21st Century Cinema

~ Veröffentlichung von Various Artists (alle Versionen dieser Veröffentlichung ansehen, eine vorhanden)

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(As of 2020-10-25).

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Anmerkung zuletzt geändert am 2020-11-01 12:00 UTC.

Titelliste

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1Drives to Roscrea
recording engineer und Mix:
Peter Cobbin (recording engineer at Abbey Road Studios)
assistierende(r) Techniker(in):
Lewis Jones (engineer)
Produzent(in):
Dominique Lemonnier
Editing:
Gerard McCann (producer, editor)
Orchester:
London Symphony Orchestra
conductor:
Alexandre Desplat (French score composer)
phonographisches Urheberrecht (℗) von:
Pathé Productions Limited, Philomena Lee Limited und The Weinstein Company LLC (do not use as a release label!)
aufgenommen bei und mixed at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, Vereinigtes Königreich
recording of:
Drives to Roscrea
Orchestrator(in) und Komponist(in):
Alexandre Desplat (French score composer)
Alexandre Desplat1:15
2Muirfield (original motion picture soundtrack “The Aviator”)
recording engineer:
John Kurlander (engineer)
assistierende(r) Techniker(in):
Richard Hale (recording engineer), Roland Heap, Richard Lancaster und Jay Spears
Produzent(in):
Howard Shore (Canadian score composer)
Mix:
Mark Willsher (Grammy®-winning engineer & producer delivering high-end film score mixing, classical recording, and Dolby Atmos/immersive music production)
assistierendes Editing:
Ben Pederson und Marie Ebbing
Editing:
Jennifer Dunnington, Jonathan Schultz (mastering), Tim Starnes (engineer) und Mark Willsher (Grammy®-winning engineer & producer delivering high-end film score mixing, classical recording, and Dolby Atmos/immersive music production)
Orchester:
The Flemish Radio Orchestra (Brussels Philharmonic)
conductor:
Howard Shore (Canadian score composer)
Orchestrator(in):
Howard Shore (Canadian score composer)
recording of:
Muirfield
The Flemish Radio Orchestra & Howard Shore2:22
3A Fateful Meeting
recording engineer:
Joel Iwataki und Alan Meyerson
zusätzlich recording engineer:
James T. Hill
Produzent(in):
James Newton Howard (American score composer) und Jim Weidman (music editor, producer)
Mix:
Alan Meyerson
Editing:
Marie Ebbing, Malcolm Fife, Peter Myles (editing Engineer), David Olson (engineer, producer), Jonathon Stevens (engineer) und Jim Weidman (music editor, producer)
Orchester:
Hollywood Studio Symphony
conductor:
Pete Anthony (American conductor and orchestrator.), Bruce Babcock und Mike Nowak (violin / viola player and conductor)
Orchestrator(in):
Jeff Atmajian
concertmaster:
Endre Granat (Hungarian violinist)
phonographisches Urheberrecht (℗) von:
Universal Classics Group (not for release label use, a division of UMG Recordings, Inc.)
mixed at:
Todd-AO Scoring Stage in Studio City, Los Angeles, California (Kalifornien), Vereinigte Staaten
recording of:
A Fateful Meeting
Komponist(in):
James Newton Howard (American score composer)
James Newton Howard4:16
4Dawn (from “Pride & Prejudice” soundtrack)
assistierende(r) Techniker(in):
Olga FitzRoy, Jake Jackson (recording engineer) und Nick Taylor (UK recording engineer)
Techniker(in):
Nick Wollage
Produzent(in):
Dario Marianelli (Italian score composer)
Editing:
James Bellamy (editor)
Klavier:
Jean‐Yves Thibaudet (pianist)
Orchester:
English Chamber Orchestra
conductor:
Benjamin Wallfisch (English score composer)
Orchestrator(in):
Benjamin Wallfisch (English score composer)
phonographisches Urheberrecht (℗) von:
Universal Classics & Jazz (Japanese label division - read the annotation before using!)
aufgenommen bei:
AIR Studios (Lyndhurst Hall 1991–present) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, Vereinigtes Königreich
mixed at:
Air-Edel Recording Studios in London (Greater London), England, Vereinigtes Königreich
recording of:
Dawn (Pride and Prejudice, 2005)
Komponist(in):
Dario Marianelli (Italian score composer)
Teil von:
Pride and Prejudice
Jean-Yves Thibaudet52:35
5St. Clair’s Blues (from “Florence Foster Jenkins” soundtrack)
assistierende(r) Techniker(in):
John Barrett (engineer) und Lewis Jones (engineer)
Techniker(in):
Peter Cobbin (recording engineer at Abbey Road Studios)
Mix:
Peter Cobbin (recording engineer at Abbey Road Studios), Alexandre Desplat (French score composer) und Kirsty Whalley (engineer and keyboardist)
Editing:
Kirsty Whalley (engineer and keyboardist)
Orchester:
John Kirby & His Orchestra
conductor:
Alexandre Desplat (French score composer)
aufgenommen bei:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, Vereinigtes Königreich
recording of:
St. Clair’s Blues (From “florence Foster Jenkins” Soundtrack)
Orchestrator(in) und Komponist(in):
Alexandre Desplat (French score composer)
Alexandre Desplat1:19
6The Pop‐up Book (from “Paddington 2” original motion picture soundtrack)
recording engineer:
Fiona Cruickshank und Nick Wollage
Produzent(in):
Maggie Rodford
Mix:
Nick Wollage
assistierendes Editing:
Nathan Klein (editor)
Editing:
Mark Willsher (Grammy®-winning engineer & producer delivering high-end film score mixing, classical recording, and Dolby Atmos/immersive music production)
conductor:
Dario Marianelli (Italian score composer)
aufgenommen bei und mixed at:
Air Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, Vereinigtes Königreich
recording of:
The Pop‐Up Book
Orchestrator(in):
Geoff Alexander und Dario Marianelli (Italian score composer)
Komponist(in):
Dario Marianelli (Italian score composer)
Dario Marianelli1:30
7Lbj Orders Strikes (from “All the Way” original soundtrack)
James Newton Howard1:33
8A Lord of the Rings Suite
Produzent(in):
Craig Leon (musician, arranger, composer and producer)
flute:
James Galway (flautist) (in 2004-06)
Orchester:
London Symphony Orchestra (in 2004-06)
conductor:
Klauspeter Seibel (conductor) (in 2004-06)
Tonmeister(in):
Jonathan Allen (engineer)
aufgenommen bei:
Abbey Road Studios: Studio 1 in St John's Wood, Westminster, London (Greater London), England, Vereinigtes Königreich (in 2004-06)
recording of:
A Lord of the Rings Suite (for flute and orchestra) (in 2004-06)
Komponist(in):
Howard Shore (Canadian score composer)
James Galway, London Symphony Orchestra & Klauspeter Seibel6:45
9Georgiana (from “Pride & Prejudice” soundtrack)
English Chamber Orchestra & Benjamin Wallfisch1:35
10Time for Bed
recording engineer und Mix:
Nick Wollage
assistierende(r) Techniker(in):
Laurence Anslow (UK engineer AIR Studios) und Fiona Cruickshank
Produzent(in):
Dario Marianelli (Italian score composer)
Editing:
James Bellamy (editor)
conductor:
Benjamin Wallfisch (English score composer)
Orchestrator(in):
Dario Marianelli (Italian score composer) und Benjamin Wallfisch (English score composer)
phonographisches Urheberrecht (℗) von:
Focus Features LLC
aufgenommen bei und mixed at:
AIR Studios (Lyndhurst Hall 1991–present) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, Vereinigtes Königreich
recording of:
Time for Bed
Orchestrator(in):
Dario Marianelli (Italian score composer) und Benjamin Wallfisch (English score composer)
Komponist(in):
Dario Marianelli (Italian score composer)
Dario Marianelli1:05
11Innocence (from „Free the Mind” soundtrack)
Keyboard:
Jóhann Jóhannsson (Icelandic musician and score composer)
Klavier:
Jóhann Jóhannsson (Icelandic musician and score composer) und Ólafur Björn Ólafsson
Perkussion:
Ólafur Björn Ólafsson
conductor:
Péter Pejtsik
Orchestrator(in):
Peter Due und Jóhann Jóhannsson (Icelandic musician and score composer)
concertmaster:
Zsófia Környei (Hungarian classical violinist)
recording of:
Innocence (From „free the Mind” Soundtrack)
Komponist(in):
Jóhann Jóhannsson (Icelandic musician and score composer)
Johann Johannsson1:10
12Crown Heights
Techniker(in):
François Goupil und John Kurlander (engineer)
Produzent(in):
Howard Shore (Canadian score composer) und James Sizemore (Composer and producer)
Mix:
François Goupil
Editing:
James Sizemore (Composer and producer)
Orchester:
Orchestre Métropolitain
conductor:
Howard Shore (Canadian score composer)
Orchestrator(in):
Howard Shore (Canadian score composer)
phonographisches Urheberrecht (℗) von:
Impression Music LLC
recording of:
Crown Heights
Komponist(in):
Howard Shore (Canadian score composer)
Ray Chen & Howard Shore1:14
13Virign Mary (from “Road to Perdition” soundtrack)
recording engineer:
Armin Steiner und Tommy Vicari
Produzent(in):
Bill Bernstein
Mix:
Tommy Vicari
Editing:
Bill Bernstein und Mike Zainer
conductor:
Thomas Newman (American score composer)
phonographisches Urheberrecht (℗) von:
Universal Classics Group (not for release label use, a division of UMG Recordings, Inc.)
