussia, Germany (now Sovetsk, Kaliningrad, Russia)

Died

30 May 1961 (aged 65) Munich, Germany

Occupation

Film composer

Years active 1926-1961

Werner R. Heymann (14 February 1896 – 30 May 1961) was a German film composer. He was a member of the jury at the 10th Berlin International Film Festival.[1]

Selected filmography • • • • • • • • • • • • • • • • •

The White Horse Inn (1926) Napoléon (1927) Valencia (1927) The Last Waltz (1927) Spione (1928) The Three from the Filling Station (1930) Der Kongreß tanzt (1931) Adorable (1933) Caravan (1934) Angel (1937) Bluebeard's Eighth Wife (1938) Ninotchka (1939) The Shop Around the Corner (1940) She Knew All the Answers (1941) Bedtime Story (1941) That Uncertain Feeling (1941) The Wife Takes a Flyer (1942)

• Flight Lieutenant (1942) • To Be or Not to Be (1942) • Hail the Conquering Hero (1944)

Werner R. Heymann • • • • •

Mademoiselle Fifi (1944) It's in the Bag! (1945) The Sin of Harold Diddlebock (1947) Alraune (1952) The Three from the Filling Station (1955)

References [1] "10th Berlin International Film Festival: Juries" (http:/ / www. berlinale. de/ en/ archiv/ jahresarchive/ 1960/ 04_jury_1960/ 04_Jury_1960. html). berlinale.de. . Retrieved 2010-01-14.

External links • Werner R. Heymann (http://www.imdb.com/name/nm0006128/) at the Internet Movie Database • Werner Heymann website (http://www.heymann-musik.de)

Michael Hoenig Michael Hoenig (born 4 January 1952 in Hamburg) is a German composer who has composed music for several movies and games, in addition to two solo albums. In 1996, he was nominated for an Emmy award (best theme song) for his work on the short-lived sci-fi series Dark Skies.

Early career As the editor of the underground magazine LOVE in the late sixties, Hoenig was part of the burgeoning progressive rock scene in Berlin, which fostered bands like Tangerine Dream, Ash Ra Tempel and Agitation Free. His interest in avant-garde music, sound generators and prepared tapes caught the eye of Michael Guenther, the bassist of Agitation Free, and he joined the band in February 1971. In March 1975, Hoenig was hired to replace Peter Baumann in Tangerine Dream for an Australian tour and BBC recorded London Royal Albert Hall concert, and subsequently left Agitation Free, which broke up shortly after. Baumann rejoined Tangerine Dream soon after, and Hoenig went on to collaborate with Klaus Schulze on the short-lived project, Timewind. In 1976 he had a brief collaboration with Manuel Göttsching of Ash Ra Tempel; a recording of one of the sessions was released in 1995 under the title "Early Water". In 1977, he released his first solo album, the highly acclaimed Berlin School classic Departure from the Northern Wasteland, and left for Los Angeles shortly after it was released.

Film scores/Later career Hoenig owns a recording studio in Los Angeles and through his company Metamusic Productions, he has composed the scores for several movies (see filmography below) and television shows. In addition to this, he has composed music for the extremely popular Baldur's Gate PC games by Bioware. In 1987, Hoenig released his second solo album, Xcept One. The track Bones on the Beach from the Xcept One album was installed in the roller coaster CHAOS at Opryland making the attraction the first roller coaster to be synced to music. In 1998 the roller coaster was removed from Opryland. The track Bones on the Beach has also been used in the similar roller coaster Revolution at Bobbejaanland, a family park in Lichtaart, Belgium since 2004. In 2008 the roller coaster was redecorated and renamed to Evolution. Another soundtrack was used until 26th August 2011, but since 27th August 2011 Bones on the Beach is being used again.

46

Michael Hoenig

Albums • • • •

Departure from the Northern Wasteland (1977) Xcept One (1987) The Blob (1988 film) (1988) Soundtrack Dark Skies (2007 tv) (1988) Soundtrack

with Tangerine Dream • Bootleg Box Set Vol 1 (2003) includes full Royal Albert Hall 1975 concert

with Manuel Göttsching • Early Water (1997) Recorded 1976

Producer • Lovely Thunder - Harold Budd (1986)

Filmography • • • • • • • • • • • • • • • • • • • • • • •

Dracula 3000 (2004) The Contaminated Man (2000) After Alice (1999) Her Costly Affair (1996) Thrill (1996) Above Suspicion (1995) Terminal Justice (1995) Search for Grace (1994) Eyes of Terror (1994) Visions of Murder (1993) The Amy Fisher Story (1993) The Last of the Finest (1990) Class of 1999 (1990) I, Madman (1989) The Blob (1988) The Gate (1987) Shattered Spirits (1987) The Wraith (1987) 9½ Weeks (1986) (additional music) Silent Witness (1985) Night Patrol (1984) Deadly Encounter (1982) Koyaanisqatsi (1982) (additional music)

47

Michael Hoenig

TV series • • • •

The District (2000–2004) Strange World (1999) Dark Skies (1996–1997) Max Headroom (1987–1988)

Games • Baldur's Gate (1998) • Baldur's Gate: Tales of the Sword Coast (1999) • Baldur's Gate 2: Shadows of Amn (2000)

External links • Michael Hoenig [1] at the Internet Movie Database • Artist profile [2] at OverClocked ReMix • Departure From The Northern Wasteland review (in Spanish) [3]

Friedrich Hollaender Friedrich Hollaender (born Friedrich Holländer; 18 October 1896 – 18 January 1976) was a German film composer and author.

Life and career He was born in London, where his father, operetta composer Victor Hollaender, worked at the Barnum & Bailey Circus. Young Friedrich had a solid music and theatre family background: his uncle Gustav was director of the Stern Conservatory in Berlin, his uncle Felix Hollaender was a well-known novelist and drama critic, who later worked with Max Reinhardt at the Deutsches Theater. In 1899 Friedrich's family returned to Germany, his father began teaching at the Stern Conservatory, where his son became a student in Engelbert Humperdinck's master class. In the evening he played the piano at silent film performances in local cinemas, developing the art of musical improvisation. By the age of 18 he was employed as a répétiteur at the New German Theatre in Prague and also was put in charge of troop entertainment at the Western Front of World War I. Having finished his studies, he composed music for productions by Max Reinhardt and became involved in cabaret and wrote music for the film, The Blue Angel (1930). He left Nazi Germany (because he was Jewish)[1] and emigrated to the United States of America where he wrote the music for over a hundred films, including Destry Rides Again (1939), A Foreign Affair (1948), The 5,000 Fingers of Dr. T (1953 Academy Award nomination) and Sabrina (1954). He also wrote as "Frederick Hollander", the semi-autobiographical novel Those Torn From Earth which was released in 1941. Many of his songs were made famous by Marlene Dietrich. He can be seen as the piano accompanist in A Foreign Affair (on the songs, "Black Market", "Illusions" and "Ruins of Berlin"). He received four Academy Award nominations for composition. In 1956 he returned to Germany. He was married to Blandine Ebinger and died in Munich in 1976 and is buried in Waldfriedhof Dahlem.

48

Friedrich Hollaender

Selected songs • 1926 "Raus mit den Männern", famous feminist song performed by Claire Waldoff. • 1930 "Ich bin von Kopf bis Fuß auf Liebe eingestellt" w.m. (words and music) Hollander (with English words by Sammy Lerner became known as "Falling in Love Again (Can't Help It)"). Introduced by Marlene Dietrich in the film Der Blaue Engel. • 1931 "Wenn ich mir was wünschen dürfte" in film Der Mann, der seinen Mörder sucht and in the 1974 film The Night Porter (Italian: Il Portiere di notte) by Liliana Cavani. • 1935 "My Heart and I" w. Leo Robin. Introduced by Bing Crosby in the 1936 film Anything Goes • 1936 "Awake in a Dream" w. Leo Robin. Introduced by Marlene Dietrich in the film Desire. • 1936 "The House That Jack Built for Jill" w. Leo Robin. Introduced by Bing Crosby in the film Rhythm on the Range. • 1936 "Moonlight and Shadows" w. Leo Robin. Introduced by Dorothy Lamour in the film The Jungle Princess. • 1937 "Whispers in the Dark" w. Leo Robin. Introduced by Connie Boswell in the film Artists and Models • 1937 "It's Raining Sunbeams" w. Sam Coslow. Introduced by Deanna Durbin in the film One Hundred Men and a Girl. • 1937 "True Confession" w. Sam Coslow. Theme of the film True Confession. • 1938 "You Leave Me Breathless" w. Ralph Freed. Introduced by Fred MacMurray in the film Cocoanut Grove. • 1939 "Strange Enchantment" w. Frank Loesser. Introduced by Dorothy Lamour in the film Man About Town. • 1939 "See What the Boys in the Back Room Will Have" w. Frank Loesser. Introduced by Marlene Dietrich in the film Destry Rides Again. • 1940 "I've Been in Love Before" w. Frank Loesser. Introduced by Marlene Dietrich in the film Seven Sinners. • 1940 "Moon Over Burma" w. Frank Loesser. Introduced by Dorothy Lamour in the film Moon Over Burma. • 1948 "Black Market" w.m. Hollander. Introduced by Marlene Dietrich in the film A Foreign Affair. • 1948 "Illusions" w.m. Hollander. Introduced by Marlene Dietrich in the film A Foreign Affair. • 1948 "The Ruins of Berlin" w.m. Hollander. Introduced by Marlene Dietrich in the film A Foreign Affair.

References [1] http:/ / www. thebluegrassspecial. com/ archive/ 2011/ april2011/ dr-t-frederick-hollander. html

Further reading • Robert Torre: “Friedrich Hollaender and the Dialectics of a Musical Exile.” Music Research Forum 21 (2006): 1-29.

External links • Friedrich Hollander (http://www.imdb.com/name/nm6130/) at the Internet Movie Database

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Michael Jary

Michael Jary Michael Jary (born Maksymilian Michał Jarczyk in Laurahütte -Siemianowitz (today Siemianowice Śląskie) on 14 September 1906; died in Munich on 12 July 1988) was a German composer of Polish origin.

Early years Jary's father worked at the Königshütte (Chorzów today) iron works and his mother was a tailor. He planned to become a missionary and went to school at the monastery of the Steyl Missionaries near Neisse (Nysa today) where he discovered his love of music. At the age of 18 he moved to the conservatory at Beuthen. He directed the church choir and started to write his first chamber music works that were transmitted on the radio Gliwice. The city theatre of Neisse and Plauen gave him a position as a second concert master. In 1929 Jary was accepted at the Staatliche Akademische Musikhochschule at Berlin, meanwhile he made money playing as a pianist at cafés or movies. In 1931 he received the Beethoven-prize of Berlin.

During the Nazi years When Jarczyk delivered his graduation concert on 8 February 1933, he was bullied by members of the Kampfbund für deutsche Kultur. Paul Graener, the new director of the Stern’sches Konservatorium denigrated his concert as „... culture-bolshevistic musical stammer of a Polish Jew“! Jarczyk had to go underground for some time and used as a pseudonym Jackie Leeds for arrangements and Max Jantzen for chansons. Recognizing that his name was a hindrance to his career, he changed it to Michael Jary. Sinfonic-type music was his strength. But after he composed his first musical score for a movie,Die große und die kleine Welt, he quickly became a secret tip among the professionals. The multiple possibilities of sound track caught his interest. Swing-arrangements and Jazz were part of his repertoire in spite of governmental diktats. Among others he originated a cyclus of musical zodiac interpretations. He became an expert in jazz and swing during the thirties. In 1938 he had his first popular music hit, Roter Mohn. As the director of the Szymanowski-Gedächtniskonzertes in Berlin he was invited by Ernest Ansermet to Genf. However, the Nazi authorities denied him an exit visa. Forced to stay in Germany, he wrote, often with the lyricist Bruno Balz, songs for movies that became hits, including: Ich weiß, es wird einmal ein Wunder geschehn and Davon geht die Welt nicht unter.[1]

After WWII Shortly before the end of WWII Jary had founded his own ensemble. Just 19 days after the capitulation his group became the basis for the new Radio Berlin Tanzorchester (RBT) in East Berlin. He engaged among others Ilse Werner and Bully Buhlan.[2] In 1948 he created his own production company, Michael Jary-Produktion, and maintained an office during the fifties in New York. He would have liked to have written musical scores for revue films as he had done in 1943 for the movie Karneval der Liebe. In 1949 he moved to Hamburg, and Jary was very successful as film score followed film score including „Leise rauscht es am Missouri“, „Das machen nur die Beine von Dolores“, „Mäki-Boogie“, „Heut’ liegt was in der Luft“ and others. These songs were interpreted by artists such as Zarah Leander, Rosita Serrano, Evelyn Künneke, Gerhard Wendland, Heinz Rühmann, and Hans Albers.

