End of Desire

Track Listings

1. 12am in Istanbul

2. Take Me to the Mountain

3. Land of the Hungry Ghost

4. Lonely Autumn Night

5. June to September

6. Aurora Borealis Sky

7. River Lullaby

8. Whole World Is Burning

9. End of Desire

End of Desire,Jennifer Berezan,Edge of Wonder,New Age,New Age / Meditation,Pop

End of Desire

Tracks:

The Ghost Of Frankenstein: Universal Signature
The Ghost Of Frankenstein: Main Title
The Ghost Of Frankenstein: Blowing Up The Castle
The Ghost Of Frankenstein: Freeing The Monster
The Ghost Of Frankenstein: Renewed Life
The Ghost Of Frankenstein: Frankenstein's Castle
The Ghost Of Frankenstein: Arrival At Vasaria
The Ghost Of Frankenstein: Erik's Dilemma
The Ghost Of Frankenstein: Baron Frankenstein's Diary
The Ghost Of Frankenstein: The Monster's Trial
The Ghost Of Frankenstein: Elsa' s Discovery
The Ghost Of Frankenstein: Dr. Kettering's Death
The Ghost Of Frankenstein: Ygor's Scheme
The Ghost Of Frankenstein: Baron Frankenstein's Advice
The Ghost Of Frankenstein: A New Brain
The Ghost Of Frankenstein: Searching The Castle
The Ghost Of Frankenstein: Monster Kidnaps Child/Monster's Desire
The Ghost Of Frankenstein: Brain Transfer
The Ghost Of Frankenstein: Mob Psychology
The Ghost Of Frankenstein: Monster Talks
The Ghost Of Frankenstein: Death Of The Unholy Three
The Ghost Of Frankenstein: End Cast
Son Of Dracula: Main Title
Black Friday: Hypnosis
Man Made Monster: Corky
Man Made Monster: Electro-Biology
Sherlock Holmes And The Voice Of Terror: Main Title
Sherlock Holmes And The Voice Of Terror: Limehouse
Sherlock Holmes And The Voice Of Terror: Christopher Docks
Sherlock Holmes And The Voice Of Terror: Voice Of Terror
Sherlock Holmes And The Voice Of Terror: The Spider
Sherlock Holmes And The Voice Of Terror: No Time To Lose
Sherlock Holmes And The Voice Of Terror: March Of Hate
Sherlock Holmes And The Voice Of Terror: End Title

Customer Reviews:

A Rich & Robust Score.......2001-06-19

Many of you, like me, may have been wondering what the difference is between this score and the one that was released in the early 90's, also on the Marco Polo label. Well firstly, the earlier release was not complete and also included tracks from House of Frankenstein. This new release basically happened because composer, John Morgan, was unhappy with the initial release and wanted another crack at this forgotten score. The result: a fully complete and terrific score from the 1942 Universal classic, Ghost of Frankenstein. Morgan was able to pull together the resources that Hans J. Salter himself did not have to record the original and give us the score as it was originally intended. Recorded under the supervision of Salter, just before he passed away, this is hands-down the best release of the monster scores from Marco Polo to date. Do not pass up.

