(The subtle shades here need 16-bit+ color for best reproduction)

Rediscovering Lost Scores volume one --ESD 81752
The filmscore music you've been waiting for,
Available for the First Time on CD.
Optimum 20-bit Hi-D transfers from the original master tapes and digital files, cleaned and tweaked to a fare-thee-well. Features music up until now unavailable in any form, 61 tracks from Clockwork Orange, The Shining, Tron and several not-as-well known films, collected together on two handsome new CD volumes.

Click HERE for information on volume two.

Leaf Track Listing, volume 1
Track Listing, volume 2
About Rediscovering Lost Scores
Some Liner Notes for volume 1
Some Liner Notes for volume 2
Credits and Thanks

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About the score to The Shining: With this release and volume two, most of our score for The Shining, unavailable until now, can be heard in Hi-D sound. This first volume includes the earlier studio tracks created for Kubrick from 1978 (including the "bloody elevators" trailer soundtrack) through late 1979. Volume two includes several orchestral and hybrid "live plus electronic" tracks. Some of music will be familiar to those who know the film, and some will not, in these richly orchestrated selections. Other tracks hint at a lost world of possibilities for the film left unexplored on its release.

About the score to A Clockwork Orange: Several tracks for Clockwork Orange unintentionally became "lost scores" as that project reached its hectic conclusion. During the "Archeomusicology" phase of creating these two volumes several older tapes were found to contain CO tracks which had been mislabeled, and were overlooked when we put together our definitive soundtrack album. We were pleased to discover three tracks which had not been heard since 1971 and they are included here, available for the first time.

LeafVolume I - Track List

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  LeafAbout Rediscovering Lost Scores, volumes one and two--

 With the release of these disks we answer the requests of many of you who have written over the years, and those who have sent message to our website. Here are selected tracks from most of my film score work, never available in any format until these two volumes. It was, as the cover depicts, an exercise in "Archeomusicology" to locate and check out stacks of masters and pre-master tapes, listening to hours of music which had been forgotten, and then carefully transfer many tracks to high-res digital masters.

You will find a very eclectic mix of styles and musical media represented herein. There are traditional orchestral and chamber music ensembles, vocal solos and choruses, Moog synthesizers, novel one-of-a-kind devices (like the Circon), and on to recent digital tools. The majority of tracks are hybrids -- blends of live with electro-acoustic media.

It's impossible for such a collection of music from over three decades to emerge as a single project, aside from their distinguishing characteristic, Lost Scores. Most of the selections are composed pieces, while others ought be categorized as "musical soundscapes", or "mood-setting textures." But bear with us, we've tried to include something for all of you, a broad range of musical treatments.

Fortunately, nearly all of the master tapes remain playable (a few required tape-baking). They all used Dolby-A for low tape hiss, recorded on professional Ampex and 3-M tape machines, never more than 2 tracks per quarter inch of tape width. So dropout is low, and only a minimum of sound cleaning and enhancement was necessary to render the surprisingly high quality sound heard here, even when a few generations of analog tape mixing were required for their creation.

We were lucky to find several tracks that had escaped the deadline searches during earlier remasterings of Clockwork Orange and Tron, and they're included on this release. You'll see that we've ordered the music mainly chronologically, with a split in volumes midway through scoring The Shining.

Nearly all of this music has never been available on albums in any form, like most of our score to Kubrick's The Shining, and my entire score to the 1998 British SF antiwar movie, Woundings. I worked on three other films during the '80s and '90s. I'm still searching for examples from two of those films, but was fortunate to locate two tracks from a score I wrote for the 1991 British film, Split Second. Political intrigue behind the scenes led to canceling my score midway, a depressing experience film composers are too familiar with.

Other music from that film found its way into the album, Tales from Heaven and Hell, but two completed tracks were orphaned. They're included on Rediscovering Lost Scores, with some other surprises. For those of you who have been asking for CDs of my music to The Shining (only two excerpts were included on the original soundtrack LP), your wish is finally met. It's a big relief to present this music to you, pieces I began to fear would never see the light of day.