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Michael Jary By the end of the fifties, „Mäki“, as he was called by his friends, restricted his output and shunned cheap movies. For the German entry for the Grand Prix 1960 he composed for Heidi Brühl „Wir wollen niemals auseinandergehn“. Nobody believed in the song, but today it is one of the greatest successes of the history of the German Schlager. After this personal victory Jary returned to his roots. He composed the musical Nicole, that was first shown in Nürnberg in 1963 and would be celebrated later in Eastern Europe. He settled in his final domicile in Switzerland above the Lake of Lugano. He suffered from three heart attacks in 1973. Michael Jary died on 12 July 1988 in Munich, the site of his grave is in the Friedhof Ohlsdorf in Hamburg.

References The beginning of this article is based on the corresponding article of the German Wikipedia from 03-31-2008 [1] mp3 with text (http:/ / ingeb. org/ Lieder/ wennmalm. html) [2] Axel Jockwer, Unterhaltungsmusik im 3. Reich. Diss. Konstanz 2004 http:/ / w3. ub. uni-konstanz. de/ v13/ volltexte/ 2005/ 1474/ / pdf/ Jockwer. pdf

External links • Michael Jary (https://portal.d-nb.de/opac.htm?query=Woe=119130785&method=simpleSearch) in the German National Library catalogue • http://www.michaeljary.de • Michael Jary (http://www.imdb.com/name/nm0419135/) at the Internet Movie Database

Heinz Kiessling Heinz Kiessling (March 11, 1926 - December 27, 2003) was a German musician, conductor, composer and music producer, known mainly from his work for popular films and television programs.

Biography Heinz Kiessling studied piano, composition and conducting, after World War II at the Nuremberg Conservatory and started his career in 1949 as a pianist and got to play in different concerts around the world. Soon after he started working on recording music for television. At times, he also led his own orchestra, and also worked many years for the RIAS Big Band in Berlin. Together with the pianist Werner Tautz he established in 1964 the label "Brilliant" through which he managed numerous national and international big bands. Kiessling worked with many national and international stars, including Chet Baker, Luis Bonfa, Wenche Myhre, and Caterina Valente. For over two decades, he accompanied the shows of Peter Alexander. In addition, Kiessling composed the songs and scene music for numerous films and television productions, including Klimbim, Zwei himmlische Töchter, Dingsda, Das Traumschiff and Aktenzeichen XY... ungelöst. In total he produced over 1200 tunes and also published some of his own recordings which made him become one of the most successful German "Easy listening" composers of the post-war period. In 1969, Kiessling wrote "In The Shadow Of The Moon" for Reprise, which later on became the theme song for Frank Sinatra's daughter Tina Sinatra TV mini-series "Romeo und Julia 70". His piece "Temptation Sensation" is used as the theme song for the FX TV show It's Always Sunny in Philadelphia. Other pieces such as "A La Bonheur" and "Tandem-Holiday" help to provide the score to the show.

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Hermann Kopp

Hermann Kopp Hermann Kopp (born August 21, 1954 in Stuttgart) is a German composer and musician, presently living in Barcelona, Spain.

Biography After moving to Karlsruhe in 1979 he became a member of the German electro-industrial band Keine Ahnung. In the 1980s he released two vinyl records with a sound that can be vaguely classified as electronic minimalism. In 1987 he participated in the soundtrack of the German horror film Nekromantik, followed in 1989 by music to the movie Der Todesking and in 1990 to Nekromantik 2. Unlike the song material that tends to be intimist and voluntarily drawing on the kitsch side, his film scores create uneasy and haunting atmospheres, weaving atonal strings, slow motion rhythms, moog synthesizers and plain noise into soundtrack form. In 2007, Hermann Kopp released “Psicofonico”, abstract violin soundscapes influenced by a Spanish documentary on the Electronic Voice Phenomena. His release “Under A Demon’s Mask”, however, remains closer to his earlier horror scores, developing them into an individualistic, morbid musical language. He has been signed to the following labels through his career; • • • • • •

Passiv Red Stream Vinyl On Demand Bataille Galakthorrö Aesthetic Records

In Other Media In the movie Der Todesking Hermann Kopp plays a part as a man drowning himself in his bathtub. His name in the film, Barsch, is an allusion to the German politician Uwe Barschel who was found dead in the bathtub of a hotel in Geneva, following a political scandal that became popular under the name of “Waterkantgate”.

Discography • • • • • • • • • •

"Aquaplaning in Venedig", Vinyl-EP 1981 "Pop", Vinyl-LP, 1983 "Japgirls in Synthesis", Vinyl-LP, 2004 "Nekronology", CD, 2004 "Kitsch", Vinyl-LP, 2004 "Mondo Carnale", Vinyl-LP, 2005 "Psicofonico", CD, 2007 "Under A Demon's Mask", Vinyl and CD, 2008 "Nekronology", Vinyl-LP, 2009 "Cerveau D'Enfant", Vinyl-EP, 2010

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Hermann Kopp

External links • http://www.hermannkopp.com • http://www.imdb.com/name/nm0465841

Henning Lohner

WARNING: Article could not be rendered - ouputting plain text. Potential causes of the problem are: (a) a bug in the pdf-writer software (b) problematic Mediawiki markup (c) table is too wide Henning LohnerLohner in 2005Born17 July 1961Berlin, GermanyResidence Los Angeles, California,Berlin GermanyAlma materFrankfurt UniversityOccupation Filmmaker, composerEmployerRemote Control ProductionsHome townPalo Alto, CaliforniaParents Dr. Edgar Lohner,Dr. Marlene Lohner Henning Lohner (born 17 July 1961) is a GermanyGerman born filmmaker and composer.Who’s Who in the World 2005, New Jersey 2004, p.1318. His artistic output embraces diverse fields within the audio-visual arts. He is best known for film scores written as long-standing member of the Hollywood composers group founded by Hans Zimmer, as well as filmmaker/artist of the raw material media art projects.Life Born to German emigrant parents, Henning Lohner was raised near Palo Alto, California, where father Prof. Dr. Edgar Lohner taught Comparative Literature at Stanford University, and mother Dr. Marlene Lohner, ne Clewing, taught German Literature. Lohner has one brother, Peter, who is a lawyer turned writer/producer for film and television. Lohner returned to Germany to complete studies in musicology, art history, and Romanic languages at Frankfurt University, from which he graduated as MA in 1987. In 1982 Lohner took a year at the Berklee Jazz College in Boston, studying Jazz Improvisation with Gary Burton and Film Scoring with visiting lecturers Jerry Goldsmith and David Raksin. During the European Year of Music, 1985, Lohner was awarded a grant for music composition at the Centre Acanthes to study with Greek composer Iannis Xenakis, who subsequently became Lohner’s lifelong mentor.Interview with Xenakis, Computer Music Journal 10, Nr.4 1986, p.48-53; Xenakis and the UPIC, Computer Music Journal 10, Nr.4 1986, p.42-47; Xenakis Werkliste und Auswahlbibliographie, MusikTexte 13, 1986, p.50-59. Parallel to his academic studies, Lohner became assistant to German composer Karlheinz Stockhausen in 1984; working at La Scala in Milano on Stockhausen’s opera Licht. , Lohner was introduced to the visual media. On Stockhausen’s recommendation, Lohner went to Paris to become musical advisor and assistant director to Louis Malle on his film May Fools (1989–90, starring Michel Piccoli). Apprenticeships on Steve Reich’s multi-media oratorio The Cave (1990) and for Giorgio Strehler on his theater project Goethes Faust I + II (1990-1992) followed. Due to his commitment to the fields of contemporary music and theater as well as avant-garde filmmaking, Frank Zappa became aware of Lohner and invited him to work in California; Lohner collaborated with Zappa intermittently until his death in 1993.Barry Miles: Zappa a Biography, New York 2004, p. 368; Michael Gray: Mother! The Frank Zappa Story, London 1993, p. 232. Lohner initialized and co-produced Zappa’s last concert performance, The Yellow Shark, along with the album of the same name, followed by the album Civilization, Phase III; both albums are based on collaborations with the Ensemble Modern, a contemporary music group from Frankfurt, Germany. Lohner’s film installation project raw material toured several important museums in Europe from 1995 until 1997, establishing Lohner as mulit-media artist. Thanks to Hans Zimmer, Lohner began composing for films, joining his Remote Control Productions in 1996. From here on in Lohner works equally in the fields of audio and visual media. Lohner lives and works in Los Angeles and Berlin. He is a Visiting Professor at the renowned Zurich Academy for Music and Theater, now ZHDK (Academy of Arts) in

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Henning Lohner Switzerland. Media artFrank Zappa introduced Lohner to highly acclaimed cinematographer Van Theodore Carlson in 1989 to film Peefeeyatko,http://www.imdb.com/title/tt0167330/plotsummaryInternational Visual Music Awards – Cannes, January 1992, nominated in Category: TV Programme – Classical Music Documentary. the biographical art film on Zappa’s life and work. Peefeeyatko spawned Lohner and Carlson’s life-long artistic partnership. It contains the first published examples of their filmic artwork. Of formative influence to the art of both filmmakers was working with composer, artist, and philosopher John Cage during the early 90s. one 11 and 103,Henning Lohner: Der Spielfilm 'one11 and 103' von John Cage. Ein persönlicher Entstehungsbericht, in: Mehr Licht, VVS Saarbrücken (Ed.), Berlin 1999, p.123. "Medien Kunst Netz | Cage, John: One11 and 103". Medienkunstnetz.de. . Retrieved 2012-02-29.Henning Lohner: The Making of Cage’s one11, in: Writings through John Cage’s Music, Poetry, and Art, David W. Bernstein and Christopher Hatch (Ed.), Chicago University Press 2001. Cage’s last work and artistic credo, in collaboration with Lohner as director and Carlson as cinematographer, is a 90-minute black and white feature film about light in an empty room; Cage also called it: „a film without subject“. It was completed just days before Cage died in August 1992. The Revenge of the Dead Indians, "John Cage - The Revenge of the Dead Indians: In Memoriam John Cage". Moderecords.com. . Retrieved 2012-02-29.World Wide Video Festival Catalogue (11/4 – 17/4 1994), Stichting World Wide Video Centre (Ed.), The Hague 1994, p. 101; Videofest 10.-20. Februar 1994 Mediopolis, Berlin e.V. (Ed.), p.91; Das Medienkunstfestival des ZKM Karlsruhe 1995, Katalog der Ausstellungen und Veranstaltungen, Zentrum für Kunst und Medientechnologie Karlsruhe (Ed.), p.78.Henning Lohner: Die Rache der toten Indianer. Zur Frage der Dokumentation als Kunstform, in: Bandbreite. Medien zwischen Kunst und Politik, Andreas Broeckmann, Rudolf Frieling (Ed.), Berlin 2004, p.50-57. a film essay with composed screenplay and editing in analogy to Cage’s rigorously democratic philosophical and musical practice, was begun together with Cage in 1990 and was completed after his death in 1993. The Revenge of the Dead Indians became Lohner & Carlson’s homage to their mentor. Subsequently, Lohner & Carlson exhibited their audio-visual installation raw material, vol. 1 - 11 (1995)World Wide Video Festival Catalogue 1996, Stichting World Wide Video Centre (Ed.), The Hague, p.219. throughout Europe at venues such as the Gemeente Museet, in The Hague, The Sonic Arts Festival in Rome, and the Video Art Festival in Berlin.Realismus. Das Abenteuer der Wirklichkeit. Christiane Lange and Nils Ohlsen (Ed.), Munich 2010, p.107. From the raw material gathered during 20 years of work in film and television, Lohner established a catalog of individual images - simply named Moving pictures visible in any artistic or cultural context outside of narrative film or television. Lohner & Carlson’s Moving Pictures are implanted as loops on a digital canvas to hang on any wall-space like a painting. This artistic approach to the transformational nature of film raises the question of its aptitude for the essence of pictoral autonomy. They were first shown in 2006 at the renowned Springer & Winckler Gallery in Berlin. Lohner’s media art has been exhibited around the globe at such venues as: the Centre Pompidou,http://www.centrepompidou.fr/Pompidou/Manifs.nsf /0/D3E99E41E162D407C12576D500398AD7?OpenDocument&sessionM=2.10&L=1 the Solomon R. Guggenheim MuseumGuggenheim Museum in New York, the San Francisco Museum of Modern Art,http://www.e-flux.com/shows/view/6207 the Gulbenkian Museum in Lisbon, the Galleria Traghetto in Venice and Rome, the National Art Gallery of Malaysia in Kuala Lumpur, the Mira Art Collection in Tokyo, the Kunsthalle in Emden, and many others.Film scoring In 1996, Lohner moved to Los Angeles to work as full-time composer at Media Ventures (now Remote Control) film music studios,More Music with Media Ventures, in: Keyboard. The World’s Leading Music Technology Magazine, April 1999, p.33; Die Magie der Filmmusik, in: Keyboards, May 1999, p.31; Du 754 – Augen zu, Film ab. Ein Handbuch zum Soundtrack, March 2005, p.24. founded by oscar-winning composer Hans Zimmer. (His) Remote Control Productions are considered the top talent campus for composers in the entertainment industry. Lohner’s career as film music composerInterview mit Henning Lohner, in: Keys 7, July 2002, p.100. began with apprenticeships for Zimmer on such films as Broken Arrow (1996 film)Broken Arrow, Gladiator (2000 film)Gladiator, and The Thin Red Line (1998 film)The Thin Red Line, progressing to additional composing on Zimmer films such as Spanglish (film)Spanglish and The Ring (2002 film)The Ring. Lohner has scored over 50 feature films to date. Over the years, the two German-born composers have worked together closely and regularly, resulting in the mutual scoring of such films as the German animation Laura's Star