Way over the top!.......2000-06-08

This music is far and away beyond being exceptional! Messrs. John Morgan and William Stromberg have yet again exceed their past triumphs (I have no clue how they keep doing this!). Where to begin? Perhaps, with some numbers: five stars (out of five) for restoration, arrangement/re-arrangement, and cue selection/editing; five stars for presentation (conducting and orchestral performance); five stars for recording and mastering; and five stars for the fascinating (and huge!) CD booklet courtesy of Messrs. Bill Whitaker and John Morgan (the photo on page 33 is worth the price of admission alone!). With a new orchestral venue and technical crew, Mr. Stromberg has once again "come into his own," acoustically speaking; the technical aspects of past recordings with the Moscow Symphony Orchestra has often been ham handed and uneven to the point of distraction. But the sound on these tracks is definitely 21st Century in quality! For those new to the neighborhood, just who are these two film composer folks--Frank Skinner and Hans J. Salter? Well, among other notable achievements, they saved many a Universal programmer during the late 30's and early-to-mid 40's (and very likely the studios's bacon to boot). When you view Universal's "second wave" of horror films even today, two things instantly grab your attention: the stunning photography and the inventive, pulsating music. "(These) pictures were a great challenge, because ... before scoring they didn't seem to have much fright about them or cohesion either. They'd screen one of those pictures for us without the music, and it would be nothing. The challenge was in creating the sense of terror and suspense, and that is something music can do. All the pictures we saved for them!" Mr. Salter is quoted as saying in the CD booklet. Like many of the film scores of Erich Wolfgang Korngold, Salter and Skinner's music transcends and is enormously superior to the films for which they composed. Until Messrs. Morgan and Stromberg got the bit in their teeth, Salter and Skinner's film scores had served to elevate fair-to middling films, but, in turn, it was the poor reputation of these movies that served to suppress vastly underrated film music! NONE of this music has ever been heard like it is presented here. The Universal studio orchestra had barely 40 players; this CD uses a full symphony. Also, Mr. Morgan was able to work extensively with Mr. Salter on restorations during the final year's of the latter's long life. To quote Mr. Salter once more from the CD booklet, the executives at Universal "never knew what they had" in the way of music talent. I strongly recommend that you don't make the same mistake. Latch on to this CD while you still can!

Much of this shows its classical roots.......2000-05-17

Some music is great fun, either in itself or by personal associations or both. So when Marco Polo issued selections from the Salter/Skinner scores to "Son of Frankenstein," "The Invisible Man Returns," and "The Wolf Man" back in 1995 and followed up with the complete film score to "House of Frankenstein" by Salter and Dessau, I could not keep from grinning foolishly hearing it, all the time realizing how good some of it really was.

Now we have (8.225124) that treat us to 22 cuts from "The Ghost of Frankenstein," 8 from "Sherlock Holmes and the Voice of Terror," and a taste of three other films. The very generous program notes tell the whole story, with good lobbycard illustrations, of how this team worked together--one slept as the other worked--and I leave it to you to read all about it for yourself. As for the music itself, listen to the "Monster Theme" in the first suite and think if you will of how Wagner treated the "Dragon Leitmotif" in "Siegfried" to appreciate how classically grounded much of this music is in the tradition of Weber, Wagner, and even Richard Strauss. Not all of the selections are of high quality, but enough are to merit this offering a high rating.

Happy and spooky listening, folks.

End of Desire
Average customer rating:
End of Desire
Jennifer Berezan
Manufacturer: Edge of Wonder
ProductGroup: Music
Binding: Audio CD

General | Folk | Styles | Music
General | New Age | Styles | Music
Meditation | New Age | Styles | Music
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ASIN: B00096S2M8
Release Date: 2005-05-03

Tracks:

12am in Istanbul
Take Me to the Mountain
Land of the Hungry Ghost
Lonely Autumn Night
June to September
Aurora Borealis Sky
River Lullaby
Whole World Is Burning
End of Desire

Average customer rating:

Varèse Sarabande à son meilleur!
A copy in every household . . .
A sampler feat. some of the greatest film scores in history.
"the man behind Varese Sarabande ~ Robert Townson"

In Session: Film Music Celebration
Robert Townson , Joel McNeely Jerry Goldsmith , and Royal Scottish National Orchestra
Manufacturer: Varese Sarabande
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

Star Wars | Soundtracks | Styles | Music

Star Trek | Soundtracks | Styles | Music

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Orchestral Pop | Easy Listening | Pop | Styles | Music
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Varese Sarabande 25th Anniversary Celebration
Music In Film (National Public Radio Milestones Of The Millennium)
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ASIN: B00005ABOI
Release Date: 2001-03-27

Tracks:

