wimpel69
12-22-2016, 05:18 PM
Please request the FLAC link (including front and
back covers, booklet) in this thread. PMs will be ignored!
This is my own rip. Please do not share my material any further,
also please add to my reputation!
One of Harold Lloyd's best feature-length comedies, The Freshman, features the bespectacled
regular guy as Harold Lamb, a na�ve young man who heads off to college believing campus life will be just
as it is in the movies; he even learns a little dance he saw one of his favorite actors do in a film. However,
Harold soon discovers that real life isn't all that much like the pictures, and he quickly becomes the
laughing stock of the university. Determined to prove himself, Harold tries out for the football team, but
he serves as water boy and rides the pine until he finally gets a chance to redeem himself at the big game.
Along the way, Harold also tries to woo a lovely co-ed, Peggy (Jobyna Ralston). 22 years later, writer/
director Preston Sturges used the climactic football game as the opening for his collaboration with
Harold Lloyd, The Sin of Harold Diddlebock.
"The Freshman in my view is a large scale film and benefits from a grander orchestration than the small ensembles
generally used to accompany ‘silent’ comedies. In this 2013 draft (my third) I employ an orchestra of forty which
would encompass music for the sport stadium scenes as well as a large scale college dance and various crowd
scenes. It also underpins the emotional heights and depths of the leading character, a ‘Harold’ with an obsession
of being ‘popular’. As football is the means he will use a football theme is essential and, with its patriotic
associations, a march. The popularity theme signals the jazz age and a love theme, minor key music for the
college bully as well as a school anthem fill out the rest."
Carl Davis
Music Composed and Conducted by
Carl Davis
Played by the
London Chamber Orchestra
Tracks:
1. Overture (01:06)
2. Harolds Dream - Home (05:05)
3. Harolds Dream - Fall Term (01:02)
4. Harolds Dream - An Old Fashioned Girl (02:54)
5. College - Arrival (03:11)
6. College - Tate Auditorium (02:55)
7. College - A Speech and a Kitten (04:15)
8. College - Living Quarters (03:23)
9. College - The Tatler Article (02:35)
10. On the Field - Football Practice (03:08)
11. On the Field - A Mad Dog and a Human Dummy (05:47)
12. On the Field - Taken On! (05:23)
13. The Dance - Fall Frolic! (01:29)
14. The Dance - The Tailor (01:17)
15. The Dance - In Full Swing (04:54)
16. The Dance - Summoned by Bell (04:28)
17. The Dance - Hip Flask (02:20)
18. The Dance - Goodbye Trousers (02:19)
19. The Dance - Crisis (03:55)
20. The Game - The Day of Days (05:32)
21. The Game - Exhortation! (03:30)
22. The Game - Final Skirmish (02:16)
23. The Game - Finale : The Freshman (03:32)
Total Time: 76:16
"I was born in New York in 1936. Pre-birth, my mother went to a lot of concerts and my reaction was quite passionate!
After, she played piano and I imitated her. My first lessons were at 7. I sacked my first teacher when, after seeing Disney’s
Fantasia, I insisted on studying Bach’s Toccata and Fugue and he refused. I kept playing though, driven by curiosity – pop
to Parsifal. We had good public libraries in Brooklyn with fairly comprehensive music sections and I devoured scores.
My mission was to be able to sight-read and sing operas, text and all. I went on to orchestral scores, helped by New York’s
two classical music radio stations. I was equally attracted by dance. After all, New York was home to American Ballet
Theatre, Ballet Russe, The New York City Centre Ballet and Martha Graham.
In my teens I widened my circle with singers and musicians. There were opera workshops, choirs, chamber music and
Leider to play. My first professional engagements were at Tanglewood, touring with the Robert Shaw Chorale and The New
York City Opera and at 18, composition. A choice had to be made and I chose composition and London.
Helped by Diversions, a revue written at college, that had won Off-Broadway prizes, my colleague, Steven Vinaver, who
had joined me in London, the revue Twists was produced at the Edinburgh Festival and then the Arts Theatre in the West
End. An encouraging review from Richard Buckle led to my first radio work and television. There were strong collaborators:
Jack Gold, Ronald Eyre and Patrick Garland. The breakthrough came in 1969 with Alan Bennett’s Forty Years On.
Jonathan Miller took me to The National Theatre and Ron to the RSC. A collaboration with John Wells produced three
full length musicals for stage: Alice in Wonderland, Peace (Aristophenes) and The Projector for Joan Littlewood’s Theatre
Workshop. There I met my future wife, Jean Boht and began a family: two daughters, Hannah and Jessie and currently
3 grandchildren.