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Henning Lohner and Dreamwork’s The Ring Two - which earned Lohner two BMI Music Awards in recognition from his peers. Of the few established German composers in Hollywood, Lohner is the only one to regularly work in his home country. Der Grosse Bagarozy (The Devil & Mrs. D, 1999, dir. Bernd Eichinger), Starcatcher (2000, dir. Nico Caro, for the World Expo 2000), Lauras Stern (2004), Little Dodo (2007), and Bloch (2010, dir. Jan Schuette) are to be named here. Generally speaking, Lohner’s film scoring is directed towards the genres: children’s films (the Laura’s Star series), romantic comedies (Marcello, Marcello), drama (Love Comes Lately), comedy (Werner Herzog’s Incident at Loch Ness), and horror films (Hellraiser: Deader, Mimic Sentinel, Timber Falls, et al.). Lohner’s new score to the silent movie classic The Hands of Orlac (1924 film)The Hands of Orlac was premiered at the Ghent opera house during the International Film Festival 2001 in Belgium, proposing a new approach in the fusion of film and concert music. Film directing Referred to German Public Television by Stockhausen in 1988, Lohner began producing and directing cultural documentaries, mostly portraits of influential artists and scientists of our day; e.g.: film director Abel Ferrara, scientists Edward Lorenz and Murray Gell-Man, philosopher Noam Chomsky, painters Ellsworth Kelly and Gerhard Richter,Dietmar Elger: Gerhard Richter, Maler, Cologne 2002, p. 403, p. 404. fashion designer Karl Lagerfeld. To date, Lohner has directed over 100 short films and over 40 feature length documentaries. In 1993 he was selected to represent Germany at the Input International Television Conference. Beyond the afore mentioned art films (The Revenge of the Dead Indians, one 11 and 103, etc.) Lohner is recognized for such films as The Alphabet of Shapes (1994, about Benoit Mandelbrod and Fractal Geometry), Les Prairies de la Mer (1995, about Jacques Cousteau & Louis Malle), Create or Die (2003, about actor, director, artist Dennis Hopper), and Ninth November Night (2004, about painter Gottfried Helnwein’s installation commemorating the Reichskristallnacht; shortlisted by the Academy of Motion Picture Arts and Sciences in 2005.Awards / achievements2006 BMI Film Music Award for The Ring Two2006 BMI London Film Music Award for The Ring Two2005 Academy Award Shortlist, category: Best Documentary Short for Ninth November Night Academy Of Motion Picture Arts And Sciences, letter of 14. January 2005 to Henning Lohner.1994 Silver Apple Award from the National Educational Film Festival of the USA for one 11 and 1031991 Nomination & Runner-Up, 1st International Music Film Awards, Cannes, France Filmography (selection)As composer 1994 The Alphabet of Shapes 1995 Dennis Hopper: L.A. Blues 1998 Der Eisbär together with Klaus BadeltThe Hands of Orlac new music to the silent movie of 19251999 The Devil & Mrs.D together with Stephan Zacharias 2000 Catching the Stars MTV Fear 2002 666 – Traue keinem, mit dem du schläfst! The Ring additional music for Hans Zimmer2003 Ancient Warriors Barstow Dennis Hopper: Create or Die Der Weg nach Murnau Fahrerflucht God Is No Soprano Mimic Sentinel 2004 Incident at Loch Ness The Turtles Laura's Star together with Hans Zimmer and Nick Glennie-SmithNinth November Night No More Souls: One Last Slice of Sensation Sterne leuchten auch am Tag Spanglish additional music for Hans ZimmerSuiyô puremia: sekai saikyô J horâ SP - Nihon no kowai yoru 2005 BloodRayne (film)BloodRayneInside the Kremlin Hellraiser: Deader Kein Himmel über Afrika Prinz und Paparazzi Santa’s Slay The Ring Two 2006 10.5 Apocalypse Firestorm: Last Stand at Yellowstone Lauras Weihnachtsstern 2007 Fetch Kleiner Dodo TV SeriesLove Comes LatelyIn the Name of the King: A Dungeon Siege Tale Timber Falls 2008 Be Like Others Kleiner Dodo Marcello Marcello Shuttle Lauras Stern und der geheimnisvolle Drache Nian together with Guy CuyvertsNight Train Saiba from Bhopal Turtle: The Incredible Journey 2010 Bloch Bhopali Lauras Stern und die Traummonster Detour As film director and producer 1988 Stockhausen: Lichtwerke 1990 Stockhausen: Michaels Reise 1991 Karl Lagerfeld und die Musik 1992 22708 Types Dennis Hopper as Collector and Artist Dixieland Jazzfestival Enkhuizen 1993 United Jazz & Rock Ensemble in Concert 1994 Gerhard Richter: 30 Years of Painting The Alphabet of Shapes 1995 Dennis Hopper: L.A. Blues Les Prairies de la Mer Starring Jacques Cousteau and Louis Malle1996 The Modern String Quartet 1997 Hollywood Halloween 1998 Musik im Spiegel der Gefühle 2000 German Hollywood Dreams 2003 Dennis Hopper: Create or Die 2004 Ninth November Night As multi-media artist 1991 Peefeeyatko audio-visual installation film together with Frank Zappa1992 one 11 and 103 audio-visual installation film together with John Cage1993 The Revenge of the Dead Indians audio-visual installation film starring, among others, Heiner Müller, Yoko Ono, Rutger Hauer, Marvin Minsky, Edward Lorenz, Ellsworth Kelly1994 The Black Box of Culture audio-visual installation film with Brian Eno1995-1996 Lohner&Carlson’s raw material, vol. 1 - 11 audio-visual

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Henning Lohner installation for 11 audio & video monitor pairs1996 In a Metal Mood audio-visual installation film starring: Pat Boone, with: Deep Purple, Iron Maiden, Judas Priest, Metallica, Motörhead, Ozzy Osbourne, Sepultura, Venom1990-dato Lohner&Carlson’s raw material: moving pictures film installation for 1 to infinite number of Digital CanvassesReferencesExternal links Henning Lohner at the Internet Movie Database

Edmund Meisel Edmund Meisel (August 14, 1894 – November 14, 1930) was an Austrian-born composer. He wrote the score to Walter Ruttmann's Berlin: Symphony of a Metropolis (1927), The Battleship Potemkin (1925), and other films of Sergei Eisenstein.[1] Meisel was one of the more important and pioneering figures in film music. Much of his work and the evidence of his significance was lost for more than fifty years.

Biography Meisel was born in Vienna. He began composing incidental music for the stage in the 1920s. Early credits included the scoring of plays by Bertolt Brecht.[2] His acquaintance with Erwin Piscator led to him writing music for films soon after. Meisel quickly came to be considered a talented composer, capable of working in a different styles, encompassing expressionism and jazz, as well as traditional orchestral modes.[2] Writing during the turbulent years of the Weimar Republic, Meisel demonstrated a wry sense of humor, particularly regarding patriotic songs.[2] In 1925, Meisel came to prominence with a new score for Sergei Eisenstein's Potemkin, helping to turn the movie into a major hit from the modest success it had had in Russia. The opportunity arose when the German distributor decided to capitalize on the unexpected success the movie achieved in Berlin by improving the score. Meisel's music established an approach to scoring movies that came to dominate filmmaking, especially in Hollywood.[2] Writing in just 12 days' time, his score more closely paralleled the movie, shot-by-shot and scene-by-scene, in a way that was novel for the time. Meisel's only guidance from Eisenstein was with the final reel, where Meisel was asked to rely on rhythm as the dominant element. Eisenstein was apparently pleased with the Meisel's score, hiring him later for October in 1927.[2] Meisel wrote full scores for Arnold Fanck's The Holy Mountain in 1926 and in 1927, was the composer on Berlin: Symphony of a Great City, writing a score to be played by an orchestra of 75 musicians. Meisel was so influential, he was sometimes credited simply with his last name.[2] Meisel also wrote articles on film composition and the performance of his scores, a helpful resource for scholars. Although his name was known, Meisel's score to Potemkin was lost, and wasn't reconstructed until the 1990s, leading to renewed interest in his music.[2] Meisel died in Berlin in 1930, at the age of 36. Meisel's niece was the writer and member of the German Resistance, Hilde Meisel.

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Edmund Meisel

External links • Edmund Meisel [3] at the Internet Movie Database • "filmportal.de" [4] (in German). Retrieved 31 March 2009. • http://www.answers.com/topic/edmund-meisel-mystery-crime

References [1] Ian Christie, Richard Taylor (1993). Eisenstein Rediscovered: Soviet Cinema of the '20s and '30s (http:/ / books. google. com/ books?id=Wu8NAAAAQAAJ) at Google Books, page 66. Routledge. ISBN 0-415-04950-4. [2] Bruce Eder, Edmund Meisel biography (http:/ / www. allmovie. com/ artist/ edmund-meisel-163004) Retrieved June 21, 2010

Siggi Mueller Siggi Mueller, also Siegfried Müller, (born October 12, 1964) is a German film composer, photographer, keyboarder, accordion and piano player. Siggi Mueller is considered one of the most renowned German film composers. He composes music for numerous German cinema and TV productions as well as TV series. He cooperates with the most prestigious film directors, media companies and almost all large public and private TV & broadcasting corporations in Germany and Austria. Siggi Mueller is a full member of the German Film Academy. In recent years Siggi Mueller extended his professional activities into the area of photography, especially in the field of portrait and cultural events photography. Siggi Mueller started his career as a classical piano player at the theatre of the City of Ulm, Germany. Today, the scope of his musical projects on the instruments keyboard, piano, accordion extends from classical music up to live performances in funk, soul and rock bands, e.g. he was member of a Turkish folk band for one year. Mueller has professionally cooperated with dozens of film directors, on numerous television and cinema projects since 1993.

External links • International Movie Database [1] • Homepage Siggi Mueller [2]

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Peer Raben

Peer Raben Peer Raben (3 July 1940 – 21 January 2007)[1] was a composer best known for his work with German film-maker Rainer Werner Fassbinder.

Life Raben was born Wilhelm Rabenbauer in Viechtach, Bavaria. He died in Mitterfels, Bavaria, Germany.

Career In 1966, Raben, together with several others, founded the Action Theatre in Munich, which led to the Anti Theatre in 1968, where he was active as writer, composer and director. In 1969 and 1970 he produced Fassbinder’s first films. After working on a film of his own (Die Ahnfrau), he concentrated on composing for theatre and films. He directed three films himself: Die Ahnfrau - Oratorium nach Franz Grillparzer (1971), Adele Spitzeder (1972) and Heute spielen wir den Boß (1981), for which he also composed the music. In addition to Fassbinder, Raben composed music for Robert van Ackeren, Barbet Schroeder, Daniel Schmid, Bernhard Sinkel, Peter Zadek, Doris Dörrie, Hansgünther Heyme, Ulrike Ottinger, Werner Schroeter, Tom Toelle, Percy Adlon and Wong Kar-wai. In 2006 he was awarded the Lifetime Achievement Award from the World Soundtrack Academy.

Personal life Raben was Fassbinder's lover for a short time when they shared an apartment with Irm Hermann.[2]

References [1] "Peer Raben (Wilhelm Rabenbauer)". The Times (London). 2007-02-20. p. 62. [2] Bergan, Ronald (15 March 2007). "Obituary: Peer Raben: The man behind the music in Fassbinder's movies" (http:/ / www. guardian. co. uk/ news/ 2007/ mar/ 15/ guardianobituaries. obituaries). The Guardian: p. 43. . Retrieved 24 January 2009.

External links • PeerRaben.com (http://www.peerraben.com) Official Site (German) • Peer Raben (http://www.imdb.com/name/nm0006244/) at the Internet Movie Database

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Max van der Rose

Max van der Rose Max van der Rose is a German composer, musician, record producer and painter.

Biography He was born in Berlin, Germany and still lives there. He has worked as an impresario, composer, musician, musical director and producer in the studio and on stages for culture, media and economy. His work has been staged and transmitted in 18 countries. A major highlight was in 1995 where he worked on the concept of Dance Of Elements for the 10 year celebration of the Bundesgartenschau, in the Britzer Garten in Berlin. During 18 days full of events with over 60 musicians he created live sound elements reflecting the theme of the 4 elements fire, water, earth and air. During this time he founded the Drum Connection, one of the well-known live-acts in the international club scene. He has also worked outside of the musical and cultural mainstream. A highlight was the cooperation and production of an album with the Mongolian superstar Saraa. Since 2003 he is the composer and musical director of the Rhythm, Drum and Dance show, which has already been aired in 13 European countries. He also engages himself politically by taking part in the Karneval der Kulturen, the biggest culture event in Berlin. Since then he produces and works on cds with the Werkstatt der Kulturen with his own label, cues recording. In 2003, he received the award Knight of Culture of Hungary for his artistical and cultural engagement. The official ceremony took place at the castle stefanie in Budapest.