--Wendy Carlos

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LeafSome Liner Notes from Volume One

  LeafFrom "The Shining" (studio music):

Let's start off with something big and brassy. Here's the original upbeat title music I wrote after Rachel Elkind and I finished reading King's novel, the first step Kubrick suggested early in the production, before filming had begun. We assumed that the majesty of the Rocky Mountains ought be featured dramatically. In the end it proved too intense for the film's mood. It's played by a ten piece orchestra (three flutes, three horns, three 'celli and a bass) which we somehow squeezed into our small studio, blended with Moog synthesizer and live percussion overdubs. Thanks to composer John Morris for neatly coordinating our small ensemble.

2-The Rocky Mountains
You may find it surprising to learn this is a solo performance on my homemade instrument, the Circon. It's sort of a precise Theremin, something you can play in exact tuning, although it still requires lots of practice. The Circon drives the Moog synth, which here provided those broad brassy sounds. The overlapping effect necessitated a very long tape delay which we accomplished by threading tape between two machines six feet apart. Clumsy, but it worked well when there were few good digital delays. Kubrick reassembled his own soundtrack for the film with audio engineers in London (I never learned what went where), and they used sections from an earlier, longer version of this piece heard as the family drives up the mountains to "The Overlook Hotel."

3-Chase Music
This upbeat selection was composed for the novel, and performed by the same small ensemble as on "Colorado." An extra urgency is provided by Robert Triscari's adept snare drum overdub, from top to bottom, over the insistent 5/8 meter. The huge bass drum was circus-sized, and I nearly fell over when striking it fortississimo during the overdubs. Again, the music proved too assertive for the film's final pacing.

4-Nocturnal Valse Triste
Another Circon cue, an adaptation of the "Valse Triste" by Sibelius, features a reedy solo timbre accompanied by the chamber group. Kubrick's cineaste daughter, Vivian, discovered the unused track on one of our demo tapes, and decided to end her excellent documentary on making the film with it (we only learned of this twenty years later).

20-Clockworks (Bloody Elevators)
A favorite sound-painting track of ours, Stanley also liked it, so much so that of all our preliminary music, this is the only cue he ever used. That was for the film's teaser/trailer, which came out exactly one year before we were summoned to London to commence work in earnest. The sounds are Rachel's versatile vocals with percussive and brassy synthesizer lines, all quite melodramatic.


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  LeafFrom "Clockwork Orange":

23-Stately Purcell
A new discovery from a mislabeled master tape, here's a subdued adaptation of Purcell's "Music for the Funeral of Queen Mary." This is the earliest music on Rediscovering Lost Scores (along with the next two tracks), but fit better to bridge the Shining selections with the UNICEF cues which follow. It combines Moog brass and live timpani, an idea that eventually led to our final version, which includes those now familiar, brutal f/x.

24-Pop Purcell
Admittedly a long-shot, we sent Stanley a few parody cues, hoping that the acerbic tone of his film would be well-served by some tongue-in-cheek background "source" music. (Note the incongruous fills -- quotes from Beethoven's greatest hits.)


  LeafFrom several UNICEF Films:

26-The Children of Peru
27-Shanty Town and Farewell
28-Daycare and the Colonel
29-Two Distant Walks
30-Ethiopian Life
31-Tanzanian Scenes
32-Three Hopeful Places
The remainder of selections on this album are assembled from original masters, often mixed to stereo for the first time (documentary films almost always had mono soundtracks). The sound sources were mainly synthesizer, voices, some concrete effects and a new tool, the Yamaha Electone E-5 organ. That instrument is also featured in the harpsichord continuo part of our last four Bach Brandenburg Concerto realizations (recently remastered).
During the '70s Rachel and I composed music for several of Dick Young's memorable documentary films for UNICEF. We'd met Dick earlier, and knew he created very effective films, traveling around the world several times a year to make them. We thought it would be fun to work on some shorter films, where we could quickly work out musical and technical ideas a step at a time. Most of the tracks we composed for him have a world music flavor, befitting the places visited.

(see complete track descriptions in CD booklet)

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LeafCredits and Special Thanks

Credits: The Lost Scores two-volume Special Edition was assembled by Wendy Carlos with a special thanks to Clare Cooper, Manya Zuba, John Romkey, and Mike Burg. All images created by Wendy Carlos. Graphics layout by Diane Waller.

Music tracks for "Clockwork Orange," "The Shining" and the UNICEF films produced by Rachel Elkind-Tourre.

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