recording of:
Virign Mary
Orchestrator(in):
Thomas Pasatieri
Komponist(in):
Thomas Newman (American score composer)
Thomas Newman1:34
14Dance With Me
recording engineer und Mix:
Nick Wollage
assistierende(r) Techniker(in):
Laurence Anslow (UK engineer AIR Studios) und Fiona Cruickshank
Produzent(in):
Dario Marianelli (Italian score composer)
Editing:
James Bellamy (editor)
conductor:
Benjamin Wallfisch (English score composer)
Orchestrator(in):
Dario Marianelli (Italian score composer) und Benjamin Wallfisch (English score composer)
phonographisches Urheberrecht (℗) von:
Focus Features LLC
aufgenommen bei und mixed at:
AIR Studios (Lyndhurst Hall 1991–present) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, Vereinigtes Königreich
recording of:
Dance With Me
Orchestrator(in):
Dario Marianelli (Italian score composer) und Benjamin Wallfisch (English score composer)
Komponist(in):
Dario Marianelli (Italian score composer)
Dario Marianelli4:23
15Boating for Beginners (from “The Mercy” soundtrack)
recording engineer:
Geoff Foster (sound engineer)
Programmierung:
Rutger Hoedemaekers und Jóhann Jóhannsson (Icelandic musician and score composer)
Produzent(in):
Jóhann Jóhannsson (Icelandic musician and score composer)
Mix:
Peter Cobbin (recording engineer at Abbey Road Studios) und Kirsty Whalley (engineer and keyboardist)
Celesta und Klavier:
Jóhann Jóhannsson (Icelandic musician and score composer)
elektronische Instrumente:
Rutger Hoedemaekers
Keyboard:
Rutger Hoedemaekers, Jóhann Jóhannsson (Icelandic musician and score composer), Ólafur Björn Ólafsson und Alex Somers
Perkussion:
Ólafur Björn Ólafsson
Synthesizer:
Rutger Hoedemaekers und Jóhann Jóhannsson (Icelandic musician and score composer)
Orchester:
Budapest Art Orchestra
conductor:
Anthony Weeden (Conductor and orchestrator)
Orchestrator(in):
Jóhann Jóhannsson (Icelandic musician and score composer) und Anthony Weeden (Conductor and orchestrator)
aufgenommen bei:
Studio 22 (Magyar Rádió) in Budapest, Ungarn
Johann Johannsson & Rutger Hoedemaekers1:34
16It’s in the Subtext
recording engineer:
Joel Iwataki und Alan Meyerson
zusätzlich recording engineer:
James T. Hill
Produzent(in):
James Newton Howard (American score composer) und Jim Weidman (music editor, producer)
Mix:
Alan Meyerson
Editing:
Marie Ebbing, Malcolm Fife, Peter Myles (editing Engineer), David Olson (engineer, producer), Jonathon Stevens (engineer) und Jim Weidman (music editor, producer)
Orchester:
Hollywood Studio Symphony
conductor:
Pete Anthony (American conductor and orchestrator.), Bruce Babcock und Mike Nowak (violin / viola player and conductor)
Orchestrator(in):
Jeff Atmajian
concertmaster:
Endre Granat (Hungarian violinist)
phonographisches Urheberrecht (℗) von:
Universal Classics Group (not for release label use, a division of UMG Recordings, Inc.)
mixed at:
Todd-AO Scoring Stage in Studio City, Los Angeles, California (Kalifornien), Vereinigte Staaten
recording of:
It's in the Subtext
Komponist(in):
James Newton Howard (American score composer)
James Newton Howard3:20
17The Asylum
Techniker(in):
François Goupil und John Kurlander (engineer)
Produzent(in):
Howard Shore (Canadian score composer) und James Sizemore (Composer and producer)
Mix:
François Goupil
Editing:
James Sizemore (Composer and producer)
Orchester:
Orchestre Métropolitain
conductor:
Howard Shore (Canadian score composer)
Orchestrator(in):
Howard Shore (Canadian score composer)
phonographisches Urheberrecht (℗) von:
Impression Music LLC
recording of:
The Asylum
Komponist(in):
Howard Shore (Canadian score composer)
Howard Shore0:39
18To Belong (from “Werk ohne Autor” soundtrack)
Sound-Engineering:
Rupert Coulson (sound engineer)
Techniker(in):
John Prestage (engineer)
Produzent(in):
Max Richter (German pianist and score composer)
Orchester:
Air Lyndhurst Orchestra
phonographisches Urheberrecht (℗) von:
Studio Richter Mahr
aufgenommen bei:
Air Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, Vereinigtes Königreich
recording of:
To Belong
Komponist(in):
Max Richter (German pianist and score composer)
Max Richter1:32
19The Venture Departs
recording engineer:
Joel Iwataki und Alan Meyerson
zusätzlich recording engineer:
James T. Hill
Produzent(in):
James Newton Howard (American score composer) und Jim Weidman (music editor, producer)
Mix:
Alan Meyerson
Editing:
Marie Ebbing, Malcolm Fife, Peter Myles (editing Engineer), David Olson (engineer, producer), Jonathon Stevens (engineer) und Jim Weidman (music editor, producer)
Orchester:
Hollywood Studio Symphony
conductor:
Pete Anthony (American conductor and orchestrator.), Bruce Babcock und Mike Nowak (violin / viola player and conductor)
Orchestrator(in):
Jeff Atmajian
concertmaster:
Endre Granat (Hungarian violinist)
phonographisches Urheberrecht (℗) von:
Universal Classics Group (not for release label use, a division of UMG Recordings, Inc.)
mixed at:
Todd-AO Scoring Stage in Studio City, Los Angeles, California (Kalifornien), Vereinigte Staaten
recording of:
The Venture Departs
Komponist(in):
James Newton Howard (American score composer)
James Newton Howard4:03
20One of Them (from “Darkest Hour” soundtrack)
recording engineer und Mix:
Nick Wollage
assistierende(r) Techniker(in):
Ashley Andrew-Jones, Fiona Cruickshank und John Prestage (engineer)
Produzent(in):
Dario Marianelli (Italian score composer)
Editing:
Mark Willsher (Grammy®-winning engineer & producer delivering high-end film score mixing, classical recording, and Dolby Atmos/immersive music production)
Horn:
Nicholas Korth (horn player)
Klavier:
Víkingur Ólafsson (pianist)
conductor:
Dario Marianelli (Italian score composer)
Orchestrator(in):
Geoff Alexander und Dario Marianelli (Italian score composer)
concertmaster:
Rolf Wilson (violinist)
aufgenommen bei:
AIR Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, Vereinigtes Königreich
recording of:
One of Them (From “darkest Hour” Soundtrack)
Orchestrator(in) und Komponist(in):
Dario Marianelli (Italian score composer)
Dario Marianelli & Víkingur Ólafsson1:33
21Liz on Top of the World (from “Pride & Prejudice” soundtrack)
Jean-Yves Thibaudet1:23
22Spy Meeting (from “The Shape of Water” soundtrack)
recording engineer:
Peter Cobbin (recording engineer at Abbey Road Studios)
Produzent(in):
Dominique "Solrey" Lemonnier
Mix:
Peter Cobbin (recording engineer at Abbey Road Studios) und Kirsty Whalley (engineer and keyboardist)
accordion:
Myriam Lafargue
flute [jazz flute] und Trillerpfeife:
Alexandre Desplat (French score composer)
Klavier:
Dave Arch (pianist, conductor, arranger and composer)
Perkussion [percussions]:
Paul Clarvis (percussionist)
Orchester:
The London Symphony Orchestra (London Symphony Orchestra)
conductor:
Alexandre Desplat (French score composer)
concertmaster:
Carmine Lauri (violinist)
aufgenommen bei und mixed at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, Vereinigtes Königreich
Alexandre Desplat1:43
23Catharina’s Pearls (Girl with a Pearl Earring O.S.T.)