Awards • 2003 Appointment to the Knight of Culture of Hungary • 2004 MBA-Award with Rhythm, Drum & Dance as best liveshow in event/incentive business in Europe 2003

Filmography • • • • • • • • • • • • • •

Dorado One Way - directed by: Reinhard Münster Highscore - directed by: Ralph Bohn, New York June - directed by: Ralph Bohn Lindenstraße - ARD-Serie Andy - directed by: Ralph Bohn California Clan - RTL-Serie Solinger Rudi - directed by: Dietmar Klein Der Erdnußmann - directed by: Dietmar Klein Ich bin unschuldig - directed by: Ralph Bohn Auf eigene Faust - directed by: Ralph Bohn Daniela - directed by: Ralph Bohn Das Tier - directed by: Ralph Bohn Dieter Moor Feature - directed by: Anna Hus Jana - directed by: Jakob Lass

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Max van der Rose

Discography • • • • • • • • • • • • • • • •

Karneval der Kulturen - CD "Vol. 1" Karneval der Kulturen - CD "Vol. 2" Karneval der Kulturen - CD "Vol. 3" Karneval der Kulturen - CD "Vol. 4" Beat 'n' Blow - CD "Beat 'n'Blow" Fliegenpilz - LP "Unser Land" Grasland - LP "Echt Null" L'Accord Perdu - 7" Vinyl "And she is passin' by" P.O.P. - CD "Hard Work" P.O.P. - CD "Summer In The City" Perdu - CD "Blue Café" Reefer - CD "The Storm" Samossis - 7" Vinyl "Walzernaach" Saraa - CD "Saraa" Spreejecke - CD "Noh Hus/Kölsch ...find ich gut" Westend 2 - 12" Vinyl "Vergessen/Die Sonne bleibt steh´n"

External links • http://www.maxvanderrose.com

Ludwig Schmidseder Ludwig Schmidseder (24 August 1904, in Passau – 21 June 1971, in Munich) was a German composer and pianist of the "Light Muse". Several of his Schlager compositions are still popular tunes today. The young Schmidseder followed his father's wishes and trained as a banker, whilst taking piano lessons in secret. He furthered his musical education at the Munich Conservatorium, then left for South America in 1926, ending up in Rio de Janeiro. Starting out as a dishwasher, he went on to become an entertainer and play in a trio on ocean cruises. Schmidseder composed music for the trio, and developed into a virtuoso piano player. From 1930 he worked in Berlin, composing film music, creating operettas and writing more than 500 songs, some of which became much-loved hits. He moved from being a bar pianist (until 1936) to being the house composer at the old Berlin Metropol-Theatre. His operetta Die Oder Keine (That One or No One) was performed more than 600 times. Schmidseder was not Jewish, and so his music was not banned from being performed by the Nazi campaign to abolish "decadent" music. Given that many operetta composers were Jewish, and thus unable to perform their works, Schmidseder became one of the most popular German composers of light music at the time. After World War II, Schmidseder continued to compose film music and appear in films. The corpulent cook would later became famous as a TV cook and produced a book of recipes.

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Ludwig Schmidseder

Selected works Operettas • 1938 - Melodie der Nacht (Melody of the Night) • 1939 - Die oder keine (That One or No One) (premiered on 20 March 1939, in the Berlin Metropol Theatre) • 1940 - Frauen im Metropol (Women in the Metropol) (premiered on 27 September 1940, in the Berlin Metropol Theatre) • 1949 - Abschiedswalzer (Farewell Waltzes) (premiered on 8 September 1949, in Vienna; libretto by Hubert Marischka and Rudolf Österreicher)

Schlager • • • • • •

Gitarren spielt auf (1934, text by Ralph Maria Siegel) (Strike Up Guitars) Ich trink den Wein nicht gern allein (I Prefer Not To Drink Wine Alone) I hab die schönen Maderln net erfunden (1938, text by Theo Prosel) (I Have Not Found The Pretty Girls) Komm doch in meine Arme (Come To My Arms) Ein kleines weißes Haus (A Small White House) Tango Marina

Sources Much of the content of this article comes from the equivalent German-language wikipedia article (retrieved September, 2007).

External links • Ludwig Schmidseder IMDb profile [1]

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Irmin Schmidt

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Irmin Schmidt Irmin Schmidt (born 29 May 1937 in Berlin) is a German keyboardist and composer, best known as a founding member of the band Can.

Biography Schmidt studied music at the conservatorium in Dortmund, at the Folkwang Hochschule in Essen, the Mozarteum in Salzburg, and he studied composition in Karlheinz Stockhausen's Cologne Courses for New Music at the Rheinische Musikschule, Cologne. Irmin Schmidt 1972. Photograph by Heinrich Klaffs.

He started work mainly as a conductor and performed in concerts with the Bochum Symphony, the Vienna Symphony and the Dortmund Ensemble for New Music, which he founded in 1962. During this time he received several conducting awards. Schmidt also worked as Kapellmeister at the Theater Aachen, as docent for Musical theatre and chanson at the Drama school Bochum, and as concert pianist. In 1968 Schmidt founded the experimental krautrock band Can with Holger Czukay, Michael Karoli and Jaki Liebezeit. Schmidt served as Can's keyboardist until the group's disbandment in 1979. He participated in both reunions of Can, in 1986 and 1991. Schmidt has scored more than 40 films and television programs, including Knife in the Head (1978) and Palermo Shooting (2008). He has recorded a few solo albums and written an opera based on Mervyn Peake's Gormenghast.[1] His wife Hildegard Schmidt has been responsible for Can's management and record label, Spoon Records, since the 1970s. As of 2008, Schmidt lives in South France. His interests outside music include cooking.[2]

Discography Solo • • • • • • • • • • • •

Filmmusik (1980) Filmmusik, Vol. 2 (1981) Toy Planet (1981) with Bruno Spoerri Filmmusik, Vols. 3 & 4 (1983) Rote Erde (1983) soundtrack Musk At Dusk (1987) Filmmusik Vol. 5 (1989) Impossible Holidays (1991) Le Weekend (1991) maxi single Soundtracks 1978-1993 (1994) Gormenghast (2000) Masters of Confusion (2001) with Kumo

• Flies, Guys and Choirs (2008) DVD with Kumo • Axolotl Eyes (2008) with Kumo • Palermo Shooting (2008) soundtrack

Irmin Schmidt With Can:

References [1] Spoon Records (http:/ / www. spoonrecords. com/ gormen. html) [2] (http:/ / thequietus. com/ articles/ 00813-irmin-schmidt-of-can-on-food-and-)

External links • Irmin Schmidt Homepage (http://www.irminschmidt.com/) • The Official CAN / Spoon Records Website (http://www.spoonrecords.com/irmin_kumo/bio_disco_irmin. html) • Irmin Schmidt (http://www.imdb.com/name/nm0772994/) at the Internet Movie Database • Irmin Schmidt (http://www.allmusic.com/artist/p20398) at Allmusic Irmin Schmidt (http://www.discogs.com/artist/Irmin+Schmidt) discography at Discogs

Willy Schmidt-Gentner Willy Schmidt-Gentner (6 April 1894 – 12 February 1964) was one of the most successful German composers of film music in the history of German-language cinema. He moved to Vienna in 1933. At his most productive, he scored up to 10 films a year, including numerous classics and masterpieces of the German and Austrian cinema.

Life Schmidt-Gentner was born in Neustadt am Rennsteig in Thuringia, Germany. During his childhood he learnt the violin and took lessons in composition from Max Reger. After World War I Schmidt-Gentner worked as a civil servant checking that cinema owners were paying their full taxes. Through one of his clients he got a position as a band leader at film theatre performances. This raised his interest in films and as early as 1922 he produced his first composition to accompany a silent film. He performed many of his new pieces himself on the piano during films. He was also already responsible at this period for the sound tracks of a number of German classic films, for example Alraune (1928), Die weisse Hölle vom Piz Palü (1929) and Hokuspokus (1930) With the arrival of sound films he quickly became one of the most sought-after filmscore composers in Germany, so that for a time he was scoring up to 10 films a year. He had a preference for light comedies and cheerful musical romances, but occasionally he took on more heavyweight productions with political overtones, for example the National Socialist propaganda film Wien 1910 (1943) or the historical film Spionage (1955) about the k. u. k. spy Colonel Redl. In 1933 he moved to Vienna, where he directed his only two films, Die Pompadour (1935) and Prater (1936), for the company Mondial-Film. For Sascha-Film he composed the music for some of the greatest specimens of the Wiener Film genre, among others Maskerade and Hohe Schule (both 1934). After the Anschluss (the annexation of Austria to Germany) he became the "house composer" for the National Socialist-owned Wien-Film, which had developed out of the former Sascha-Film. For them he scored not only their many escapist romantic comedies, but also some of their few overt propaganda films such as Heimkehr (1941), Wien 1910 (1942) or Das Herz muß schweigen (1944). He was also repeatedly commissioned by the top directors of wartime Vienna, Willi Forst and Gustav Ucicky, whom he already knew from previous work, to write scores for their productions, such as Der Postmeister (1940), Operette (1940), Wiener Blut (1942) and Wiener Mädeln (1943/1949). After the end of the war Schmidt-Gentner remained loyal to Vienna and successfully continued his composing career for many more films, predominantly musicals set in Austria, until he retired in 1955. Altogether he composed the

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Willy Schmidt-Gentner music for about 200 films. He died in Vienna on 12 February 1964.

Selected filmography A selection of films scored by Willy Schmidt-Gentner, with names of directors: Silent films: • • • • • • • • • • • •

Nathan der Weise (Germany 1922, Manfred Noa) Between Evening and Morning (Germany 1923, Arthur Robison) The Power of Darkness (Germany 1924, Conrad Wiene) An der schönen blauen Donau (Germany 1926, Friedrich Zelnik) Madame Wants No Children (Germany 1926, Alexander Korda) The Student of Prague (Germany 1926, Henrik Galeen) The Red Mouse (Germany 1926, Rudolf Meinert Das tanzende Wien (Germany 1927, Friedrich Zelnik) Mata Hari (Germany 1927, Friedrich Fehér) Orientexpress (Germany 1927, Wilhelm Thiele) Prinz Louis Ferdinand (Germany 1927, Hans Behrendt) Alraune (Germany 1928, Henrik Galeen)

• Frau im Mond (Germany 1929, Fritz Lang) • Die weiße Hölle vom Piz Palü (Germany 1929, Arnold Fanck, Georg Wilhelm Pabst) • The Smuggler's Bride of Mallorca (Germany 1929) Sound films: • • • • • • • • • • • • • • • • • • • • • • •

Hokuspokus (Germany 1930, Gustav Ucicky) Leise flehen meine Lieder (Germany/Austria 1934, Willi Forst) Maskerade (Austria 1934, Willi Forst) G'schichten aus dem Wienerwald (Austria 1934, Georg Jacoby) Hohe Schule (Austria 1934, Erich Engel) Episode (Austria 1935, Walter Reisch) ... nur ein Komödiant (Austria 1935, Erich Engel) Hotel Sacher (Austria 1939, Erich Engel) Mutterliebe (Germany/Austria 1939, Gustav Ucicky) Der Postmeister (Germany/Austria 1940, Gustav Ucicky) Der liebe Augustin (Germany/Austria 1940, E. W. Emo) Operette (Germany/Austria 1940, Willi Forst, Karl Hartl) Heimkehr (Germany/Austria 1941, Gustav Ucicky) Brüderlein Fein (Germany/Austria 1942, Hans Thimig) Wien 1910 (Germany/Austria 1942, E. W. Emo) Wiener Blut (Germany/Austria 1942, Willi Forst) Späte Liebe (Germany/Austria 1942, Gustav Ucicky) Schrammeln (Germany/Austria 1943, Géza von Bolváry) Das Herz muß schweigen (Germany/Austria 1944, Gustav Ucicky) Wiener Mädeln (Germany/Austria 1944/1949, Willi Forst Praterbuben (Austria 1946, Paul Martin) Die Welt dreht sich verkehrt (Austria 1947, J. A. Hübler-Kahla) Singende Engel (Austria 1947, Gustav Ucicky)

• Der Engel mit der Posaune (Germany/Austria 1948, Karl Hartl) • Der Schuß durchs Fenster (Austria 1950, (Siegfried Breuer)

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Willy Schmidt-Gentner • • • • •

Emil und die Detektive (Germany 1954, Robert A. Stemmle) Rummelplatz der Liebe (Germany, USA 1954, Kurt Neumann) Spionage (Austria 1955, Franz Antel) Heimatland (Austria 1955, Franz Antel) Kronprinz Rudolfs letzte Liebe (his last film; Austria 1955, Rudolf Jugert)

References Stefanie Job: Die vernachlässigte Muse (Romanbiographie des Filmmusikers und UFA-Generalmusikdirektors Willy Schmidt-Gentner). Verlag Frieling, Berlin 1995, ISBN 3-89009-804-5

Sources/External links • Filmportal,de: Willy Schmidt-Gentner [1] (German) • Willy Schmidt-Gentner [2] at the Internet Movie Database

Enjott Schneider Enjott Schneider (born Norbert Jürgen Schneider 25 May 1950 in Weil am Rhein) is a German composer, musicologist, and music educator. As a composer he is best known for his film work, having won the Bavarian Film Award for Best Film Score in 1990, the Filmband in Gold in 1991, and the Deutscher Fernsehpreis in 2007, the latter for his work on March of Millions. He has also composed a good deal of concert music, and occasional pieces as well.