2001
Rebecca
Citizen Kane
That Hamilton Woman
Anna and the King of Siam
Captain From Castille
A Streetcar Named Desire
Viva Zapata!
The Trouble With Harry
Peyton Place
Vertigo
The 7th Voyage of Sinbad
The Twilight Zone
Psycho
The 3 Worlds of Gulliver
Breakfast At Tiffany's
To Kill A Mockingbird
Marnie
Hamlet

Tracks:

The Agony and the Ecstasy
The Sand Pebbles
Who's Afraid of Virginia Woolf?
Born Free
Fahrenheit 451
Patton
Tora! Tora! Tora!
Jaws
Midway
Superman: The Movie
Star Trek: The Motion Picture
Somewhere In Time
Body Heat
Out of Africa
Platoon
Star Wars: Shadows of the Empire
Taras Bulba
Agony and the Ecstacy (Main Title) - Jerry Goldsmith, Royal Scottish National Orchestra
Sand Pebbles (Overture) - Jerry Goldsmith, Royal Scottish National Orchestra
Who's Afraid of Virginia Woolf? (Moon and Main Title) - Jerry Goldsmith, National Philharmonic Orchestra
Playtime [Born Free Dub Mix II] - Royal Scottish National Orchestra, Frederic Talgorn
Road [From Fahrenheit 451] - Joel McNeely, Royal Scottish National Orchestra, Seattle Symphony Orchestra
Patton (Entr'acte) - Jerry Goldsmith, Royal Scottish National Orchestra
Tora! Tora! Tora! (Main Title) - Jerry Goldsmith, Royal Scottish National Orchestra
Man Against Beast - Joel McNeely, Royal Scottish National Orchestra
Midway (Main Title and End Title) - Royal Scottish National Orchestra, Rick Wentworth
Superman The Movie (Love Theme) - John Debney, Royal Scottish National Orchestra
Enterprise [Star Trek: The Motion Picture] - Jerry Goldsmith, Royal Scottish National Orchestra
Somewhere in Time (Theme) - John Debney, Royal Scottish National Orchestra
Body Heat (Main Title) - The London Symphony Orchestra, Joel McNeely
Out of Africa (Main Title) - Joel McNeely, Royal Scottish National Orchestra
Platoon (Theme) - Georges Delerue
Shadows of the Empire (Xizor's Theme) [Star Wars] - Joel McNeely, Royal Scottish National Orchestra
Ride of the Cossacks [Taras Bulba] - Cliff Eidelman, Seattle Symphony Orchestra

Customer Reviews:

Varèse Sarabande à son meilleur!.......2003-04-17

Robert Townson célèbre ici le 500ème cd à être édité par Varèse Sarabande en créant une compilation receuillant les nombreux réengistrements que Varèse Sarabande sut faire au travers des dernières années. Regroupant du matériel de Jerry Goldsmith, Bernard Herrmann, John Williams, Alex North et plusieurs autres, In Session propose un parcours éclectique au travers des années de compositions de chacune des bandes sonores présentées au sein de la compilation. Le voyage commence à avec la musique rejetée de 2001 d'Alex North, pour faire un parcours passant par Rebecca, Citizen Kane (Félicitons ici le FABULEUSE voix de la soprano Janice Watson et la direction impécable de Joel McNeely), Viva Zapata!, Psycho, The Sand Pebbles, Patton, Jaws, Platoon (Autre musique rejetée du regreté Georges Delerue, pastiche du célèbre Adagio pour cordes de Samuel Barber), Star Wars: Shadows of the Empire (Musique composée par Joel McNeely pour le livre se déroulant entre The Empire Stricke Back et The Return of the Jedi) pour finalement clore avec Tara's Bulba. Il s'agit ici d'une sélection très riche, des morceaux d'une durée appréciable et d'une direction et d'une sonorité incroyable. Il s'agit ici d'un merveilleux cadeau de Robert Townson et Varèse Sarabande (Label qui célèbre en 2003 son 25ème anniversaire. Surveillez aussi la compilation de Varèse Sarabande (4 cds pour le prix de un!) qui verra le jour le 22 avril 2003) et c'est une compilation que toute personne sensible à la musique doit posséder! Chapeau Varèse!

