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BEASTMASTER 2. THROUGH THE PORTAL OF TIME CD (Zene / Music)

Kattints ide a nagyításért! BEASTMASTER 2. THROUGH THE PORTAL OF TIME CD

Kategória: Zene / Music

Ár: 5700 Ft

Szállítás: Raktárról

Termékszám: 8014

Music composed and conducted by Robert Folk. Performed by The Berlin Radio Concert Orchestra. Orchestrations by Robert Folk, Peter Tomashek and Richard Bronskill. Recorded and mixed by Brian Masterson. Edited by Doug Lackey. Album produced by Robert Folk and Douglass Fake.

Track Listing:

1. Main Title (1:52)
2. Dar the Hero (9:49)
3. Creature's Story (2:22)
4. Through the Portal (5:09)
5. Jackie Alone On Desert (1:29)
6. Swamp Creature Attacks (2:35)
7. Travel Montage (3:08)
8. Mind Suck (2:05)
9. Police Escape (1:06)
10. Jackie Gets Some Sleep (0:51)
11. I.D. Badges (4:25)
12. Get Arklon (1:47)
13. The Great Escape (4:26)
14. Sharawk Leads The Way (3:32)
15. Neutron Detonator (5:40)
16. Key to the Heart (5:32)

Running Time: 55 minutes 48 seconds

Beastmaster 2 stars Marc Singer as Dar, the buff Beastmaster, who brings his mystical menagerie with him when he pursues his life long enemy Arklon (Wingers Hauser) through a Time Portal into LA in the early 1990's. Seems Arklon is a crack head, and wants to take LA's latest craze with him into the past. Well, honestly, that isn't quite right, but it's not too far off, given the goofy, tough-in-cheek nature of this Space Spoof.

A word from the composer:

Fantasy - action adventure films have always been of great interest to me. In recent years it seems that fewer of them have been made, and for this reason, creating the score for BEASTMASTER 2 has been particularly rewarding.

When a director describes his vision of the score as being epic in proportion, heroic, tremendously exciting and emotionally fulfilling, the composer understands that he is embarking upon a journey that includes very little sleep, but that will be a great deal of fun. After all, where else can a composer find a vehicle for such a wide range of expression? In BEASTMASTER 2 there was the opportunity to create musical landscapes for a primitive world, and a contemporary world. Add to this, situations ranging from extreme tension in a military environment the personal and emotional relationship between a hero from an ancient land, and a heroine of the present day.

Recording the score in Berlin with an orchestra of 96 players only a few months after the wall came down was an unforgettable experience. Working in a studio located in what was only a short time before known as East Berlin, I found a situation I was not fully prepared for. Being surrounded by the political and emotional upheaval that existed in the wake of the German unification was very much a part of the making of this music.

On a lighter note, the very last performance by the orchestra is preserved on video tape alone. A recording under the baton of my director, Sylvio Tabet, who proved once and for all his theory that if you can yell `Action` on a film set, then you can conduct a symphony orchestra.

Robert Folk August 1991

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