References External links • Enjott Schneider (http://www.enjott.com/en/news/) website • Enjott Schneider (https://portal.d-nb.de/opac.htm?query=Woe=121509931&method=simpleSearch) in the German National Library catalogue • Enjott Schneider (http://www.imdb.com/Name?Enjott+Schneider/) at the Internet Movie Database

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Wilhelm Dieter Siebert

Wilhelm Dieter Siebert Wilhelm Dieter Siebert (born 22 October 1931 in Berlin, dies 19 April 2011) was a German composer. During his career he has written mainly for television and films, and also chamber music. He composed an opera Der Untergang der Titanic, which was premiered at the Deutsche Oper Berlin in 1979.

References • Der Untergang der Titanic [1] • Wilhelm Dieter Siebert [2] at the Internet Movie Database

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Leonid Soybelman

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Leonid Soybelman Leonid Soybelman Born

20 July 1966

Origin

Bălţi, Moldova

Genres

Experimental music, alternative rock, free jazz, electronic music,

Occupations

Musician, composer

Instruments

Guitar, vocals

Years active

1986 – present

Labels

NoMansLand, Tzadik

Associated acts Ne Zhdali, Kletka Red, Poza

Leonid Soybelman (born 20 July 1966 in Bălţi, USSR (now Moldova)) is a Berlin-based musician and film composer of Jewish origin, leader of the band Ne Zhdali.[1] The guitarist and singer, he also collaborated with Alec Kopyt in the "Poza" project, with bands Auktyon, The Billy Tipton Memorial Saxophone Quartet and many others. His musical style has roots from eastern European traditional Yiddish folk music, yet is played in more modern arrangements on the electric guitar, often accompanied by a band. His work, especially with Ne Zhdali, is well known in Russia and countries of the former Soviet Union. Originally from Moldavia, he grew up in Tallinn, USSR (now Estonia), where he founded in the late 1980s the band Ne Zhdali together with his classmate Ilya Komarov.[1] Later Soybelman moved to Berlin, Germany and Komarov to Zürich, Switzerland.[2] In the 1990s they reunited with Ne Zhdali in Western Europe, continuing touring and producing new albums. As frontman of "Kletka Red" he performed together with Tony Buck, Andy Ex and Joe Williamson. Their album Hijacking was produced by John Zorn at his label Tzadik Records in the "Radical Jewish Culture" series. Soybelman composed the music for the Czech film Something like happiness (Czech: Štěstí) 2005, portraying the melancholy lives of four friends who grew up together in the same block of flats in a former industrial town in northern Bohemia. The somewhat bleak backdrop of the film fits snugly with Soybelman's sombre and heartfelt music.

References [1] Official 'Ne Zhdali' web site (http:/ / nz. tpt. edu. ee/ ) [2] nomansland-records.de (http:/ / www. nomansland-records. de/ nml/ whatever. html)

External links • Leonid Soybelman (http://www.imdb.com/name/nm2016827/) at the Internet Movie Database • Štěstí official website (http://www.ceskatelevize.cz/specialy/stesti/) • Estonias Unexpected Rock Artists (http://www.zvuki.ru/R/P/985), article by Artemy Troitskii from 1990

Marc Streitenfeld

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Marc Streitenfeld Marc Streitenfeld Born

Munich, Germany

Occupation film score composer

Marc Streitenfeld is a German film score composer, known for his collaborations with director Ridley Scott.

Life and career Born in Munich, Germany, Streitenfeld relocated to Los Angeles at the age of 19, first working briefly as a musical assistant for composer Hans Zimmer, then independently as a music editor and supervisor on several blockbusters. At the request of Ridley Scott, Streitenfeld composed for A Good Year (2006), after acting as music supervisor on Scott's 2005 film Kingdom of Heaven (scored by Harry Gregson-Williams). He then went on to score all of Scott's subsequent films to date. He was nominated for a BAFTA award for Scott's American Gangster (2007). Regarding working with Scott, Streitenfeld said "I've done quite a few films with him now and every experience has been really good". Prior to his work as a composer, Streitenfeld had collaborated with Scott as music editor, music supervisor and technical score advisor on several projects, including Matchstick Men, Black Hawk Down and Gladiator. Since 2007, Streitenfeld has been in a relationship with French-American actress Julie Delpy.[1] In January 2009, the couple had a son, Leo.[2]

Film scores • • • • • • •

A Good Year (2006) American Gangster (2007) Body of Lies (2008) Robin Hood (2010) Welcome to the Rileys (2010) The Grey (2012) Prometheus (2012)

References [1] "Interview: Julie Delpy" (http:/ / www. ioncinema. com/ news/ id/ 1063/ interview_julie_delpy). . Retrieved July 16, 2009. [2] "Julie Delpy: 'I Love Everything About Motherhood" (http:/ / celebrity-babies. com/ 2009/ 07/ 16/ julie-delpy-i-love-everything-about-motherhood/ ). . Retrieved July 16, 2009.

External links • Interview (http://www.cinemablend.com/soundtracks/INTERVIEW-Marc-Streitenfeld-7411.html) at CinemaBlend • Marc Streitenfeld (http://www.imdb.com/name/nm0834199/) at the Internet Movie Database • Marc Streitenfeld -Soundtrack.net (http://www.soundtrack.net/news/article/?id=1235)

Tom Tykwer

69

Tom Tykwer Tom Tykwer

Tom Tykwer, Berlinale, 2009 Born

23 May 1965 Wuppertal, West Germany

Occupation film director, screenwriter, film composer

Tom Tykwer (German: [ˈtɪkvɐ]; born 23 May 1965) is a German film director, screenwriter, and composer. He is best known internationally for directing Run Lola Run (1998), Heaven (2002), Perfume: The Story of a Murderer (2006), The International (2009) and co-directing Cloud Atlas (2012).

Early life Tykwer was born in Wuppertal, West Germany. He was fascinated by film from an early age. He started making amateur Super 8 films at the age of eleven and later helped out at a local arthouse cinema to see more films, including those he was too young to buy tickets for. After graduating from high school, he unsuccessfully applied to numerous film schools around Europe and moved to Berlin, where he worked as a projectionist. In 1987, at the age of 22, he became the programmer of the Moviemento cinema and was known to German directors as a highly respected film buff.[1]

Career In Berlin, Tykwer met and befriended the filmmaker Rosa von Praunheim, who urged him to create stories from his own experience and suggested that Tykwer record arguments with his girlfriend at the time, and turn them into a short film. Because (1990) was screened at the Hof Film Festival[2] and well received by the audience, which inspired Tykwer to continue pursuing filmmaking. He made a second short film, Epilog (1992), that plunged him into personal financial debt, but gained him valuable technical filmmaking experience. Tykwer wrote the screenplay for—and directed—his first feature film, Deadly Maria, which aired on German television and saw a limited theatrical release in Germany and the international film festival circuit. In 1994, Tykwer founded the production company X Filme Creative Pool with Stefan Arndt, Wolfgang Becker, and Dani Levy. Tykwer and Becker wrote the screenplay for Life Is All You Get while working on Tykwer's second feature, Winter Sleepers (1997), a much bigger and more complex production than Deadly Maria. Winter Sleepers

Tom Tykwer

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brought Tykwer to the attention of German cineastes and film festivals, but Tykwer was struggling financially. He knew he needed a new film, and the result was Run Lola Run (1998), which became the most successful German film of 1998, scored $7 million at the US box office, and elevated Tykwer to international fame. As Lola was becoming a success worldwide, Tykwer was already at work on his next film, The Princess and the Warrior, shot in his home town of Wuppertal. The film centered on a love story between a nurse and a former soldier. Miramax produced his next film, Heaven (2002), based on a screenplay by the late Polish filmmaker, Krzysztof Kieślowski. It was shot in English, starred Cate Blanchett and Giovanni Ribisi, and filmed in Turin and Tuscany. He was approached by French producers to film a short contribution to Paris, je t'aime (2006), a film comprising 20 short films by many famous directors depicting love in Paris. Tykwer shot the 10-minute short film, True, with Natalie Portman and Melchior Beslon. He shot the film quickly with almost no pre-production, and the result was a tiny masterpiece that Tykwer later said, "symbolises an entire life for me, in just ten minutes."[3] Tykwer's next film was an adaptation of the novel Perfume by the German novelist Patrick Süskind, and was filmed in the Spanish cities of Figueras, Girona and Barcelona. Tykwer later made his Hollywood debut with the big-budgeted 2009 conspiracy thriller The International, starring Clive Owen and Naomi Watts, which was shot in several locations ranging from Berlin, Milan, New York, and Istanbul. The film received a lukewarm reception from the public to critics alike.

Pale 3 Since Winter Sleepers, the music for all of Tykwer's films (with the exception of Heaven) have been composed by Johnny Klimek, Reinhold Heil, and Tykwer himself, unusual for a film director. The trio named Pale 3, originally a film scoring group, expanded to produce music unrelated to film.

Filmography Year

Film

Notes

1990 Because

Short Film Also Writer/Producer/Composer

1992 Epilog

Short Film Also Writer/Producer/Composer

1993 Deadly Maria

Original Title: Die tödliche Maria Also Writer/Producer/Composer

1997 Winter Sleepers

Original Title: Winterschläfer Also Writer/Composer

1998 Run Lola Run

Original Title: Lola rennt Also Writer/Composer

2000 The Princess and the Warrior

Original Title: Der Krieger und die Kaiserin Also Writer/Composer

2002 Heaven 2004 Paris, je t'aime

Segment: Faubourg Saint-Denis Also Writer/Composer

2006 Perfume: The Story of a Murderer Original Title: Das Parfum Also Writer/Composer 2009 The International

Also Composer

2009 Deutschland 09

Segment: Feierlich reist Also Writer

2010 Three

Original Title: Drei Also Writer

Tom Tykwer

71 2012 Cloud Atlas

Co-Director with the Wachowskis Also Co-Writer with the Wachowskis/Composer

Awards • • • •

1994: Bavarian Film Awards, Best New Director 1998: Bavarian Film Awards, Best Production[4] 2005: State-Award of the Film Commission NRW[5] 2006: Bavarian Film Awards, Best Director[6]

References [1] [2] [3] [4] [5] [6]

http:/ / www. tomtykwer. com/ Biography "Internationale Hofer Filmtage: Home" (http:/ / www. hofer-filmtage. de/ ). Hofer-filmtage.de. . Retrieved 2012-03-12. http:/ / www. tomtykwer. com/ Filmography/ True http:/ / web. archive. org/ web/ 20090325011005/ http:/ / www. bayern. de/ Anlage19170/ PreistraegerdesBayerischenFilmpreises-Pierrot. pdf "locationNRW" (http:/ / www. locationnrw. de). Locationnrw.de. . Retrieved 2012-03-12. "Bayerisches Landesportal: Ministerpräsident Stoiber verleiht Bayerischen Filmpreis 2006" (http:/ / www. bayern. de/ Pressemitteilungen-. 1255. 19209/ index. htm). Bayern.de. 2007-01-19. . Retrieved 2012-03-12.

External links • Official website (http://www.tomtykwer.com) • Tom Tykwer (http://www.imdb.com/name/nm878756/) at the Internet Movie Database • Tom Tykwer (http://www.filmportal.de/df/1c/ Credits,,,,,,,,EFC121B072A16C3FE03053D50B3736F2credits,,,,,,,,,,,,,,,,,,,,,,,,,,,.html) at the Filmportal.de • Stumped? Interview (http://www.stumpedmagazine.com/Interviews/tom-tykwer.html) • KnightattheMovies.com Tom Tykwer interview about Perfume: The Story of a Murderer (http://www. knightatthemovies.com/KATM_Perfume_Director_Tom_Tykwer)

Franz Waxman

Franz Waxman Franz Waxman (24 December 1906 – 24 February 1967) was a German-American composer known primarily for his work in the film music genre. Waxman was the composer of such film scores as The Bride of Frankenstein (1935), Rebecca (1940), and Rear Window (1954). In addition to film music, Waxman was also a composer of concert works including his oratorio Joshua (1959), and the work for orchestra, chorus, and children’s chorus The Song of Terezin (1965), based upon poetry written by children in the Theresienstadt concentration camp during World War II.[1] Waxman also founded the Los Angeles Music Festival in 1947 with which Waxman conducted a number of west coast premiers by fellow film composers, and concert composers alike.[2]

Early life (1906-1934) Waxman was born Franz Wachsmann in Königshütte (Chorzów) to jewish parents in the German Empire's Prussian Province of Silesia (now in Poland). At the age of three Waxman suffered a serious eye injury involving boiling water tipped from a stove, which permanently impaired his vision. In 1923, at age 16, Waxman enrolled in the Dresden Music Academy and studied composition and conducting. Waxman lived from the money he made playing popular music and managed to put himself through school.[3] While working as a pianist with the Weintraub Syncopaters, a dance band, Waxman met Frederick Hollander, who eventually led Waxman’s introduction to Bruno Walter.[4] Waxman worked as an orchestrator for the German film industry, including Hollander’s score for The Blue Angel in 1930. Waxman’s first dramatic score came in 1934 for the film Liliom. In the same year Waxman was attacked by Nazi sympathizers in Berlin, precipitating his move with his wife to Paris.[5] Soon after arriving in Paris, and observing the encroaching German armies, Waxman moved again, this time to Hollywood.