In the 1970’s, Jeremy Isaacs commissioned The World at War TV Series and the BBC commissioned scores for classic
serials, including: The Snow Goose, Our Mutual Friend and The Mayor of Casterbridge. The decade ended working with
Producer, David Gill and film-maker and historian, Kevin Brownlow on the 13 Part Series Hollywood. In 1980 this led to
a landmark performance with orchestra of Kevin Brownlow’s restoration of the 5 hour epic Napoleon: live cinema was
re-born. Channel 4 continued this development with a chain of restorations of the major silent films featuring Garbo,
Gish, Fairbanks and the three great clowns: Chaplin, Keaton and Lloyd, as well as epics like Ben Hur and Intolerance.
Orchestras were now keen to mount these films and I fancied myself a conductor climaxing in an 8 year run in a series
of popular concerts in Big Top on The King’s Dock in Liverpool! This helped me develop a unique performance style
involving costumes and a rapport with my audience.
The 1990’s opened with a collaboration with Paul McCartney: The Liverpool Oratorio, and then there was ballet. First,
Gillian Lynne’s A Simple Man for The BBC’s Omnibus and Northern Ballet Theatre. Then, A Picture of Dorian Grey for
The Sadler’s Wells ballet, choreographed by Derek Deane, followed by Fire and Ice, a television ballet for LWT for Torvill
and Dean. The Millenium brought forth A Christmas Carol for NBT; Aladdin for Scottish Ballet and an Alice in Wonderland
ballet, again for Derek(now Artistic Director of The English National Ballet). A new collaboration began with choreographer
David Bintley when I was invited to compose a new score for his Cyrano ballet. This was followed by a revival of Aladdin
with new choreography by David Bintley for The National Ballet of Japan. Recently, created was a ballet based on
The Lady of the Camellias for the Croatian National Ballet with choreography by Derek Deane.
Welcome to my worlds."
Carl Davis
Source: The Carl Davis Collection CDC 019, 2013
Format: FLAC(RAR), DDD Stereo
File Size: 411 MB
Please request the FLAC link (including front and
back covers, booklet) in this thread. PMs will be ignored!
This is my own rip. Please do not share my material any further,
also please add to my reputation!
back covers, booklet) in this thread. PMs will be ignored!
This is my own rip. Please do not share my material any further,
also please add to my reputation!
One of Harold Lloyd's best feature-length comedies, The Freshman, features the bespectacled
regular guy as Harold Lamb, a na�ve young man who heads off to college believing campus life will be just
as it is in the movies; he even learns a little dance he saw one of his favorite actors do in a film. However,
Harold soon discovers that real life isn't all that much like the pictures, and he quickly becomes the
laughing stock of the university. Determined to prove himself, Harold tries out for the football team, but
he serves as water boy and rides the pine until he finally gets a chance to redeem himself at the big game.
Along the way, Harold also tries to woo a lovely co-ed, Peggy (Jobyna Ralston). 22 years later, writer/
director Preston Sturges used the climactic football game as the opening for his collaboration with
Harold Lloyd, The Sin of Harold Diddlebock.
"The Freshman in my view is a large scale film and benefits from a grander orchestration than the small ensembles
generally used to accompany ‘silent’ comedies. In this 2013 draft (my third) I employ an orchestra of forty which
would encompass music for the sport stadium scenes as well as a large scale college dance and various crowd
scenes. It also underpins the emotional heights and depths of the leading character, a ‘Harold’ with an obsession
of being ‘popular’. As football is the means he will use a football theme is essential and, with its patriotic
associations, a march. The popularity theme signals the jazz age and a love theme, minor key music for the
college bully as well as a school anthem fill out the rest."
Carl Davis
Music Composed and Conducted by
Carl Davis
Played by the
London Chamber Orchestra
Tracks:
1. Overture (01:06)
2. Harolds Dream - Home (05:05)
3. Harolds Dream - Fall Term (01:02)
4. Harolds Dream - An Old Fashioned Girl (02:54)
5. College - Arrival (03:11)
6. College - Tate Auditorium (02:55)
7. College - A Speech and a Kitten (04:15)
8. College - Living Quarters (03:23)
9. College - The Tatler Article (02:35)
10. On the Field - Football Practice (03:08)
11. On the Field - A Mad Dog and a Human Dummy (05:47)
12. On the Field - Taken On! (05:23)
13. The Dance - Fall Frolic! (01:29)
14. The Dance - The Tailor (01:17)
15. The Dance - In Full Swing (04:54)
16. The Dance - Summoned by Bell (04:28)
17. The Dance - Hip Flask (02:20)
18. The Dance - Goodbye Trousers (02:19)
19. The Dance - Crisis (03:55)
20. The Game - The Day of Days (05:32)
21. The Game - Exhortation! (03:30)
22. The Game - Final Skirmish (02:16)
23. The Game - Finale : The Freshman (03:32)
Total Time: 76:16
"I was born in New York in 1936. Pre-birth, my mother went to a lot of concerts and my reaction was quite passionate!
