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

Rediscovering Lost Scores volume two --ESD 81762
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 one.

Leaf Track Listing, volume 1
Track Listing, volume 2
About Rediscovering Lost Scores
Some Liner Notes fol 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 one, most of our score for The Shining, unavailable until now, can be heard in Hi-D sound. The first volume includes the earlier studio tracks created for Kubrick from 1978 through late 1979. This volume includes many orchestral tracks, and several tracks which mix live and electroacoustic sounds. 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 TRON: As with the above, several tracks for TRON became "lost scores", unheard for years. Some completed master tracks were dropped late in the production of the film for extra-musical reasons. And other tracks were tests which developed into the final versions heard on the soundtrack. This volume contains several favorite themes and moods from the film in arrangements which have been unavailable before now.

LeafVolume II - 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 Two

  LeafFrom "The Shining" (orchestral & studio music):

1-Shining Title Music
We'll start off volume two with orchestral and studio music composed for "The Shining." The brassy introductory Fanfare is adapted from a Polymoog piece (on volume 1, #19), here performed by large orchestra. It leads directly into this more powerful arrangement of the title music heard in the film: a blend of the Latin "Dies Irae" plainsong, musical textures featuring Rachel's electrifying vocals, low Moog drones, metal plectrum on autoharp, some delicate high-pitched "Danny Bells", and an enveloping cross-delay ambient wash. The "Dies" theme is not the original, but comes from an adaptation Berlioz wrote for his "Symphonie Fantastique."

2-Paraphrase for 'Cello
My vote for one of the best pieces here. You may not recognize the "Dies Irae" theme that these romantic, melancholy variations are based upon, although I followed the chant closely. The ensemble consists of six 'celli and two string basses. The musicians really "got into" performing it, and their enthusiasm makes it remarkably alive. I wish it appeared in the film, but Stanley explained that all non-Berlioz variations "sounded wrong." It was my fault in bringing up the Berlioz in the first place, when he asked where he might hear the "Dies Irae" melody we were planning to run with. He unwittingly became fixated on it, which led to most of our music being rejected.

3-Where's Jack?
This orchestral selection is an impressionistic work composed for the 8 AM morning scene, in which Wendy searches for Jack only to discover his psychotic manuscript: "All work and no play..." Unorthodox performance techniques on traditional instruments create a near-electronic flavor, although no synths were used. It was fun to compose directly to full score pages (the more common "short-score" would have been impractical here), and to end with those veiled suggestions of what Stanley described as: "Jack becomes Jaws", menacing and dangerous.

  LeafFrom "Tron":

10-Creation of Tron version I
11-Creation of Tron version II
These two cues were created in a search for an effective musical statement to begin Disney's pioneering computer animation adventure. I'd forgotten about them until stumbling upon an auxiliary master tape where they'd been stored, unheard since 1982. Not as effective as the final cue, they demonstrate a marriage of music and effects that distinguish much of the score. Both were realized in the studio, well before I began composing the final orchestral cues..

12-Lightcycle Games
It's unfortunate that this stimulating music was jettisoned late in production in favor of only sound effects behind an important scene. While the effects are well done, they lack the added dimension music provides. This was an ideal place for the angular feel of quartal intervals and harmonies (built on a musical fourth). Jorge Callandrelli provided extensive help in assembling and "orchestrating" most of the TRON music, following my detailed "short scores." Contrast this excerpt with the reworked and extended final shape the piece took on as Jupiter's moon, "Io", in my Digital Moonscapes suite.


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  LeafFrom "Split Second":

16-Visit to a Morgue
17-Return to the Morgue
In mid-1991 I was approached by two independent filmmakers to score a British horror movie. The project began well, and some memorable music resulted. Long story short, someone else gained control of the film, and I was dropped midstream. Infuriating. These two completed cues, shelved until now, score very intense scenes, with red-herring twists and scares. Note the elastic way the music sneaks forward, hesitates, then picks up again, and in #17 those two shattering fortissimos. It's written for orchestra, realized with my LSI instrumental replicas. The numerous "deliciously nasty" metallic effects are added via HD audio.

  LeafFrom: "Woundings":

18-Woundings Title Music
Six years later I was asked to score another British movie. Roberta Hanley was the (American) director and also wrote the screenplay. Based on a play by SF author Jeff Noon, the film is classic antiwar, and probes the bittersweet story of young British people caught up in an unwinnable situation, their loves, and their losses. (Note: this film has recently become available on a new Sterling DVD, # 40730, under the title: "Brand New World.") The project went well, with a happy ending, and some memorable music. The opening track, featuring a gorgeous vocal by my old friend, Manya Zuba, interweaves military with pastoral, accompanying a long helicopter survey of a distant island, hauntingly bleak.

19-Angela's Walk
Even a tragic motion picture needs its lighter moments. A young woman who is native to the island heads off one early morning, and we follow, with a cheerful variation of the main theme, here in a whistling performance by Manya, accompanied by guitar, string, horn and harp. The instrumental sounds (mostly assembled for my "Tales of Heaven and Hell" album) reflect many months of building and refining, and are highlighted througout the score.


  LeafFrom two Dolby Demos:

28-Bee Dee Bei Mir
29-Listen: Tannhauser
Let's close with something completely different -- two tracks created for friends at Dolby Labs, especially VP Ioan Allen. "The Jiffy Test Film" (1981) needed a musical check that everything was well adjusted. Ioan asked if I could come up with a minute or so of cheery synth music. That evolved into this fully Bachian composition with its preposterous two-note (D and B) theme, suggested by the Dolby logo with its back to back "d" and "b" (or is it "b" then "d"?). The title is a pun on Bach's "Bist Du Bei Mir."
Completely different again is the longer realization of the ending to Wagner's "Tannhauser" overture, for the 1982 Dolby demonstration film: Listen. Ioan wanted me to cap it all off with a "grand switched-on treatment." Here's the result, a complex multitrack synth performance, building to an unabashed orchestral climax, as a horseback rider on screen guides her steed up to a dramatic view in the Bay Area, the camera pulls back and up, and the music soars in dynamic surround sound.

(see complete track descriptions in CD booklet)

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LeafCredits and Special Thanks

Credits: Remastered by Wendy Carlos with a special thanks to: Ioan Allen and Dolby Labs, Clare Cooper, Manya Zuba, John Romkey, and Mike Burg. All images created by Wendy Carlos. Layout by Diane Waller.

Music tracks for "The Shining" produced by Rachel Elkind-Tourre; all other tracks produced by Wendy Carlos.

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