recording engineer:
John Timperley (von 2003-07-19 bis 2003-07-23)
Produzent(in):
Alexandre Desplat (French score composer)
assistierende(r) Mix:
Sam Okell (engineer, Abbey Road Studios)
Mix:
John Timperley
Orchester:
Pro Arte Orchestra of London (founded 1985) (von 2003-07-19 bis 2003-07-23)
conductor:
Alexandre Desplat (French score composer) (von 2003-07-19 bis 2003-07-23)
phonographisches Urheberrecht (℗) von:
Archer Street (Girl) Limited und Decca Music Group Limited (not for release label use, for ℗ & © rights holder use only)
aufgenommen bei:
Sony Music Studios (Whitfield Street studio, operating under this name from 1994–2004) in London (Greater London), England, Vereinigtes Königreich (von 2003-07-19 bis 2003-07-23)
recording of:
Catharina’s Pearls (Girl with a Pearl Earring O.S.T.)
Komponist(in):
Alexandre Desplat (French score composer)
Pro Arte Orchestra of London, Michael Davis & Alexandre Desplat1:23
24Art School (from “Werk ohne Autor” soundtrack)
Sound-Engineering:
Rupert Coulson (sound engineer)
Techniker(in):
John Prestage (engineer)
Produzent(in):
Max Richter (German pianist and score composer)
Orchester:
Air Lyndhurst Orchestra
phonographisches Urheberrecht (℗) von:
Studio Richter Mahr
aufgenommen bei:
Air Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, Vereinigtes Königreich
recording of:
Art School
Komponist(in):
Max Richter (German pianist and score composer)
Max Richter1:24
25Central Park
recording engineer:
Joel Iwataki und Alan Meyerson
zusätzlich recording engineer:
James T. Hill
Produzent(in):
James Newton Howard (American score composer) und Jim Weidman (music editor, producer)
Mix:
Alan Meyerson
Editing:
Marie Ebbing, Malcolm Fife, Peter Myles (editing Engineer), David Olson (engineer, producer), Jonathon Stevens (engineer) und Jim Weidman (music editor, producer)
Orchester:
Hollywood Studio Symphony
conductor:
Pete Anthony (American conductor and orchestrator.), Bruce Babcock und Mike Nowak (violin / viola player and conductor)
Orchestrator(in):
Jeff Atmajian
concertmaster:
Endre Granat (Hungarian violinist)
phonographisches Urheberrecht (℗) von:
Universal Classics Group (not for release label use, a division of UMG Recordings, Inc.)
mixed at:
Todd-AO Scoring Stage in Studio City, Los Angeles, California (Kalifornien), Vereinigte Staaten
recording of:
Central Park (King Kong)
Komponist(in):
James Newton Howard (American score composer)
James Newton Howard54:36
26Memories
recording engineer und Mix:
Peter Cobbin (recording engineer at Abbey Road Studios)
assistierende(r) Techniker(in):
Lewis Jones (engineer)
Produzent(in):
Dominique Lemonnier
Editing:
Gerard McCann (producer, editor)
Orchester:
London Symphony Orchestra
conductor:
Alexandre Desplat (French score composer)
phonographisches Urheberrecht (℗) von:
Pathé Productions Limited, Philomena Lee Limited und The Weinstein Company LLC (do not use as a release label!)
aufgenommen bei und mixed at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, Vereinigtes Königreich
recording of:
Memories
Orchestrator(in) und Komponist(in):
Alexandre Desplat (French score composer)
Alexandre Desplat1:16
27Icarus (original motion picture soundtrack “The Aviator”)
recording engineer:
John Kurlander (engineer)
assistierende(r) Techniker(in):
Richard Hale (recording engineer), Roland Heap, Richard Lancaster und Jay Spears
Produzent(in):
Howard Shore (Canadian score composer)
Mix:
Mark Willsher (Grammy®-winning engineer & producer delivering high-end film score mixing, classical recording, and Dolby Atmos/immersive music production)
assistierendes Editing:
Ben Pederson und Marie Ebbing
Editing:
Jennifer Dunnington, Jonathan Schultz (mastering), Tim Starnes (engineer) und Mark Willsher (Grammy®-winning engineer & producer delivering high-end film score mixing, classical recording, and Dolby Atmos/immersive music production)
Orchester:
The Flemish Radio Orchestra (Brussels Philharmonic)
conductor:
Howard Shore (Canadian score composer)
Orchestrator(in):
Howard Shore (Canadian score composer)
recording of:
Icarus
The Flemish Radio Orchestra, Alexandre Desplat & Howard Shore3:58
28Mr. Rance (from “Road to Perdition” soundtrack)
recording engineer:
Armin Steiner und Tommy Vicari
Produzent(in):
Bill Bernstein
Mix:
Tommy Vicari
Editing:
Bill Bernstein und Mike Zainer
conductor:
Thomas Newman (American score composer)
phonographisches Urheberrecht (℗) von:
Universal Classics Group (not for release label use, a division of UMG Recordings, Inc.)
recording of:
Mr. Rance
Orchestrator(in):
Thomas Pasatieri
Komponist(in):
Thomas Newman (American score composer)
Thomas Newman1:39
29The Funeral
recording engineer:
John Timperley (von 2006-07 bis 2006-08)
assistierende(r) Techniker(in):
Cenda Kotzmann und Ivan Zbíral
Produzent(in):
Alexandre Desplat (French score composer)
Mix:
John Timperley
Editing:
Peter Clarke (music editor)
Orchester:
Prague Symphony Orchestra (Prager Symphoniker) (von 2006-07 bis 2006-08)
conductor:
Alexandre Desplat (French score composer) (von 2006-07 bis 2006-08)
Orchestrator(in):
Alexandre Desplat (French score composer)
zusätzliche(r) Orchestrator(in):
Jean-Pascal Beintus (composer)
aufgenommen bei:
Rudolfinum (House of Artists) in Praha (Prague), Tschechien (von 2006-07 bis 2006-08)
mixed at:
Studio Guillaume Tell in Suresnes, Hauts-de-Seine, Île-de-France, Frankreich
recording of:
The Funeral (The Painted Veil) (von 2006-07 bis 2006-08)
Komponist(in):
Alexandre Desplat (French score composer)
Symfonický orchestr hlavního města Prahy FOK & Alexandre Desplat0:51
30He’s Coming for You (from “The Shape of Water” soundtrack)
recording engineer:
Peter Cobbin (recording engineer at Abbey Road Studios)
Produzent(in):
Dominique "Solrey" Lemonnier
Mix:
Peter Cobbin (recording engineer at Abbey Road Studios) und Kirsty Whalley (engineer and keyboardist)
accordion:
Myriam Lafargue
flute [jazz flute] und Trillerpfeife:
Alexandre Desplat (French score composer)
Klavier:
Dave Arch (pianist, conductor, arranger and composer)
Perkussion [percussions]:
Paul Clarvis (percussionist)
Orchester:
The London Symphony Orchestra (London Symphony Orchestra)
conductor:
Alexandre Desplat (French score composer)
concertmaster:
Carmine Lauri (violinist)
aufgenommen bei und mixed at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, Vereinigtes Königreich
Alexandre Desplat1:39
31On the Lake (from “All the Way” original soundtrack)
James Newton Howard2:33
32Flares (from “The Mercy” soundtrack)
recording engineer:
Geoff Foster (sound engineer)
Programmierung:
Rutger Hoedemaekers und Jóhann Jóhannsson (Icelandic musician and score composer)
Produzent(in):
Jóhann Jóhannsson (Icelandic musician and score composer)
Mix:
Peter Cobbin (recording engineer at Abbey Road Studios) und Kirsty Whalley (engineer and keyboardist)
Celesta und Klavier:
Jóhann Jóhannsson (Icelandic musician and score composer)
elektronische Instrumente:
Rutger Hoedemaekers
Keyboard und Synthesizer:
Rutger Hoedemaekers und Jóhann Jóhannsson (Icelandic musician and score composer)
aufgenommen bei:
Studio 22 (Magyar Rádió) in Budapest, Ungarn
Johann Johannsson1:11
33I Think I Am Going to Read (from “Florence Foster Jenkins” soundtrack)
assistierende(r) Techniker(in):
John Barrett (engineer) und Lewis Jones (engineer)
Techniker(in):
Peter Cobbin (recording engineer at Abbey Road Studios)
Mix:
Peter Cobbin (recording engineer at Abbey Road Studios), Alexandre Desplat (French score composer) und Kirsty Whalley (engineer and keyboardist)
Editing:
Kirsty Whalley (engineer and keyboardist)