After, she played piano and I imitated her. My first lessons were at 7. I sacked my first teacher when, after seeing Disney’s
Fantasia, I insisted on studying Bach’s Toccata and Fugue and he refused. I kept playing though, driven by curiosity – pop
to Parsifal. We had good public libraries in Brooklyn with fairly comprehensive music sections and I devoured scores.
My mission was to be able to sight-read and sing operas, text and all. I went on to orchestral scores, helped by New York’s
two classical music radio stations. I was equally attracted by dance. After all, New York was home to American Ballet
Theatre, Ballet Russe, The New York City Centre Ballet and Martha Graham.
In my teens I widened my circle with singers and musicians. There were opera workshops, choirs, chamber music and
Leider to play. My first professional engagements were at Tanglewood, touring with the Robert Shaw Chorale and The New
York City Opera and at 18, composition. A choice had to be made and I chose composition and London.
Helped by Diversions, a revue written at college, that had won Off-Broadway prizes, my colleague, Steven Vinaver, who
had joined me in London, the revue Twists was produced at the Edinburgh Festival and then the Arts Theatre in the West
End. An encouraging review from Richard Buckle led to my first radio work and television. There were strong collaborators:
Jack Gold, Ronald Eyre and Patrick Garland. The breakthrough came in 1969 with Alan Bennett’s Forty Years On.
Jonathan Miller took me to The National Theatre and Ron to the RSC. A collaboration with John Wells produced three
full length musicals for stage: Alice in Wonderland, Peace (Aristophenes) and The Projector for Joan Littlewood’s Theatre
Workshop. There I met my future wife, Jean Boht and began a family: two daughters, Hannah and Jessie and currently
3 grandchildren.
In the 1970’s, Jeremy Isaacs commissioned The World at War TV Series and the BBC commissioned scores for classic
serials, including: The Snow Goose, Our Mutual Friend and The Mayor of Casterbridge. The decade ended working with
Producer, David Gill and film-maker and historian, Kevin Brownlow on the 13 Part Series Hollywood. In 1980 this led to
a landmark performance with orchestra of Kevin Brownlow’s restoration of the 5 hour epic Napoleon: live cinema was
re-born. Channel 4 continued this development with a chain of restorations of the major silent films featuring Garbo,
Gish, Fairbanks and the three great clowns: Chaplin, Keaton and Lloyd, as well as epics like Ben Hur and Intolerance.
Orchestras were now keen to mount these films and I fancied myself a conductor climaxing in an 8 year run in a series
of popular concerts in Big Top on The King’s Dock in Liverpool! This helped me develop a unique performance style
involving costumes and a rapport with my audience.
The 1990’s opened with a collaboration with Paul McCartney: The Liverpool Oratorio, and then there was ballet. First,
Gillian Lynne’s A Simple Man for The BBC’s Omnibus and Northern Ballet Theatre. Then, A Picture of Dorian Grey for
The Sadler’s Wells ballet, choreographed by Derek Deane, followed by Fire and Ice, a television ballet for LWT for Torvill
and Dean. The Millenium brought forth A Christmas Carol for NBT; Aladdin for Scottish Ballet and an Alice in Wonderland
ballet, again for Derek(now Artistic Director of The English National Ballet). A new collaboration began with choreographer
David Bintley when I was invited to compose a new score for his Cyrano ballet. This was followed by a revival of Aladdin
with new choreography by David Bintley for The National Ballet of Japan. Recently, created was a ballet based on
The Lady of the Camellias for the Croatian National Ballet with choreography by Derek Deane.
Welcome to my worlds."
Carl Davis
Source: The Carl Davis Collection CDC 019, 2013
Format: FLAC(RAR), DDD Stereo
File Size: 411 MB
Please request the FLAC link (including front and
back covers, booklet) in this thread. PMs will be ignored!
This is my own rip. Please do not share my material any further,
also please add to my reputation!