A copy in every household . . ........2003-02-09

This disc is so chock-full of classic scores from classic films that every movie-and-music lover should own a copy. Thanks to Robert Townson for producing this collection and the entire Varese film score catalog. My favorite tracks from this disc are "Who's Afraid of Virginia Woolf"; "Star Trek: The Motion Picture"; and "Midway".

A sampler feat. some of the greatest film scores in history........2001-09-06

Words cannot convey what a collection like this means to a film music collector such as myself. Varese Saraband has been releasing quality film scores and music for the last 20 plus years. My vinyl and CD collections burst with so much great stuff from Varese. One day I was looking in the bins of my local record store and noticed this little gem of a collection. I looked at it and saw a virtual cornucopia of the great film score cues for only $ (and 2 discs). So I purchased it and opened it up. Much to my surprise, the booklet is chock full of information about each scoring session and pictures to boot. I also learned more about some of these wonderful pieces as well. Well thanks to Mr. Townson and this nice collection, I plan to purchase some of the recordings these cues were released on since I don't own classics like Viva Zapata, Alex North's 2001, Superman (not the Varese version, I do have the other release), and Patton. Guess I will have to save a few pennies, but it will be worth it. I recommend this collection to anybody who wants to discover and learn about the history of film music. I also think it's a great listen from the first song to the last on both discs. My compliments to Varese on a great collection of classics (and keeping it under $).

"the man behind Varese Sarabande ~ Robert Townson".......2001-04-06

The music that this label releases is without a doubt in a class by themselves, always perfection. Here we have the 500th CD release from ~ "The Man Behind The Music" ~ Mr. Robert Townson. So much care is taken with each album, that you feel you are witnessing the birth of a newborn baby, and that may be just what it is.

For those of us who buy each album ~ people who work to create them ~ the artwork ~ musicians ~ and a list of some of the most talented composers and conductors ~ John Barry, Elmer Bernstein, John Debney, Georges Delerue, Cliff Eidelman, Jerry Goldsmith, Bernard Herrmann, Michael Lang, Henry Mancini, Joel McNeely, Alfred Newman, Alex North, Miklos Rozsa, Dimitri Shostakovich, Frederic Talgorn, Franz Waxman, Rick Wentworth and John Williams ~ and as always the sound quality and performances by the Royal Scottish National Orchestra, Seattle Symphony Orchestra, London Symphony Orchestra and National Philharmonic Orchestra is dynamically flawless and simply superb.

This economically priced 2-CD-Set ~ pure film score sampling ~ is worth it's weight in gold. One should not have a favorite from this vast collection, but if asked ~ it would be "TO KILL A MOCKINGBIRD" (1962) composer Elmer Bernstein took it to the limit and beyond, the story-line, cast and score was the perfect marriage.

A big, big thank you to ~ Matthew Joseph Peak (cover/session photography) ~ Jonathan Allen, Geoff Foster, Bernie Kirsh, Mike Ross, Mike Sheady and Al Swanson (recording engineers) ~ Rich Breen (mastering engineer) ~ and for the extensive 28 page liner-note booklet featuring "behind the scenes" memories of these past 500 albums, may we look forward to future classics on the next 500 CD's from producer...ROBERT TOWNSON!

Total Time: Disc One 71:20 on 19 Tracks & Disc Two 71:24 on 17 Tracks...Varese Sarabande 302 066 225 2...(2001)

Psalms of David Complete
Average customer rating:

Brilliant Recordings

A- for effort

What can you say?