Orchester:
John Kirby & His Orchestra
conductor:
Alexandre Desplat (French score composer)
aufgenommen bei:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, Vereinigtes Königreich
recording of:
I Think I Am Going to Read (From “florence Foster Jenkins” Soundtrack)
Orchestrator(in) und Komponist(in):
Alexandre Desplat (French score composer)
Alexandre Desplat1:00
34Meditation (from „Free the Mind” soundtrack)
Keyboard:
Jóhann Jóhannsson (Icelandic musician and score composer)
Klavier:
Jóhann Jóhannsson (Icelandic musician and score composer) und Ólafur Björn Ólafsson
Perkussion:
Ólafur Björn Ólafsson
conductor:
Péter Pejtsik
Orchestrator(in):
Peter Due und Jóhann Jóhannsson (Icelandic musician and score composer)
concertmaster:
Zsófia Környei (Hungarian classical violinist)
recording of:
Meditation (From „free the Mind” Soundtrack)
Komponist(in):
Jóhann Jóhannsson (Icelandic musician and score composer)
Johann Johannsson1:29
35Bedtime (from “Florence Foster Jenkins” soundtrack)
assistierende(r) Techniker(in):
John Barrett (engineer) und Lewis Jones (engineer)
Techniker(in):
Peter Cobbin (recording engineer at Abbey Road Studios)
Mix:
Peter Cobbin (recording engineer at Abbey Road Studios), Alexandre Desplat (French score composer) und Kirsty Whalley (engineer and keyboardist)
Editing:
Kirsty Whalley (engineer and keyboardist)
Orchester:
John Kirby & His Orchestra
conductor:
Alexandre Desplat (French score composer)
aufgenommen bei:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, Vereinigtes Königreich
recording of:
Bedtime (From “florence Foster Jenkins” Soundtrack)
Orchestrator(in) und Komponist(in):
Alexandre Desplat (French score composer)
Alexandre Desplat1:00
36Farewell Anna
Techniker(in):
François Goupil und John Kurlander (engineer)
Produzent(in):
Howard Shore (Canadian score composer) und James Sizemore (Composer and producer)
Mix:
François Goupil
Editing:
James Sizemore (Composer and producer)
Orchester:
Orchestre Métropolitain
conductor:
Howard Shore (Canadian score composer)
Orchestrator(in):
Howard Shore (Canadian score composer)
phonographisches Urheberrecht (℗) von:
Impression Music LLC
recording of:
Farewell Anna
Komponist(in):
Howard Shore (Canadian score composer)
Howard Shore0:45
37The Empire State Building
recording engineer:
Joel Iwataki und Alan Meyerson
zusätzlich recording engineer:
James T. Hill
Produzent(in):
James Newton Howard (American score composer) und Jim Weidman (music editor, producer)
Mix:
Alan Meyerson
Editing:
Marie Ebbing, Malcolm Fife, Peter Myles (editing Engineer), David Olson (engineer, producer), Jonathon Stevens (engineer) und Jim Weidman (music editor, producer)
Orchester:
Hollywood Studio Symphony
conductor:
Pete Anthony (American conductor and orchestrator.), Bruce Babcock und Mike Nowak (violin / viola player and conductor)
Orchestrator(in):
Jeff Atmajian
concertmaster:
Endre Granat (Hungarian violinist)
phonographisches Urheberrecht (℗) von:
Universal Classics Group (not for release label use, a division of UMG Recordings, Inc.)
mixed at:
Todd-AO Scoring Stage in Studio City, Los Angeles, California (Kalifornien), Vereinigte Staaten
recording of:
The Empire State Building
Komponist(in):
James Newton Howard (American score composer)
James Newton Howard42:37
38Anna Marches Into a Waltz
recording engineer und Mix:
Nick Wollage
assistierende(r) Techniker(in):
Laurence Anslow (UK engineer AIR Studios) und Fiona Cruickshank
Produzent(in):
Dario Marianelli (Italian score composer)
Editing:
James Bellamy (editor)
conductor:
Benjamin Wallfisch (English score composer)
Orchestrator(in):
Dario Marianelli (Italian score composer) und Benjamin Wallfisch (English score composer)
phonographisches Urheberrecht (℗) von:
Focus Features LLC
aufgenommen bei und mixed at:
AIR Studios (Lyndhurst Hall 1991–present) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, Vereinigtes Königreich
recording of:
Anna Marches Into a Waltz
Orchestrator(in):
Dario Marianelli (Italian score composer) und Benjamin Wallfisch (English score composer)
Komponist(in):
Dario Marianelli (Italian score composer)
Dario Marianelli0:58
39Play for the Ashes
Techniker(in):
François Goupil und John Kurlander (engineer)
Produzent(in):
Howard Shore (Canadian score composer) und James Sizemore (Composer and producer)
Mix:
François Goupil
Editing:
James Sizemore (Composer and producer)
Orchester:
Orchestre Métropolitain
conductor:
Howard Shore (Canadian score composer)
Orchestrator(in):
Howard Shore (Canadian score composer)
phonographisches Urheberrecht (℗) von:
Impression Music LLC
recording of:
Play for the Ashes
Komponist(in):
Howard Shore (Canadian score composer)
Ray Chen & Howard Shore0:42
40Shimmering Clouds (from “My Brilliant Friend” TV series soundtrack)
Produzent(in):
Max Richter (German pianist and score composer)
phonographisches Urheberrecht (℗) von:
Deutsche Grammophon GmbH (this is the company; for release labels, use “Deutsche Grammophon”)
recording of:
Shimmering Clouds
Komponist(in):
Max Richter (German pianist and score composer)
Max Richter1:15
41Farewell
recording engineer und Mix:
Nick Wollage
Programmierung:
Jody Jenkins (production music)
Produzent(in):
Dario Marianelli (Italian score composer)
Editing:
James Bellamy (editor)
Klavier:
Jean‐Yves Thibaudet (pianist)
Orchester:
English Chamber Orchestra
conductor:
Benjamin Wallfisch (English score composer)
Orchestrator(in):
Dario Marianelli (Italian score composer) und Benjamin Wallfisch (English score composer)
aufgenommen bei und mixed at:
AIR Studios (Lyndhurst Hall 1991–present) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, Vereinigtes Königreich
recording of:
Farewell
Komponist(in):
Dario Marianelli (Italian score composer)
Teil von:
Atonement, film score
Dario Marianelli3:32
42Prelude (from “Darkest Hour” soundtrack)
recording engineer und Mix:
Nick Wollage
assistierende(r) Techniker(in):
Ashley Andrew-Jones, Fiona Cruickshank und John Prestage (engineer)
Produzent(in):
Dario Marianelli (Italian score composer)
Editing:
Mark Willsher (Grammy®-winning engineer & producer delivering high-end film score mixing, classical recording, and Dolby Atmos/immersive music production)
Klavier:
Víkingur Ólafsson (pianist)
conductor:
Dario Marianelli (Italian score composer)
Orchestrator(in):
Geoff Alexander und Dario Marianelli (Italian score composer)
concertmaster:
Rolf Wilson (violinist)
aufgenommen bei:
AIR Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, Vereinigtes Königreich
recording of:
Prelude (From “darkest Hour” Soundtrack)
Orchestrator(in) und Komponist(in):
Dario Marianelli (Italian score composer)
Dario Marianelli & Víkingur Ólafsson2:25
43Begin Again (from “Werk ohne Autor” soundtrack)
Sound-Engineering:
Rupert Coulson (sound engineer)
Techniker(in):
John Prestage (engineer)
Produzent(in):
Max Richter (German pianist and score composer)
Orchester:
Air Lyndhurst Orchestra
phonographisches Urheberrecht (℗) von:
Studio Richter Mahr
aufgenommen bei:
Air Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, Vereinigtes Königreich
recording of:
Begin Again
Komponist(in):
Max Richter (German pianist and score composer)
Max Richter1:50
44Wake (from “Road to Perdition” soundtrack)
recording engineer:
Armin Steiner und Tommy Vicari
Produzent(in):
Bill Bernstein
Mix:
Tommy Vicari
Editing:
Bill Bernstein und Mike Zainer
conductor:
Thomas Newman (American score composer)
phonographisches Urheberrecht (℗) von:
Universal Classics Group (not for release label use, a division of UMG Recordings, Inc.)