Film music and the Los Angeles Music Festival (1935-1949) In Hollywood Waxman met James Whale, who had been highly impressed by Waxman’s work for Liliom. Waxman’s breakout score The Bride of Frankenstein (1935) followed. Its success led to the young composer’s appointment as Head of Music at Universal Studios.[6] Waxman, however, was more interested in composition than musical direction for film, and in 1936 he left Universal to become a composer at MGM.[7] Waxman scored a number of pictures of the next several years, but the score that made him famous, came in 1940 with Alfred Hithcock’s Rebecca. Because of his success with Bride of Frankenstein Waxman was frequently called to work on scores of horror or suspense, and Rebecca was the culmination of the genre for Waxman.[8] Rebecca was Hitchcock’s first film made in Hollywood, and thus it was the first time he was allowed a full symphonic score.[9] David Selznick financed the film at the same time he was making Gone With the Wind. Selznick had asked Hitchcock to leave England to come work on the film.[10] Waxman’s score for Rebecca is eerie and ethereal, often times setting the mood and as Jack Sullivan put it, becoming a “soundboard for the subconscious.”[11] In 1943 Waxman left MGM and moved to Warner Brothers, where he was worked along side such great film composers as Max Steiner and Erich Wolfgang Korngold. A period of extended composition followed, including such films as Mr. Skeffington (1944) and Objective, Burma! (1945).[12] However, his time at Warner Brothers did not last long and by 1947 Waxman had left Warner Brothers to become a freelance film composer, taking only the jobs he wanted rather than being appointed by the studio.[13] 1947 brought with it another major development in Waxman’s career: he formed the Los Angeles Music Festival for which he served as music director and conductor for the next twenty years, until his death in 1967.[14] Waxman’s goal with the LA Music Festival was to bring the thriving town to “European cultural standards,” according to Tony Thomas.[15] In addition to performing the work of great masters such as Stravinsky, he also collaborated with his colleagues, such as Miklos Rozsa, conducting his Violin Concerto.[16]

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Franz Waxman In 1948 Waxman scored the film Sorry, Wrong Number, which climaxes with the use of a passacaglia thus highlighting Waxman’s highly inventive use of form for film.[17] Waxman had used classical forms before, the climactic “Creation” cue from Bride of Frankenstein (1935) is as Christopher Palmer puts it “is in effect a fantasia on one note.”[18] A climactic scene in Objective, Burma! (1945) was scored fugally, and this would become one of Waxman’s trademarks, returning in Spirit of St. Louis (1957) and Taras Bulba (1962).[19]

Sunset Boulevard (1950-1959) 1950 brought with it Waxman’s Academy Award for Sunset Boulevard. The score is fast paced and powerful, utilizing various techniques to highlight the insanity of Norma Desmond, including low pulsing notes (first heard in The Bride of Frankenstein) and frequent trills. According to Mervyn Cooke, Richard Strauss’s Opera Salome was the inspiration for the wild trills heard during Desmond’s insane final performance.[20] In 1951 Waxman became the first composer to win the Academy Award two years in a row, this time for the film A Place in the Sun. However, while awards for film music highlighted the beginning of the 1950s, the 50s is also the decade during which Waxman began to write serious works for the concert hall. 1955 brought with it the Sinfonietta for Strings and Timpani and 1959 saw the completion of Waxman’s oratorio Joshua.[21] Composed to commemorate the death of Waxman’s wife,[22] Joshua with its strong Hebrew influences and extensive use of form is a powerful example of Waxman’s compositional powers by the end of the 1950s.

Later life (1960-1967) Waxman’s later life continued to see extreme growth as a composer. Christopher Palmer writes that at the time of his death in 1967, “Waxman was at the Zenith of his powers.”[23] Waxman’s output in the 1960s was perhaps more subdued than that which came before it, however he did write one of his great masterpieces, Taras Bulba in 1962. Waxman worked on several television shows, including Gunsmoke, in 1966. Even so, the true masterpiece of Waxman’s life appeared in 1965, The Song of Terezin. Written based upon poetry by children trapped in a Nazi concentration camp.[24] Perhaps Waxman’s deep spiritual connection to the subject came from his own encounters with Nazism on a Berlin street in 1934, but whatever the reason for Waxman’s deep commitment to the subject, The Song of Terezin stands as the exemplary work of the composer’s life, and seems to be one of the great-unsung concert works of the twentieth century. Composed for mixed chorus, children’s chorus, soprano soloist, and orchestra, Terezin is in many ways the suggestion of a religious experience. Waxman’s career ended with his death from cancer in February of 1967, two months after his sixtieth birthday.[25] He leaves a legacy of over 150 film scores and an abundant collection of concert works.

Legacy Some of Waxman's music has been featured on commercial recordings, both on LP and CD. Charles Gerhardt and the National Philharmonic Orchestra played highlights from various Waxman scores for an RCA Victor recording in the early 1970s that utilized Dolby surround sound. The American Film Institute ranked Waxman's score for Sunset Boulevard #16 on their list of the greatest film scores. His scores for the following scores were also nominated for the list: • • • • •

Bride of Frankenstein (1935) Dr. Jekyll and Mr. Hyde (1941) The Nun’s Story (1959) Peyton Place (1957) The Philadelphia Story (1940)

• A Place in the Sun (1951) • Rebecca (1940)

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Franz Waxman • Sayonara (1957) • The Spirit of St. Louis (1957) • Taras Bulba (1962)

Selected filmography • • • • • • • • • • • •

Liliom (1934) Mauvaise Graine (1934) Bride of Frankenstein (1935) Fury (1936) Captains Courageous (1937) A Christmas Carol (1938) The Young in Heart (1938) (2 Academy Award nominations) Rebecca (1940) (Academy Award nomination) The Philadelphia Story (1940) Suspicion (1941) (Academy Award nomination) Dr. Jekyll and Mr. Hyde (1941) (Academy Award nomination) Her Cardboard Lover (1942)

• • • • • • • • • • • • • • • • • • •

Objective, Burma! (1945) (Academy Award nomination) Humoresque (1946) (Academy Award nomination) Dark City (1950) The Furies (1950) Sunset Boulevard (1950) (Academy Award) He Ran All the Way (1951) Anne of the Indies (1951) A Place in the Sun (1951) (Academy Award) Phone Call from a Stranger (1952) Stalag 17 (1953) Demetrius and the Gladiators (1954) Rear Window (1954) The Silver Chalice (1954) (Academy Award nomination) Mister Roberts (1955) Peyton Place (1957) Run Silent, Run Deep (1958) The Nun's Story (1959) (Academy Award nomination) Return to Peyton Place (1961) Taras Bulba (1962) (Academy Award nomination)

74

Franz Waxman

Selected concert works • Carmen Fantasie, (1946) for violin and orchestra • Tristan and Isolde Fantasy, for violin, piano and orchestra • Auld Lang Syne Variations (1947), for violin and chamber ensemble. Movements: "Eine kleine Nichtmusik," "Moonlight Concerto," "Chaconne a son gout," and "Hommage to Shostakofiev." • The Song of Terezín (1964-65), based on poems by children of Theresienstadt concentration camp • "Joshua" (1959), Oratorio

References [1] [2] [3] [4] [5] [6] [7] [8] [9] [10] [11] [12] [13] [14] [15] [16] [17] [18] [19] [20] [21] [22] [23] [24] [25]

Palmer, Christopher. “Franz Waxman.” Chapter 4 in The Composer in Hollywood. New York, NY: Marion Boyars, 1990, 96. Palmer, 96. Thomas, Tony. “Franz Waxman.” Chap. 4 in Film Score: The Art & Craft of Movie Music. Burbank, CA: Riverwood Press, 1991, 35. Thomas, 35. Thomas, 35. Thomas, 36. Palmer, 96. Palmer, 102. Sullivan, Jack. “Rebecca: Music to Raise the Dead.” Chap. 5 in Hitchcock’s Music. New Haven, CT: Yale University Press, 2006, 60. Palmer, 102. Sullivan, 59. Thomas, 36. Thomas, 36. Palmer, 95. Thomas, 36. Palmer, 35. Cooke, Mervyn. A History of Film Music. Cambridge, NY: Cambridge University Press, 2008, 99. Palmer, 101. Cooke, 100. Cooke, 101. Palmer, 96. Thomas, 37. Palmer, 97. Palmer, 96. Palmer, 97.

External links • Franz Waxman (http://www.imdb.com/name/nm77/) at the Internet Movie Database • Franz Waxman (http://www.mmguide.musicmatch.com/artist/artist.cgi?ARTISTID=1089197& TMPL=LONG): extensive list of works • Article by fellow composer David Raksin on Franz Waxman (http://www.americancomposers.org/ raksin_waxman.htm) • Official site on Franz Waxman, which provides comprehensive information on Waxman's life and works, and includes a discography (http://www.franzwaxman.com/) • Brief biography and list of compositions at www.musicuk.us (http://www.moviemusicuk.us/waxman.htm) • Biographical overview of Waxman and listing of his works (http://www.djfl.de/entertainment/stars/f/ franz_waxman.html) (German) • Guide to Waxman's papers at Syracuse University Library (http://library.syr.edu/digital/guides/w/waxman_f. htm)

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Gert Wilden

Gert Wilden Gert Wilden (born Gert Wychodil April 15, 1917[1] in Mährisch Trübau) is a German film composer. From 1956 through his retirement, he scored music for more than 50 feature films in numerous genres. However, he is perhaps best known for his music for erotic films in the 1970s, especially the Schoolgirl Report (Schulmädchen Report) series.[2] Wilden is married to former actress and singer Trude Hofmeister.

Notes [1] Wilden, Gert (2007). Erkennen Sie die Melodie?, p. 13. [2] Kristopher Spencer, Film and television scores, 1950-1979: a critical survey by genre, McFarland, 2008, ISBN 0-7864-3682-4, p.123

References • Wilden, Gert (2007). Erkennen Sie die Melodie?. München: Allitera. ISBN 978-3-86520-246-8.

External links • Gert Wilden (http://www.imdb.com/name/nm0928532/) at the Internet Movie Database

Herbert Windt Herbert Windt (15 September 1894, Senftenberg, Brandenburg — 2 November 1965, Deisenhofen, now a part of Oberhaching, Bavaria) was a German composer who became one of the most significant film score composers of the Third Reich. He was best known for his collaborations with the director Leni Riefenstahl on films such as Triumph of the Will.

Biography Windt studied at the Sternsches Konservatorium in Berlin but left to enlist in the army at the start of World War I. Severely wounded, he spent two years in hospital, during which he began composing chamber music. In 1920 Herr Windt received a grant to study with the renowned Franz Schreker in the composer's master class at the Berlin Academy of Music. Windt joined the NSDAP in 1931. A grant by the government of the Weimar Republic led to his opera "Andromache, which was first performed in 1932. An UFA film producer in the audience took notice of Windt's music. Windt was offered a commission to write the music for UFA's 1933 film "Morgenrot" (Red Morning), a story about a gallant World War I U-boat crew. A student of Franz Schreker, Windt became one of the most significant film score composers of the Third Reich along with Wolfgang Zeller, Michael Jary, Franz Grothe, and Georg Haentzschel. He composed music for several Nazi public events and radio programs. He was best known for his collaborations with Leni Riefenstahl, the director of Triumph of the Will (1934/35), Olympia (1938), and Tiefland (1945/54), but he also worked with directors like Wolfgang Liebeneiner (Die Entlassung), Georg Wilhelm Pabst (Paracelsus), Frank Wisbar (Die Unbekannte, Fährmann Maria, Hunde, wollt ihr ewig leben?), and Gustav Ucicky (Morgenrot). Windt's film scores for propaganda films drew the attention of the sociologist Siegfried Kracauer, who analysed the composer's works in the tracts From Caligari to Hitler: A Psychological History of the German Film and Theory of Film: The Redemption of Physical Reality.