Psalms of David Complete
Choir of St Paul's Cathedral , and Scott
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music
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ASIN: B00006GO6J
Release Date: 2002-10-08

Amazon.com

This complete 12-disc survey of The Psalms of David from St. Paul's Cathedral is both a remarkable historical record of Anglican chant at its finest and an astonishing musical experience. Contained here are all 150 psalms in their traditional English garb from the 1549 Book of Common Prayer, with revised or entirely new musical settings as published in The New St. Paul's Cathedral Psalter, edited by the choir's musical director John Scott, itself a revision of the 1875 Cathedral Psalter. As such, these recordings represent the very backbone of the Anglican liturgy, but even a casual listener will be in no doubt that they also offer music that is both contemplative and richly varied when removed from its liturgical context.

The art of "pointing"--or setting--psalm texts has been essayed by many English composers, from William Croft through the Wesleys and William Boyce in earlier times to the great flowering in the late 19th century under Stainer and Barnby, with further contributions from Parry, Stanford, Elgar, Howells, and a host of choirmasters and organists, including Sir David Willcocks and John Scott himself. All are represented here. Recorded throughout in the vast acoustic of their cathedral, the St. Paul's choristers enunciate the words precisely, backed by inventive though unobtrusive organ accompaniment. Taken individually, it's possible to isolate moments when the choir seem to drag their feet or fail to give due weight to the words (Psalm 125, "They that put their trust in the Lord," seems far too subdued, for example), and the massive Psalm 119 is awkwardly split across discs 10 and 11, but overall this set is nothing less than a document of invaluable cultural and musical significance. --Mark Walker

Customer Reviews:

Brilliant Recordings.......2007-06-11

In our view the changes in pointing, and excellent selection of chants, give deeper meanings to the Psalms than those achieved in the "standard?" Parish Psalter.

We found great Spirituality and a wonderful sense of Worship whilst listening to this set. This is often sacrificed for brilliance of musical performance in other recordings.

Unfortunately the "St.Paul's Psalter" is not available (June 2007) but we are told that a new print run may happen within 12 months. This would be a most valuable companion to the recordings when and if it becomes available.

A- for effort.......2006-02-23

This grand undertaking deserves high praise, and I'm struck, listening to chant after chant, how much Anglican chant as it used to be until the changes of the 70s was one of the great Victorian contributions to English life and art. For anyone who wants to hear almost the entire repertoire of Anglican chant deployed in singing the whole book of Psalms, this is an unrivalled source. It is wonderful, too, to hear the Coverdale translation: you realize what the churches have lost by abandoning the proper & regular singing of the Psalms. So one is immensely grateful to Hyperion for putting out this recording. It's not perfect, though.

The rhythmic pacing, though a little slow for my taste, is steady and sensitive, the diction clear, and the organ accompaniment superb (Providing an expressive accompaniment to a choir singing in 4-part free rhythm, and improvising descants to the melody at the same time, isn't easy). And of course there's the cavernous acoustic of St. Paul's, very impressive in the more thunderous psalms. Unfortunately, though, the "forward" style favored for the St. Paul's boys produces a sound that's unpleasantly chesty in the lower registers and reedy in the higher ones. The poorly integrated choral sound caused by this kind of voice-production can be downright unpleasant for anyone used to, or trained in, the classic English choral style. In fact, one has to wonder why this choir was chosen for such a huge project: even allowing for the near-universal decline in standards of vocal training for boys in England, better sounds than this can still be heard.

What can you say?.......2003-01-03

I almost hate to criticize this terrific thing. After all, where else can you get all 150 Psalms in a single collection sung by one of the world's great choirs?

How much do I like it? I bought it *twice*. I originally bought all the CDs separately, before they came out with a single boxed set. They were stolen from my car (and, God willing, maybe they converted some poor thief to Anglican Cathedral Music and got him into church). After they were stolen, I immediately bought them again.

One of the great pleasures of life is listening to the Morning and Evening Psalms while driving to and from work, and making listening a regular feature of Morning and Evening Prayer.

So what's the criticism? The sound is a bit muddy, so the words can be rather difficult to understand without reading along (which is a real problem when driving), and personally, I prefer the Psalter from the 1979 BCP instead of the old one, from the Great Bible. But that's unreasonable. They ARE a British choir after all. Those are the only criticisms.