recording of:
Wake
Orchestrator(in):
Thomas Pasatieri
Komponist(in):
Thomas Newman (American score composer)
Thomas Newman1:56
45The Creature (from “The Shape of Water” soundtrack)
recording engineer:
Peter Cobbin (recording engineer at Abbey Road Studios)
Produzent(in):
Dominique "Solrey" Lemonnier
Mix:
Peter Cobbin (recording engineer at Abbey Road Studios) und Kirsty Whalley (engineer and keyboardist)
accordion:
Myriam Lafargue
flute [jazz flute] und Trillerpfeife:
Alexandre Desplat (French score composer)
Klavier:
Dave Arch (pianist, conductor, arranger and composer)
Perkussion [percussions]:
Paul Clarvis (percussionist)
Orchester:
The London Symphony Orchestra (London Symphony Orchestra)
conductor:
Alexandre Desplat (French score composer)
concertmaster:
Carmine Lauri (violinist)
aufgenommen bei und mixed at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, Vereinigtes Königreich
Alexandre Desplat1:47
46Denouement
English Chamber Orchestra & Benjamin Wallfisch2:27
47Stars and Butterflies (from “Pride & Prejudice” soundtrack)
Jean-Yves Thibaudet1:59
48Of All the Amazing Things (from ’The Aeronauts’ soundtrack)
Steven Price2:28
49Out of Bullets (from “spectre” soundtrack)
zusätzlich recording engineer:
Shinnosuke Miyazawa (engineer)
assistierende(r) Techniker(in):
Gordon Davidson (engineer, Abbey Road Studios), Lewis Jones (engineer) und Matt Jones (production music composer)
Produzent(in):
Bill Bernstein und Thomas Newman (American score composer)
Mix:
Simon Rhodes (senior recording engineer at Abbey Road Studios)
Editing:
Bill Bernstein, Peter Clarke (music editor) und Yann McCullough (engineer, composer)
conductor:
Thomas Newman (American score composer)
zusätzlich arranger:
Simon Franglen (English score composer)
Orchestrator(in):
J.A.C. Redford
concertmaster:
Thomas Bowes (violinist)
aufgenommen bei und mixed at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, Vereinigtes Königreich
recording of:
Out of Bullets
Komponist(in):
Thomas Newman (American score composer)
publisher:
United Lion Music Inc.
Thomas Newman2.51:51
50Baby Keisha (from “White Boy Rick” soundtrack)
Sound-Engineering:
Rupert Coulson (sound engineer)
Techniker(in):
Tom Bailey (engineer)
Produzent(in):
Max Richter (German pianist and score composer)
Orchester:
Air Lyndhurst Orchestra
phonographisches Urheberrecht (℗) von:
Columbia Pictures Industries, Inc.
recording of:
Baby Keisha
Komponist(in):
Max Richter (German pianist and score composer)
Max Richter2:41
51A Letter From Prison (from “Paddington 2” original motion picture soundtrack)
recording engineer:
Fiona Cruickshank und Nick Wollage
Produzent(in):
Maggie Rodford
Mix:
Nick Wollage
assistierendes Editing:
Nathan Klein (editor)
Editing:
Mark Willsher (Grammy®-winning engineer & producer delivering high-end film score mixing, classical recording, and Dolby Atmos/immersive music production)
conductor:
Dario Marianelli (Italian score composer)
aufgenommen bei und mixed at:
Air Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, Vereinigtes Königreich
recording of:
A Letter from Prison
Orchestrator(in):
Geoff Alexander und Dario Marianelli (Italian score composer)
Komponist(in):
Dario Marianelli (Italian score composer)
Dario Marianelli2:21
521951 (from “Werk ohne Autor” soundtrack)
Sound-Engineering:
Rupert Coulson (sound engineer)
Techniker(in):
John Prestage (engineer)
Produzent(in):
Max Richter (German pianist and score composer)
Orchester:
Air Lyndhurst Orchestra
phonographisches Urheberrecht (℗) von:
Studio Richter Mahr
aufgenommen bei:
Air Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, Vereinigtes Königreich
recording of:
1951
Komponist(in):
Max Richter (German pianist and score composer)
Max Richter2:27
53Leaving Netherfield (from “Pride & Prejudice” soundtrack)
Jean-Yves Thibaudet1:41
54Leaving Home, Coming Home
recording engineer und Mix:
Nick Wollage
assistierende(r) Techniker(in):
Laurence Anslow (UK engineer AIR Studios) und Fiona Cruickshank
Produzent(in):
Dario Marianelli (Italian score composer)
Editing:
James Bellamy (editor)
conductor:
Benjamin Wallfisch (English score composer)
Orchestrator(in):
Dario Marianelli (Italian score composer) und Benjamin Wallfisch (English score composer)
phonographisches Urheberrecht (℗) von:
Focus Features LLC
aufgenommen bei und mixed at:
AIR Studios (Lyndhurst Hall 1991–present) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, Vereinigtes Königreich
recording of:
Leaving Home, Coming Home
Orchestrator(in):
Dario Marianelli (Italian score composer) und Benjamin Wallfisch (English score composer)
Komponist(in):
Dario Marianelli (Italian score composer)
Dario Marianelli2:04
55Men’s Room Scandal (from “All the Way” original soundtrack)
James Newton Howard2:31
56Stoke Newington
Techniker(in):
François Goupil und John Kurlander (engineer)
Produzent(in):
Howard Shore (Canadian score composer) und James Sizemore (Composer and producer)
Mix:
François Goupil
Editing:
James Sizemore (Composer and producer)
Orchester:
Orchestre Métropolitain
conductor:
Howard Shore (Canadian score composer)
Orchestrator(in):
Howard Shore (Canadian score composer)
phonographisches Urheberrecht (℗) von:
Impression Music LLC
recording of:
Stoke Newington
Komponist(in):
Howard Shore (Canadian score composer)
Ray Chen & Howard Shore1:43
57The Secret Life of Daydreams (from “Pride & Prejudice” soundtrack)
Jean-Yves Thibaudet1:55
58I Understood Something
recording engineer und Mix:
Nick Wollage
assistierende(r) Techniker(in):
Laurence Anslow (UK engineer AIR Studios) und Fiona Cruickshank
Produzent(in):
Dario Marianelli (Italian score composer)
Editing:
James Bellamy (editor)
conductor:
Benjamin Wallfisch (English score composer)
Orchestrator(in):
Dario Marianelli (Italian score composer) und Benjamin Wallfisch (English score composer)
phonographisches Urheberrecht (℗) von:
Focus Features LLC
aufgenommen bei und mixed at:
AIR Studios (Lyndhurst Hall 1991–present) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, Vereinigtes Königreich
recording of:
I Understood Something
Orchestrator(in):
Dario Marianelli (Italian score composer) und Benjamin Wallfisch (English score composer)
Komponist(in):
Dario Marianelli (Italian score composer)
Dario Marianelli3:19
59The Farm (from “Road to Perdition” soundtrack)
recording engineer:
Armin Steiner und Tommy Vicari
Produzent(in):
Bill Bernstein
Mix:
Tommy Vicari
Editing:
Bill Bernstein und Mike Zainer
conductor:
Thomas Newman (American score composer)
phonographisches Urheberrecht (℗) von:
Universal Classics Group (not for release label use, a division of UMG Recordings, Inc.)