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Herbert Windt Despite the warm reception for his music in Nazi party circles, Herbert Windt himself fell into disfavor with the rulers of Germany in that period. He was completely cleared in the post-war de-Nazification trials.[1]

Works Cantata • Andante religioso, eine Kammersinfonie nach sechs Sonatten (premiered in 1921) (Wien: Universal-Edition, 1942)

Opera • Andromache (1932 premiere in Berlin)

Film scores • Morgenrot (1933) • Flüchtlinge (1933) • Der Sieg des Glaubens (1933) • • • • • • • • • • • • • • • • •

Triumph des Willens (1934/35) Die Unbekannte (1936) Fährmann Maria (1936) Olympia (1938) Pour le Mérite (1938) Friedrich Schiller – Triumph eines Genies (1940) Feldzug in Polen (1940) Sieg im Westen (1941) Die Entlassung (1942) G.P.U. (1942) Paracelsus (1943) The Crew of the Dora (1943) Die Degenhardts (1944) Fight of the Tertia (1952) Tiefland (1954) Hunde, wollt ihr ewig leben? (1958) Im Namen einer Mutter (1960)

References [1] Information booklet for "Olympia" soundtrack album, 2002 Leni-Riefenstahl Produktion

Bibliography • Volker, Reimar. "Von oben sehr erwünscht" : die Filmmusik Herbert Windts im NS-Propagandafilm. Trier: WVT, Wissenschaftlicher Verlag Trier, 2003. • Walter, Michael. "Die Musik des Olympiafilms von 1938". Acta Musicologica 62, no. 1 (Jan-Apr 1990): 82-113 .

External links • Herbert Windt (http://www.imdb.com/name/nm0934819/) at the Internet Movie Database

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Hans Zimmer

78

Hans Zimmer Hans Zimmer

Hans Zimmer receiving his star at the Hollywood Walk of Fame (2010) Background information Birth name

Hans Florian Zimmer

Born

12 September 1957 Frankfurt am Main, Germany

Genres

Film score, video game score

Occupations Film composer, video game composer, music producer Instruments Piano, keyboard, MIDI master keyboard, synthesizer, guitar Years active 1977–present Labels

Remote Control Productions

Website

www.hanszimmer.com

[1]

Hans Florian Zimmer (German pronunciation: [hans ˈfloːʁi̯aːn ˈtsɪmɐ]; born 12 September 1957) is a German film composer and music producer. He has composed music for over 100 films, including award winning film scores for The Lion King (1994), Crimson Tide (1995), Gladiator (2000), The Last Samurai (2003), The Dark Knight (2008) and Inception (2010). Zimmer spent the early part of his career in the United Kingdom before moving to the United States. He is the head of the film music division at DreamWorks studios and works with other composers through the company which he founded, Remote Control Productions.[1] Zimmer's works are notable for integrating electronic music sounds with traditional orchestral arrangements. He has received four Grammy Awards, two Golden Globes, a Classical BRIT Award, and an Academy Award. He was also named on the list of Top 100 Living Geniuses, published by The Daily Telegraph.[2]

Early life Zimmer was born in Frankfurt am Main, Germany. As a young child, he lived in Königstein-Falkenstein, where he played the piano at home, but had piano lessons only briefly as he disliked the discipline of formal lessons.[3] He moved to London as a teenager, where he attended Hurtwood House school.[4] In an interview with the German television station ZDF in 2006, he commented: "My father died when I was just a child, and I escaped somehow into the music and music has been my best friend."[5]

Hans Zimmer

Early career Zimmer began his career playing keyboards and synthesizers in the 1970s, with the band Krakatoa.[6] He worked with The Buggles, a New Wave band formed in 1977 with Trevor Horn, Geoff Downes, and Bruce Woolley. Zimmer can be seen briefly in The Buggles' music video for the 1979 song "Video Killed the Radio Star".[7] After working with The Buggles, he started to work for the Italian group Krisma, a New Wave band formed in 1976 with Maurizio Arcieri and Christina Moser. He was a featured synthesist for Krisma’s third album, Cathode Mamma. He has also worked with the band Helden (with Warren Cann from Ultravox).[8] Both Zimmer (on keyboards) and Cann (on drums), were invited to be part of the Spanish group Mecano for a live performance in Segovia (Spain) in 1984. Two songs from this concert were included in the "Mecano: En Concierto" album released in 1985 only in Spain. In 1980 Zimmer co-produced a single, "History of the World, Part 1," with, and for, UK Punk band The Damned, which was also included on their 1980 LP release, "The Black Album," and carried the description of his efforts as "Over-Produced by Hans Zimmer." While living in London, Zimmer wrote advertising jingles for Air-Edel Associates.[8] In the 1980s, Zimmer partnered with Stanley Myers, a prolific film composer who wrote the scores for over sixty films. Zimmer and Myers co–founded the London–based Lillie Yard recording studio. Together, Myers and Zimmer worked on fusing the traditional orchestral sound with electronic instruments.[9] Some of the films on which Zimmer and Myers worked are Moonlighting (1982), Success is the Best Revenge (1984), Insignificance (1985), and My Beautiful Launderette (1985). Zimmer's first solo score was Terminal Exposure for director Nico Mastorakis in 1987, for which he also wrote the songs. Zimmer acted as score producer for the 1987 film The Last Emperor, which won the Academy Award for Best Original Score.[8] One of Zimmer's most durable works from his time in the United Kingdom is the theme song for the television game show Going for Gold, which he composed with Sandy McClelland in 1987. In an interview with the BBC, Zimmer said: "Going For Gold was a lot of fun. It's the sort of stuff you do when you don't have a career yet. God, I just felt so lucky because this thing paid my rent for the longest time."[10]

Hollywood film scoring A turning point in Zimmer's career occurred with the 1988 film Rain Man.[9] Hollywood director Barry Levinson was looking for someone to score Rain Man, and his wife heard the soundtrack CD of the anti-Apartheid drama A World Apart, for which Zimmer had composed the music. Levinson was impressed by Zimmer's work, and hired him to score Rain Man.[11] In the score, Zimmer uses synthesizers (mostly a Fairlight CMI) mixed with steel drums. Zimmer explained that "It was a road movie, and road movies usually have jangly guitars or a bunch of strings. I kept thinking don't be bigger than the characters. Try to keep it contained. The Raymond character doesn't actually know where he is. The world is so different to him. He might as well be on Mars. So, why don't we just invent our own world music for a world that doesn't really exist?".[12] Zimmer’s score for Rain Man was nominated for an Academy Award in 1989, and the film won four Academy Awards including Best Picture.[13] A year after Rain Man, Zimmer was asked to compose the score for Bruce Beresford's Driving Miss Daisy which, like Rain Man, won an Academy Award for Best Picture. Driving Miss Daisy’s instrumentation consisted entirely of synthesizers and samplers, played by Zimmer. According to an interview with Sound On Sound magazine in 2002, the piano sounds heard within the score come from the Roland MKS–20, a rackmount synthesizer. Zimmer joked: "It didn't sound anything like a piano, but it behaved like a piano."[14] 1991's Thelma & Louise soundtrack by Zimmer featured the trademark slide guitar performance by Pete Haycock on the "Thunderbird" theme in the film. As a teenager, Zimmer was a fan of Haycock, and their collaboration on film scores includes K2 and Drop Zone.[15] For the 1992 film The Power of One, Zimmer traveled to Africa in order to use African choirs and drums in the recording of the score. On the strength of this work, Walt Disney Animation Studios approached Zimmer to compose

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Hans Zimmer the score for the 1994 film The Lion King. This was to be his first score for an animated film. Zimmer said that he had wanted to go to South Africa to record parts of the soundtrack, but was unable to visit the country as he had a police record there "for doing 'subversive' movies" after his work on The Power of One. Disney studio bosses expressed fears that Zimmer would be killed if he went to South Africa, so the recording of the choirs was organized during a visit by Lebo M.[16] Zimmer won numerous awards for his work on The Lion King, including an Academy Award for Best Original Score, a Golden Globe, and two Grammys. In 1997, the score was adapted into a Broadway musical version which won the Tony Award for Best Musical in 1998.[17][18] As of April 2012, the musical version of The Lion King is the highest grossing Broadway show of all time, having grossed $853.8 million.[19] Zimmer's score for Crimson Tide (1995) won a Grammy Award for the main theme, which makes heavy use of synthesizers in place of traditional orchestral instruments. For The Thin Red Line (1998), Zimmer said that the director Terrence Malick wanted the music before he started filming, so he recorded six and a half hours of music.[12] Zimmer's next project was The Prince of Egypt (1998), which was produced by DreamWorks Animation. He introduced Ofra Haza, an Israeli Yemenite singer, to the directors, and they thought she was so beautiful that they designed one of the characters in the film to look like her.[12]

Work: 2000–present In the 2000s, Zimmer has composed scores for Hollywood blockbuster films including Gladiator (2000), Black Hawk Down and Hannibal (2001), The Last Samurai (2003), Madagascar (2005), The Da Vinci Code (2006) The Simpsons Movie (2007), Angels & Demons (2009) and Sherlock Holmes (2009). While writing the score for The Last Samurai, Zimmer felt that his knowledge of Japanese music was extremely limited. He began doing extensive research, but the more he studied, the less he felt he knew. Finally, Zimmer took what he had written to Japan for feedback and was shocked when he was asked how he knew so much about Japanese music.[12] During the scoring of The Last Samurai in early 2003, Zimmer was approached by the producer Jerry Bruckheimer, with whom he had worked previously on Crimson Tide, The Rock and Pearl Harbor. Bruckheimer had finished shooting Pirates of the Caribbean: The Curse of the Black Pearl, but was unhappy with the music composed for the film by Alan Silvestri and wanted a replacement score.[20] Bruckheimer wanted Zimmer to rescore the film, but due to his commitments on The Last Samurai, the task of composing and supervising music for Pirates of the Caribbean: The Curse of the Black Pearl was given to Klaus Badelt, one of Zimmer's colleagues at Media Ventures. Zimmer provided some themes that were used in the film, although he is not credited on screen.[21][22] Zimmer was hired as the composer for the three subsequent films in the series, Pirates of the Caribbean: Dead Man's Chest (2006), Pirates of the Caribbean: At World's End (2007), and Pirates of the Caribbean: On Stranger Tides (2011), collaborating with Rodrigo y Gabriela.[23] For the 2009 film Sherlock Holmes, "The Daily Variety" reported that Zimmer purchased an out-of-tune piano for 200 dollars and used it throughout the scoring process because of its "quirkiness".[24] For the 2011 sequel Sherlock Holmes: A Game of Shadows, Zimmer and director Guy Ritchie incorporated authentic Roma gypsy music, which they researched by visiting Slovakia, Italy and France. The gypsy music in the film is played by Roma virtuoso musicians.[25][26]

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Hans Zimmer

81

Hans Zimmer in 2008

Zimmer is also noted for his work on the scores of Christopher Nolan's Batman Begins (2005) and The Dark Knight (2008), on which he collaborated with James Newton Howard.[10] For the soundtrack of The Dark Knight, Zimmer decided to represent the character of The Joker by a single note played on the cello by his long-time colleague Martin Tillman. Zimmer commented "I wanted to write something people would truly hate."[27] The scores for these films were disqualified from receiving Academy Award nominations for Best Original Score due to too many composers being listed on the cue sheet.[28] Zimmer succeeded in reversing the decision not to nominate The Dark Knight in December 2008, arguing that the process of creating a modern film score was collaborative, and that it was important to credit a range of people who had played a part in its production.[29] Zimmer explained his approach to scoring with other musicians in an interview with Soundtrack.net in 2006:

"Originally I had this idea that it should be possible to create some kind of community around this kind of work, and I think by muddying the titles – not having "you are the composer, you are the arranger, you are the orchestrator" – it just sort of helped us to work more collaboratively. It wasn't that important to me that I had "score by Hans Zimmer" and took sole credit on these things. It's like Gladiator: I gave Lisa Gerrard the co-credit because, even though she didn't write the main theme, her presence and contributions were very influential. She was more than just a soloist, and this is why I have such a problem with specific credits."[30] Zimmer works with other composers through his company Remote Control Productions, formerly known as Media Ventures. His studio in Santa Monica, California has an extensive range of computer equipment and keyboards, allowing demo versions of film scores to be created quickly.[31] His colleagues at the studio have included Harry Gregson-Williams, James Dooley, Geoff Zanelli, Henning Lohner, Steve Jablonsky, Mark Mancina, John Van Tongeren, John Powell and Thomas J. Bergersen. In October 2000, Zimmer performed live in concert for the first time with an orchestra and choir at the 27th Annual Flanders International Film Festival in Ghent.[32] He has received a range of honors and awards, including the Lifetime Achievement Award in film Composition from the National Board of Review, the Frederick Loewe Award in 2003 at the Palm Springs International Film Festival, ASCAP’s Henry Mancini Award for Lifetime Achievement, and BMI's Richard Kirk Award for lifetime achievement in 1996. Recent work includes the Spanish language film Casi Divas,[33] Sherlock Holmes, The Burning Plain (2009), and Inception (2010). He composed the theme for the television boxing series The Contender, and worked with Lorne Balfe on the music for Call of Duty: Modern Warfare 2, which was his first video game project.[34] Zimmer also collaborated with composers Borislav Slavov and Tilman Sillescu to create the score for the video game Crysis 2.[35] In December 2010, Zimmer received a star on the Hollywood Walk of Fame. He dedicated the award to his publicist and long term friend Ronni Chasen, who had been shot dead in Beverly Hills the previous month.[36] In 2012, Zimmer composed and produced the music for the 84th Academy Awards with Pharrell Williams of The Neptunes.[37] He also composed a new version of the theme music for ABC World News.[38] Zimmer also composed the score for The Dark Knight Rises, the final installment of Christopher Nolan's Batman trilogy. The film was released in July 2012.[39] Zimmer described himself as "devastated" in the aftermath of the 2012 Aurora shooting, which occurred at a screening of The Dark Knight Rises, commenting "I just feel so incredibly sad for these people." He recorded a track entitled "Aurora", a choral arrangement of a theme from the Dark Knight Rises soundtrack, to raise money for the victims of the shooting.[40]