recording of:
The Farm
Orchestrator(in):
Thomas Pasatieri
Komponist(in):
Thomas Newman (American score composer)
Thomas Newman2:10
60Signing Ceremony (from “All the Way” original soundtrack)
James Newton Howard2:03
61Warsaw 1986
Techniker(in):
François Goupil und John Kurlander (engineer)
Produzent(in):
Howard Shore (Canadian score composer) und James Sizemore (Composer and producer)
Mix:
François Goupil
Editing:
James Sizemore (Composer and producer)
Orchester:
Orchestre Métropolitain
conductor:
Howard Shore (Canadian score composer)
Orchestrator(in):
Howard Shore (Canadian score composer)
phonographisches Urheberrecht (℗) von:
Impression Music LLC
recording of:
Warsaw 1986
Komponist(in):
Howard Shore (Canadian score composer)
Howard Shore2:15
62Underwater Kiss (from “The Shape of Water” soundtrack)
Alexandre Desplat2:12
63Terra Firma (from “The Mercy” soundtrack)
recording engineer:
Geoff Foster (sound engineer)
Programmierung:
Rutger Hoedemaekers und Jóhann Jóhannsson (Icelandic musician and score composer)
Produzent(in):
Jóhann Jóhannsson (Icelandic musician and score composer)
Mix:
Peter Cobbin (recording engineer at Abbey Road Studios) und Kirsty Whalley (engineer and keyboardist)
Celesta und Klavier:
Jóhann Jóhannsson (Icelandic musician and score composer)
Cristal Baschet und Ondes Martenot:
Thomas Bloch (composer)
elektronische Instrumente:
Rutger Hoedemaekers
Keyboard und Synthesizer:
Rutger Hoedemaekers und Jóhann Jóhannsson (Icelandic musician and score composer)
Orchester:
Budapest Art Orchestra
conductor:
Anthony Weeden (Conductor and orchestrator)
Orchestrator(in):
Jóhann Jóhannsson (Icelandic musician and score composer) und Anthony Weeden (Conductor and orchestrator)
aufgenommen bei:
Studio 22 (Magyar Rádió) in Budapest, Ungarn
Johann Johannsson & Rutger Hoedemaekers2:38
64Lionel and Bertie
Assistent recording engineer und assistierende(r) Mix:
John Barrett (engineer)
recording engineer und Mix:
Peter Cobbin (recording engineer at Abbey Road Studios)
Produzent(in):
Alexandre Desplat (French score composer) und Maggie Rodford
conductor:
Alexandre Desplat (French score composer)
phonographisches Urheberrecht (℗) von:
Cutting Edge Music (Holdings) Limited
recording of:
Lionel and Bertie
Orchestrator(in):
Jean-Pascal Beintus (composer) und Alexandre Desplat (French score composer)
Komponist(in):
Alexandre Desplat (French score composer)
Alexandre Desplat2:11
65The Danish Girl (from “The Danish Girl” soundtrack)
Alexandre Desplat2:11
66She Was Running (from “My Brilliant Friend” TV series soundtrack)
Produzent(in):
Max Richter (German pianist and score composer)
phonographisches Urheberrecht (℗) von:
Deutsche Grammophon GmbH (this is the company; for release labels, use “Deutsche Grammophon”)
recording of:
She Was Running
Komponist(in):
Max Richter (German pianist and score composer)
Max Richter2:09
67After the Shooting (from “All the Way” original soundtrack)
James Newton Howard1:57
68The Doldrums (from “The Mercy” soundtrack)
recording engineer:
Geoff Foster (sound engineer)
Programmierung:
Rutger Hoedemaekers und Jóhann Jóhannsson (Icelandic musician and score composer)
Produzent(in):
Jóhann Jóhannsson (Icelandic musician and score composer)
Mix:
Peter Cobbin (recording engineer at Abbey Road Studios) und Kirsty Whalley (engineer and keyboardist)
Celesta und Klavier:
Jóhann Jóhannsson (Icelandic musician and score composer)
elektronische Instrumente:
Rutger Hoedemaekers
Keyboard:
Rutger Hoedemaekers, Jóhann Jóhannsson (Icelandic musician and score composer) und Ólafur Björn Ólafsson
Perkussion:
Ólafur Björn Ólafsson
Synthesizer:
Rutger Hoedemaekers und Jóhann Jóhannsson (Icelandic musician and score composer)
Orchester:
Budapest Art Orchestra
conductor:
Anthony Weeden (Conductor and orchestrator)
Orchestrator(in):
Jóhann Jóhannsson (Icelandic musician and score composer) und Anthony Weeden (Conductor and orchestrator)
aufgenommen bei:
Studio 22 (Magyar Rádió) in Budapest, Ungarn
Johann Johannsson & Rutger Hoedemaekers2:12
69She Is of the Heavens
recording engineer und Mix:
Nick Wollage
assistierende(r) Techniker(in):
Laurence Anslow (UK engineer AIR Studios) und Fiona Cruickshank
Produzent(in):
Dario Marianelli (Italian score composer)
Editing:
James Bellamy (editor)
conductor:
Benjamin Wallfisch (English score composer)
Orchestrator(in):
Dario Marianelli (Italian score composer) und Benjamin Wallfisch (English score composer)
phonographisches Urheberrecht (℗) von:
Focus Features LLC
aufgenommen bei und mixed at:
AIR Studios (Lyndhurst Hall 1991–present) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, Vereinigtes Königreich
recording of:
She Is of the Heavens
Orchestrator(in):
Dario Marianelli (Italian score composer) und Benjamin Wallfisch (English score composer)
Komponist(in):
Dario Marianelli (Italian score composer)
Dario Marianelli2:00
70She’s Late (from ’The Aeronauts’ soundtrack)
Steven Price2:24
71We Will Break That Record (from ’The Aeronauts’ soundtrack)
Steven Price2:33
72Fin McGovern (from “Road to Perdition” soundtrack)
recording engineer:
Armin Steiner und Tommy Vicari
Produzent(in):
Bill Bernstein
Mix:
Tommy Vicari
Editing:
Bill Bernstein und Mike Zainer
conductor:
Thomas Newman (American score composer)
phonographisches Urheberrecht (℗) von:
Universal Classics Group (not for release label use, a division of UMG Recordings, Inc.)
recording of:
Fin McGovern
Orchestrator(in):
Thomas Pasatieri
Komponist(in):
Thomas Newman (American score composer)
Thomas Newman2:12
73The Song of Names Prayer
Techniker(in):
François Goupil und John Kurlander (engineer)
Produzent(in):
Howard Shore (Canadian score composer) und James Sizemore (Composer and producer)
Mix:
François Goupil
Editing:
James Sizemore (Composer and producer)
Orchester:
Orchestre Métropolitain
conductor:
Howard Shore (Canadian score composer)
Orchestrator(in):
Howard Shore (Canadian score composer)
phonographisches Urheberrecht (℗) von:
Impression Music LLC
recording of:
The Song of Names Prayer
Komponist(in):
Howard Shore (Canadian score composer)
Daniel Mutlu & Howard Shore2:33
74The Book Is Stolen (from “Paddington 2” original motion picture soundtrack)
recording engineer:
Fiona Cruickshank und Nick Wollage
Produzent(in):
Maggie Rodford
Mix:
Nick Wollage
assistierendes Editing:
Nathan Klein (editor)
Editing:
Mark Willsher (Grammy®-winning engineer & producer delivering high-end film score mixing, classical recording, and Dolby Atmos/immersive music production)
conductor:
Dario Marianelli (Italian score composer)
aufgenommen bei und mixed at:
Air Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, Vereinigtes Königreich
recording of:
The Book Is Stolen
Orchestrator(in):
Geoff Alexander und Dario Marianelli (Italian score composer)
Komponist(in):
Dario Marianelli (Italian score composer)
Dario Marianelli2:22
75Cathedral (from “Road to Perdition” soundtrack)
recording engineer:
Armin Steiner und Tommy Vicari
Produzent(in):
Bill Bernstein
Mix:
Tommy Vicari
Editing:
Bill Bernstein und Mike Zainer
conductor:
Thomas Newman (American score composer)
phonographisches Urheberrecht (℗) von:
Universal Classics Group (not for release label use, a division of UMG Recordings, Inc.)
Samples:
Alma Redemptoris mater (Marian Antiphon) von Choir of King’s College, Cambridge, Stephen Cleobury (organist, conductor)
recording of:
Cathedral
Orchestrator(in):
Thomas Pasatieri
Komponist(in):
Thomas Newman (American score composer)
Thomas Newman2:40
76Kurt & Elisabeth (from “Werk ohne Autor” soundtrack)
Sound-Engineering:
Rupert Coulson (sound engineer)
Techniker(in):
John Prestage (engineer)
Produzent(in):
Max Richter (German pianist and score composer)
Orchester:
Air Lyndhurst Orchestra
phonographisches Urheberrecht (℗) von:
Studio Richter Mahr
aufgenommen bei:
Air Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, Vereinigtes Königreich
recording of:
Kurt & Elisabeth
Komponist(in):
Max Richter (German pianist and score composer)
Max Richter2:51
77Night Drive (from “White Boy Rick” soundtrack)
Sound-Engineering:
Rupert Coulson (sound engineer)
Techniker(in):
Tom Bailey (engineer)
Produzent(in):
Max Richter (German pianist and score composer)
Orchester:
Air Lyndhurst Orchestra
phonographisches Urheberrecht (℗) von:
Columbia Pictures Industries, Inc.
recording of:
Night Drive
Komponist(in):
Max Richter (German pianist and score composer)
Max Richter2:54
78Philomena
recording engineer und Mix:
Peter Cobbin (recording engineer at Abbey Road Studios)
assistierende(r) Techniker(in):
Lewis Jones (engineer)
Produzent(in):
Dominique Lemonnier
Editing:
Gerard McCann (producer, editor)
Orchester:
London Symphony Orchestra
conductor:
Alexandre Desplat (French score composer)
phonographisches Urheberrecht (℗) von:
Pathé Productions Limited, Philomena Lee Limited und The Weinstein Company LLC (do not use as a release label!)
aufgenommen bei und mixed at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, Vereinigtes Königreich
recording of:
Philomena
Orchestrator(in) und Komponist(in):
Alexandre Desplat (French score composer)
Alexandre Desplat2:54
79Memory Lane (from “Werk ohne Autor” soundtrack)
Sound-Engineering:
Rupert Coulson (sound engineer)
Techniker(in):
John Prestage (engineer)
Produzent(in):
Max Richter (German pianist and score composer)
Orchester:
Air Lyndhurst Orchestra
phonographisches Urheberrecht (℗) von:
Studio Richter Mahr
aufgenommen bei:
Air Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, Vereinigtes Königreich
recording of:
Memory Lane
Komponist(in):
Max Richter (German pianist and score composer)
Max Richter2:56
80The Song of Names for Violin and Orchestra
Techniker(in):
François Goupil und John Kurlander (engineer)
Produzent(in):
Howard Shore (Canadian score composer) und James Sizemore (Composer and producer)
Mix:
François Goupil
Editing:
James Sizemore (Composer and producer)
Orchester:
Orchestre Métropolitain
conductor:
Howard Shore (Canadian score composer)
Orchestrator(in):
Howard Shore (Canadian score composer)
phonographisches Urheberrecht (℗) von:
Impression Music LLC
recording of:
The Song of Names for Violin and Orchestra
Komponist(in):
Howard Shore (Canadian score composer)
Ray Chen & Howard Shore3:01
81One Orange at a Time (from “Paddington 2” original motion picture soundtrack)
recording engineer:
Fiona Cruickshank und Nick Wollage
Produzent(in):
Maggie Rodford
Mix:
Nick Wollage
assistierendes Editing:
Nathan Klein (editor)
Editing:
Mark Willsher (Grammy®-winning engineer & producer delivering high-end film score mixing, classical recording, and Dolby Atmos/immersive music production)
conductor:
Dario Marianelli (Italian score composer)
aufgenommen bei und mixed at:
Air Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, Vereinigtes Königreich
recording of:
One Orange at a Time
Orchestrator(in):
Geoff Alexander und Dario Marianelli (Italian score composer)
Komponist(in):
Dario Marianelli (Italian score composer)
Dario Marianelli3:03
82Farewell
Orchester:
Bucharest Metropolitan Orchestra (George Enescu Philharmonic Orchestra)
conductor:
Radu Popa (Romanian conductor)
phonographisches Urheberrecht (℗) von:
Deutsche Grammophon GmbH (this is the company; for release labels, use “Deutsche Grammophon”) (in 2007)
recording of:
Farewell
Komponist(in):
Osvaldo Golijov (Argentinean composer)
Teil von:
Youth Without Youth
Bucharest Metropolitan Orchestra & Radu Popa3:04
83American Beauty (Arr. for Violin and Orchestra) (from American Beauty)
Geige / Violine:
Daniel Hope (violinist)
Orchester:
Royal Stockholm Philharmonic Orchestra
conductor:
Alexander Shelley (conductor)
aufgenommen bei:
Stockholms konserthus (Stockholm Concert Hall, Konserthuset Stockholm) in Stockholm, Stockholms län (Stockholm county), Schweden (in 2013-01)
recording of:
American Beauty
Orchestrator(in):
Thomas Pasatieri
Komponist(in):
Thomas Newman (American score composer)
Teil von:
American Beauty (1999)
Daniel Hope, Kungliga Filharmonikerna & Alexander Shelley3:04
84Road to Chicago (from “Road to Perdition” soundtrack)
recording engineer:
Armin Steiner und Tommy Vicari
Produzent(in):
Bill Bernstein
Mix:
Tommy Vicari
Editing:
Bill Bernstein und Mike Zainer
Orchester:
[anonymous] (special purpose artist)
conductor:
Thomas Newman (American score composer)
phonographisches Urheberrecht (℗) von:
Universal Classics Group (not for release label use, a division of UMG Recordings, Inc.)
recording of:
Road to Chicago (Road to Perdition)
Orchestrator(in):
Thomas Pasatieri
Komponist(in):
Thomas Newman (American score composer)
Teil von:
Road to Perdition
Thomas Newman3:06
85Lost and Found (from “Paddington 2” original motion picture soundtrack)
recording engineer:
Fiona Cruickshank und Nick Wollage
Produzent(in):
Maggie Rodford
Mix:
Nick Wollage
assistierendes Editing:
Nathan Klein (editor)
Editing:
Mark Willsher (Grammy®-winning engineer & producer delivering high-end film score mixing, classical recording, and Dolby Atmos/immersive music production)
conductor:
Dario Marianelli (Italian score composer)
aufgenommen bei und mixed at:
Air Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, Vereinigtes Königreich
recording of:
Lost and Found
Orchestrator(in):
Geoff Alexander und Dario Marianelli (Italian score composer)
Komponist(in):
Dario Marianelli (Italian score composer)
Dario Marianelli3:09
86King Kong
recording engineer:
Joel Iwataki und Alan Meyerson
zusätzlich recording engineer:
James T. Hill
Produzent(in):
James Newton Howard (American score composer) und Jim Weidman (music editor, producer)
Mix:
Alan Meyerson
Editing:
Marie Ebbing, Malcolm Fife, Peter Myles (editing Engineer), David Olson (engineer, producer), Jonathon Stevens (engineer) und Jim Weidman (music editor, producer)
Orchester:
Hollywood Studio Symphony
conductor:
Pete Anthony (American conductor and orchestrator.), Bruce Babcock und Mike Nowak (violin / viola player and conductor)
Orchestrator(in):
Jeff Atmajian
concertmaster:
Endre Granat (Hungarian violinist)
phonographisches Urheberrecht (℗) von:
Universal Classics Group (not for release label use, a division of UMG Recordings, Inc.)
mixed at:
Todd-AO Scoring Stage in Studio City, Los Angeles, California (Kalifornien), Vereinigte Staaten
recording of:
King Kong
Komponist(in):
James Newton Howard (American score composer)
James Newton Howard1:10
87All Alone (from “White Boy Rick” soundtrack)
Sound-Engineering:
Rupert Coulson (sound engineer)
Techniker(in):
Tom Bailey (engineer)
Produzent(in):
Max Richter (German pianist and score composer)
Klavier:
Andy Massey (pianist)
Orchester:
Air Lyndhurst Orchestra
phonographisches Urheberrecht (℗) von:
Columbia Pictures Industries, Inc.