Hans Zimmer

82

Zimmer lives in Los Angeles with his wife Suzanne, and has four children.[41][42]

Discography and awards Academy Awards

Saturn Awards

•

•

1994: The Lion King

2009: The Dark Knight (Shared with James Newton Howard) 2011: Inception

Golden Globe Awards

•

• •

Classical BRIT Awards

1995: The Lion King 2001: Gladiator

•

Grammy Awards • • • •

1995: The Lion King (Best Instrumental Arrangement With Accompanying Vocals) 1995: The Lion King (Best Musical Album For Children) 1996: Crimson Tide 2009: The Dark Knight (Shared with James Newton Howard)

2008: The Dark Knight (Shared with James Newton Howard)

WAFCA Awards •

2011: Inception

BFCA Awards

Satellite Award

•

• • • •

World Soundtrack Awards

1999: The Thin Red Line 2001: Gladiator 2004: The Last Samurai 2011: Inception

•

2000: Gladiator

2011: Inception

References [1] "Hans Zimmer" (http:/ / www. filmtracks. com/ composers/ zimmer. shtml). Filmtracks.com. . Retrieved 2009-09-13. [2] "Top 100 living geniuses" (http:/ / www. telegraph. co. uk/ news/ uknews/ 1567544/ Top-100-living-geniuses. html). The Daily Telegraph. 30 October 2007. . Retrieved 2011-01-02. [3] "MTV biography – Hans Zimmer (in German)" (http:/ / www. mtv. de/ music/ 20224928/ bio-Hans Zimmer. html). . Retrieved 2011-09-27. [4] "Hurtwood House Performing Arts – Hans Zimmer" (http:/ / www. hurtwoodhouseperformingarts. co. uk/ #/ hans-zimmer/ 4533716266). . Retrieved 2010-09-27. [5] "ZDF Infokanal interview, June 2006 (in German with English subtitles)" (http:/ / www. hans-zimmer. com/ fr/ newsite. php?rub=media). . Retrieved 2009-09-13. [6] Krakatoa at Myspace Music (http:/ / www. myspace. com/ krakatoa1975/ photos/ 3604500). Zimmer is second from right. Retrieved 2012-09-18. [7] "DebiDoss" (http:/ / www. debidoss. co. uk/ profile. swf). . Retrieved 2009-09-11. [8] "Hans Zimmer biography" (http:/ / www. starpulse. com/ Music/ Zimmer,_Hans/ Biography/ ). Starpulse.com. . Retrieved 2009-06-10. [9] "Biography" (http:/ / www. hans-zimmer. com/ fr/ bio. php). Hans Zimmer. . Retrieved 2009-06-10. [10] "Talking Shop: Hans Zimmer" (http:/ / news. bbc. co. uk/ 1/ hi/ entertainment/ 7526033. stm). BBC. 28 July 2008. . Retrieved 2009-09-11. [11] Stewart, D.R. (4 August 2008). "Zimmer and Howard discuss remote collaboration" (http:/ / www. variety. com/ article/ VR1117990043. html?categoryid=3179& cs=1). Variety. . Retrieved 2009-09-11. [12] Young, John (5 August 2008). "2008 Interview with Entertainment Weekly" (http:/ / www. ew. com/ ew/ gallery/ 0,,20216261,00. html). Ew.com. . Retrieved 2009-06-10. [13] "Best Picture Winners" (http:/ / www. oscars. org/ awards/ academyawards/ oscarlegacy/ bestpictures/ ). Academy of Motion Picture Arts and Sciences. . Retrieved 2009-09-11. [14] "Media Adventures" (http:/ / www. soundonsound. com/ sos/ Oct02/ articles/ hanszimmer. asp?session=20dc696d9a5e453fa6c98ea962ac5163). Sound on Sound. October 2002. . Retrieved 2009-09-11. [15] "Hans Zimmer Reflects on 15 of His Memorable Film Scores" (http:/ / www. ew. com/ ew/ gallery/ 0,,20216261_2,00. html). Entertainment Weekly. . Retrieved 2009-09-11. [16] "Hans Zimmer Reflects on 15 of His Memorable Film Scores" (http:/ / www. ew. com/ ew/ gallery/ 0,,20216261_4,00. html). Entertainment Weekly. . Retrieved 2009-09-11. [17] "The Lion King: The Broadway Musical" (http:/ / www. lionking. org/ musical/ ). . Retrieved 2009-09-11.

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83

Hans Zimmer

External links • Official website (http://www.hanszimmer.com) • Hans Zimmer (http://www.imdb.com/name/nm1877/) at the Internet Movie Database • Interview with Hans Zimmer in Film Score Monthly (http://www.filmscoremonthly.com/features/zimmer. asp) • Interview with Hans Zimmer about Sherlock Holmes from C Music TV (http://www.cmusic.tv/watchvideo/ 476) • Focus.De (http://www.focus.de/kultur/videos/renners-hollywood/ renners-hollywood-der-hans-zimmer-sound_vid_19009.html) • Interviews with Hans Zimmer (http://www.filmmusicsite.com/composers.cgi?go=interview&coid=5& firstname=Hans&lastname=Zimmer&lang=en)

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Article Sources and Contributors

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165 anonymous edits Claus Bantzer  Source: http://en.wikipedia.org/w/index.php?oldid=525870432  Contributors: Bencherlite, EPadmirateur, Jared Preston, MDCollins, Magnus Manske, Neddyseagoon, PhilSchabus, Traveler100, Uebersetzer, WV123, Wimt, 3 anonymous edits Giuseppe Becce  Source: http://en.wikipedia.org/w/index.php?oldid=516919944  Contributors: Bender235, Betacommand, Bovineboy2008, Deb, Ekem, Esowteric, Grundig, JamesBWatson, Jeremy55, JonHarder, Kolchak1923, Lord Cornwallis, Lugnuts, Rjwilmsi, Smerus, Thephotoplayer, Tjmayerinsf, Ulrich.Steffen.Eck, 2 anonymous edits Martin Böttcher  Source: http://en.wikipedia.org/w/index.php?oldid=521927705  Contributors: D6, Dimadick, E-Kartoffel, Everyking, Furor Teutonicus, GoingBatty, Grm wnr, Gzornenplatz, Jetman, KF, Kleinzach, MegX, Missmarple, NordhornerII, Nufftin, Postdlf, Quadell, Rich Farmbrough, SCEhardt, Sbeath, Ser Amantio di Nicolao, Stemonitis, TheFeds, Treybien, Ulf Heinsohn, WereSpielChequers, Who, Wittkowsky, 14 anonymous 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Mahanga, Monegasque, Moreschi, Olessi, Omnipaedista, Phaeton68, PhilSchabus, Rjwilmsi, Sebastian scha., Staffelde, Stepshep, Storkk, Tom Driver, TubularWorld, Unitoro, Weimar03, Yid613, Андрей Романенко, 7 anonymous edits Klaus Doldinger  Source: http://en.wikipedia.org/w/index.php?oldid=524168888  Contributors: 73lackluck, Abronkeeler, Adamhauner, Alai, AllyD, Andrija.b, BD2412, BNutzer, Bearcat, Caerwine, Caiaffa, Cdl obelix, ChrisGualtieri, D6, E-Kartoffel, FeanorStar7, Furor Teutonicus, Garion96, Hexatonic, Ian Dunster, Jerzy, Leahtwosaints, Mahanga, Mattbr, Mickea, Mind meal, Morefun, Nomo, Pegship, Ral315, Sonja Strom, Stonnman, Waacstats, Webmgr, WikHead, 17 anonymous edits Frank Duval  Source: http://en.wikipedia.org/w/index.php?oldid=522803583  Contributors: After Midnight, Aspects, Chzz, Dobrikus7, Emeraude, Fisherjs, Frikdt, Jackie, Johnpseudo, MegX, Neelix, Peter S., Pinots, Robina Fox, Ser Amantio di Nicolao, ShelfSkewed, Smalljim, Superp, The Blade of the Northern Lights, 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Ceharanka, Chris Roy, CommonsDelinker, Composers of the World, D6, DJRafe, Deb, DionysosProteus, Diosprometheus, Djfgregory, Dreamster, Dunkelweizen, Ekki01, Eugene van der Pijll, Favonian, Fui in terra aliena, Gardar Rurak, Hmains, Hyacinth, Indiemike79, Jerome Kohl, Jetman, JmCor, Kchang17, Kernel Saunters, Kjhughes, Kosboot, L.Willms, Langohio, Leutha, Liftarn, Marrante, Michael Bednarek, Michael Hardy, Mlang.Finn, Monegasque, NYCTATO, OK1900, Olessi, Opponent, Orange Suede Sofa, Ponox, Rich Farmbrough, [email protected], Scherzo triste, Schissel, Skulkerden, Smerus, Stevouk, Ted Wilkes, Tetragruppasum, Theturbolemming, Tjmayerinsf, Twthmoses, ValenShephard, Waacstats, Yid613, Yngvadottir, 辩 明 君, 53 anonymous edits Christopher Evans Ironside  Source: http://en.wikipedia.org/w/index.php?oldid=374275576  Contributors: 1ForTheMoney, BD2412, Closedmouth, D6, Dangling Conversation, Davehi1, E-Kartoffel, Guillaume2303, Ian T, Tassedethe, Zanterna, 1 anonymous edits Harold Faltermeyer 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 Contributors: Frietjes, Gerda Arendt, Peter G Werner, TRBP, Woohookitty, 2 anonymous edits Georg Haentzschel  Source: http://en.wikipedia.org/w/index.php?oldid=522013340  Contributors: FeanorStar7, Hintersatz, Johnthepcson, Komponistenarchiv, Monegasque, Moswento, Nunquam Dormio, PirateMink, Rrburke, Ser Amantio di Nicolao, SilkRoadEdge, WOSlinker, 1 anonymous edits Reinhold Heil  Source: http://en.wikipedia.org/w/index.php?oldid=524407476  Contributors: Bachrach44, CR4Rajdani, Dissolve, ElectroPro, Grundigradioboy, Hyliad, Inwind, Magioladitis, Mallanox, Martarius, Metropolitan90, Patrick Neylan, Perfect13thStep, Rettetast, Rjwilmsi, Rodale090, Ser Amantio di Nicolao, ShelfSkewed, Skier Dude, Skraelinger, Steve98052, Weissmann, Woohookitty, Zujua, 10 anonymous edits Werner R. 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Article Sources and Contributors Edmund Meisel  Source: http://en.wikipedia.org/w/index.php?oldid=524300685  Contributors: Calliopejen1, CommonsDelinker, Dsp13, FeanorStar7, Folantin, Magnus Manske, Marrante, Mmalsky, Movementarian, Schissel, Sgeureka, Sheynhertz-Unbayg, Tjmayerinsf, 3 anonymous edits Siggi Mueller  Source: http://en.wikipedia.org/w/index.php?oldid=393697129  Contributors: Ajanotta, Conquistador2k6, Fabrictramp, Nimur, Sunderland06, Unforgiven24 Peer Raben  Source: http://en.wikipedia.org/w/index.php?oldid=523668526  Contributors: Ash, Bearcat, Brandont, FeanorStar7, ForDorothy, Helpper, PhilSchabus, Philip Cross, Rje, SatyrTN, Stemonitis, Truthanado, Turian, Waacstats, 5 anonymous edits Max van der Rose  Source: http://en.wikipedia.org/w/index.php?oldid=469706021  Contributors: A.G. Pinkwater, BD2412, Colonies Chris, Geniac, GlobalArchivist, Jeff3000, LilHelpa, Meisterkoch, Small black sun, Stijn Vermeeren, Treybien Ludwig Schmidseder  Source: http://en.wikipedia.org/w/index.php?oldid=523907568  Contributors: Cricketgirl, DadaNeem, Iridescent, Kleinzach, Monegasque, Rjwilmsi, 1 anonymous edits Irmin Schmidt  Source: http://en.wikipedia.org/w/index.php?oldid=525575430  Contributors: 96T, Anarchivist, Bjones, Boothy443, CardinalDan, Cast, D6, E-Kartoffel, Freimut Bahlo, Gerda Arendt, Gikü, HisSpaceResearch, Jerome Kohl, Joelove000, Karljoos, Koavf, Lashuto, Leopold Stotch, Livajo, Michael Bednarek, Mike Selinker, Pax:Vobiscum, Prof. Pod, Quiddity, Remuel, Secretlondon, Ser Amantio di Nicolao, Spride, 9 anonymous edits Willy Schmidt-Gentner  Source: http://en.wikipedia.org/w/index.php?oldid=523795551  Contributors: Aspects, HeartofaDog, Lord Cornwallis, Modal Jig, Monegasque, Ser Amantio di Nicolao, Tassedethe, 1 anonymous edits Enjott Schneider  Source: 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