recording of:
All Alone
Komponist(in):
Max Richter (German pianist and score composer)
Max Richter3:14
88Good Morning, Midnight
Produzent(in):
Jóhann Jóhannsson (Icelandic musician and score composer)
Mix:
Francesco Donadello
elektronische Instrumente [programming]:
Jóhann Jóhannsson (Icelandic musician and score composer)
Orchester:
Air Lyndhurst String Orchestra
conductor:
Anthony Weeden (Conductor and orchestrator)
arranger und Orchestrator(in):
Jóhann Jóhannsson (Icelandic musician and score composer)
zusätzliche(r) Orchestrator(in):
Owen Roberts und Anthony Weeden (Conductor and orchestrator)
mixed at:
Vox-Ton Recording Studio in Berlin, Deutschland
recording of:
Good Morning, Midnight
Komponist(in):
Jóhann Jóhannsson (Icelandic musician and score composer)
Johann Johannsson, Air Lyndhurst String Orchestra & Anthony Weeden3:17
89The Song of Names for Violin and Cantor
Techniker(in):
François Goupil und John Kurlander (engineer)
Produzent(in):
Howard Shore (Canadian score composer) und James Sizemore (Composer and producer)
Mix:
François Goupil
Editing:
James Sizemore (Composer and producer)
Orchester:
Orchestre Métropolitain
conductor:
Howard Shore (Canadian score composer)
Orchestrator(in):
Howard Shore (Canadian score composer)
phonographisches Urheberrecht (℗) von:
Impression Music LLC
recording of:
The Song of Names for Violin and Cantor
Komponist(in):
Howard Shore (Canadian score composer)
Ray Chen, Daniel Mutlu & Howard Shore3:18
90Overture
recording engineer und Mix:
Nick Wollage
assistierende(r) Techniker(in):
Laurence Anslow (UK engineer AIR Studios) und Fiona Cruickshank
Produzent(in):
Dario Marianelli (Italian score composer)
Editing:
James Bellamy (editor)
conductor:
Benjamin Wallfisch (English score composer)
Orchestrator(in):
Dario Marianelli (Italian score composer) und Benjamin Wallfisch (English score composer)
phonographisches Urheberrecht (℗) von:
Focus Features LLC
aufgenommen bei und mixed at:
AIR Studios (Lyndhurst Hall 1991–present) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, Vereinigtes Königreich
recording of:
Overture
Orchestrator(in):
Dario Marianelli (Italian score composer) und Benjamin Wallfisch (English score composer)
Komponist(in):
Dario Marianelli (Italian score composer)
Dario Marianelli3:20
91The Professor’s Portrait (from “Werk ohne Autor” soundtrack)
Sound-Engineering:
Rupert Coulson (sound engineer)
Techniker(in):
John Prestage (engineer)
Produzent(in):
Max Richter (German pianist and score composer)
Orchester:
Air Lyndhurst Orchestra
phonographisches Urheberrecht (℗) von:
Studio Richter Mahr
aufgenommen bei:
Air Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, Vereinigtes Königreich
recording of:
The Professor’s Portrait
Komponist(in):
Max Richter (German pianist and score composer)
Max Richter3:22
92Rock Island, 1931 (from “Road to Perdition” soundtrack)
recording engineer:
Armin Steiner und Tommy Vicari
Produzent(in):
Bill Bernstein
Mix:
Tommy Vicari
Editing:
Bill Bernstein und Mike Zainer
conductor:
Thomas Newman (American score composer)
phonographisches Urheberrecht (℗) von:
Universal Classics Group (not for release label use, a division of UMG Recordings, Inc.)
recording of:
Rock Island, 1931
Orchestrator(in):
Thomas Pasatieri
Komponist(in):
Thomas Newman (American score composer)
Thomas Newman3:22
93Anthony’s Story
recording engineer und Mix:
Peter Cobbin (recording engineer at Abbey Road Studios)
assistierende(r) Techniker(in):
Lewis Jones (engineer)
Produzent(in):
Dominique Lemonnier
Editing:
Gerard McCann (producer, editor)
Orchester:
London Symphony Orchestra
conductor:
Alexandre Desplat (French score composer)
phonographisches Urheberrecht (℗) von:
Pathé Productions Limited, Philomena Lee Limited und The Weinstein Company LLC (do not use as a release label!)
aufgenommen bei und mixed at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, Vereinigtes Königreich
recording of:
Anthony’s Story
Orchestrator(in) und Komponist(in):
Alexandre Desplat (French score composer)
Alexandre Desplat3:25
94Escape Waltz (from “Paddington 2” original motion picture soundtrack)
recording engineer:
Fiona Cruickshank und Nick Wollage
Produzent(in):
Maggie Rodford
Mix:
Nick Wollage
assistierendes Editing:
Nathan Klein (editor)
Editing:
Mark Willsher (Grammy®-winning engineer & producer delivering high-end film score mixing, classical recording, and Dolby Atmos/immersive music production)
conductor:
Dario Marianelli (Italian score composer)
aufgenommen bei und mixed at:
Air Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, Vereinigtes Königreich
recording of:
Escape Waltz
Orchestrator(in):
Geoff Alexander und Dario Marianelli (Italian score composer)
Komponist(in):
Dario Marianelli (Italian score composer)
Dario Marianelli3:27
95Nonviolent Offender (from “White Boy Rick” soundtrack)
Sound-Engineering:
Rupert Coulson (sound engineer)
Techniker(in):
Tom Bailey (engineer)
Produzent(in):
Max Richter (German pianist and score composer)
Klavier:
Andy Massey (pianist)
Orchester:
Air Lyndhurst Orchestra
phonographisches Urheberrecht (℗) von:
Columbia Pictures Industries, Inc.
recording of:
Nonviolent Offender
Komponist(in):
Max Richter (German pianist and score composer)
Max Richter3:32
96Happy Birthday Aunt Lucy (from “Paddington 2” original motion picture soundtrack)
recording engineer:
Fiona Cruickshank und Nick Wollage
Produzent(in):
Maggie Rodford
Mix:
Nick Wollage
assistierendes Editing:
Nathan Klein (editor)
Editing:
Mark Willsher (Grammy®-winning engineer & producer delivering high-end film score mixing, classical recording, and Dolby Atmos/immersive music production)
conductor:
Dario Marianelli (Italian score composer)
aufgenommen bei und mixed at:
Air Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, Vereinigtes Königreich
recording of:
Happy Birthday Aunt Lucy
Orchestrator(in):
Geoff Alexander und Dario Marianelli (Italian score composer)
Komponist(in):
Dario Marianelli (Italian score composer)
Dario Marianelli3:34
97Your Reflection (from “My Brilliant Friend” TV series soundtrack)
Produzent(in):
Max Richter (German pianist and score composer)
phonographisches Urheberrecht (℗) von:
Deutsche Grammophon GmbH (this is the company; for release labels, use “Deutsche Grammophon”)
recording of:
Your Reflection
Komponist(in):
Max Richter (German pianist and score composer)
Max Richter3:36
98The Shape of Water (from “The Shape of Water” soundtrack)
recording engineer:
Peter Cobbin (recording engineer at Abbey Road Studios)
Produzent(in):
Dominique "Solrey" Lemonnier
Mix:
Peter Cobbin (recording engineer at Abbey Road Studios) und Kirsty Whalley (engineer and keyboardist)
accordion:
Myriam Lafargue
flute [jazz flute] und Trillerpfeife:
Alexandre Desplat (French score composer)
Klavier:
Dave Arch (pianist, conductor, arranger and composer)
Perkussion [percussions]:
Paul Clarvis (percussionist)
Orchester:
The London Symphony Orchestra (London Symphony Orchestra)
conductor:
Alexandre Desplat (French score composer)
concertmaster:
Carmine Lauri (violinist)
aufgenommen bei und mixed at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, Vereinigtes Königreich
Alexandre Desplat3:43
99May It Be (Arr. M. Sheeran)
recording engineer:
David Hinitt (UK recording engineer, early 21c) (von 2018-05-03 bis 2018-06-08)
Mix:
David Hinitt (UK recording engineer, early 21c)
Bass-Gesang:
Robert Clark (Baritone) (von 2018-05-03 bis 2018-06-08)
arranger:
Matthew Sheeran
aufgenommen bei:
St George’s Church (Chesterton) in Cambridge, Cambridgeshire, England, Vereinigtes Königreich (von 2018-05-03 bis 2018-06-08)
recording of:
May It Be (Enya song for Lord of the Rings soundtrack) (von 2018-05-03 bis 2018-06-08)
Orchestrator(in):
Howard Shore (Canadian score composer)
Texter:
Roma Ryan
Komponist(in):
Enya (Irish singer-songwriter) und Nicky Ryan
publisher:
EMI Blackwood Music Inc., EMI Music Publishing Ltd. (PRS‐affiliated) und EMI Songs Ltd.
Teil von:
The 74th Academy Award for Best Original Song (Nummer: 2)
Teil von:
The Lord of the Rings: The Fellowship of the Ring (film soundtrack)
Voces83:45
100Windsor Gardens (from “Paddington 2” original motion picture soundtrack)
recording engineer:
Fiona Cruickshank und Nick Wollage
Produzent(in):
Maggie Rodford
Mix:
Nick Wollage
assistierendes Editing:
Nathan Klein (editor)
Editing:
Mark Willsher (Grammy®-winning engineer & producer delivering high-end film score mixing, classical recording, and Dolby Atmos/immersive music production)
conductor:
Dario Marianelli (Italian score composer)
aufgenommen bei und mixed at:
Air Lyndhurst Hall (main recording hall of AIR Studios) in Hampstead, Camden (London Borough of Camden), London (Greater London), England, Vereinigtes Königreich
recording of:
Windsor Gardens
Orchestrator(in):
Geoff Alexander und Dario Marianelli (Italian score composer)
Komponist(in):
Dario Marianelli (Italian score composer)
Dario Marianelli4:04
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urheberrechtlich geschützt (©) von und phonographisches Urheberrecht (℗) von:UMG Recordings, Inc. (operational headquarters of Universal Music Group, based in Santa Monica, USA; read annotations) (in 2020)
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https://www.deezer.com/album/171998872 [Info]