Joe Kraemer

[Ghostek]

W sumie znamy go najbardziej z dwóch prac: M:I Rogue Nation i Jacka Reachera. Ale okazuje się, że tworzy i inne, ciekawe scory, więc czas mu założyć osobny temat.

Ostatnio ukazało się coś takiego:



1. Theme from Comrade Detective (1:10)
2. Bust Gone Wrong (3:05)
3. Mourning (1:59)
4. On the Case (2:31)
5. Pursuit (2:43)
6. Taxi Cab Confrontation (2:21)
7. Behind the Seams (2:02)
8. Streets of Bucharest (1:22)
9. Radio Romania (3:18)
10. Into the Tenement (1:56)
11. The Baker (3:20)
12. Father and Daughter (3:12)
13. Out the Window (4:45)
14. Back in NYC (2:25)
15. History Lessons (4:02)
16. At the Mansion (2:50)
17. Cleanup (2:23)
18. Family in Danger (1:27)
19. The Bus Sequence (3:36)
20. Through the City (4:11)
21. Deceptions (5:58)
22. Explosive Investigation (2:58)
23. A Different Point of View (3:28)
24. Back to the Case (0:45)
25. To the Drop (3:12)
26. The Final Confrontation (3:08)
27. Resolution (2:16)
28. Comrade Detective End Title (1:10)

Serialu nie znam, ale soundtrack przesłuchałem dla nazwiska kompozytora i... pozytywne zaskoczenie.
Znów klasycznie rozpisany, ze świetnymi orkiestracjami i fajnym, łatwo wpadającym w ucho tematem.
Szkoda tylko, że album przytłacza swoją objętością. Jakby wyciągnał z tego 50 minut byłby jeden z fajniejszych albumów Kraemera w jego karierze.

[Adam]

bo to jest score z całego sezonu na raz dlatego taki długi

[Ghostek]

Tym bardziej powinni to jakoś uporządkować.

[Adam]

to tylko digital od lakeshore, bez jaj, wrzucili cała sesje i tyle

[Radzimir]

Serial widziałem (produkcja Amazona) - parodia seriali kryminalnych zza żelaznej kurtyny (niby odnaleziona po latach i pokazana na nowo - co tłumaczy angielski dubbing ) i to bardzo dobra parodia. Muzyka była całkiem zgrabna, ale widziałem to parę miesięcy i niewiele pamiętam.

[Wawrzyniec]

Bardzo fajne to "Comrade Detective", jakbyśmy wrócili do dawnych czasów filmówki i jak kiedyś do filmów policyjnych, akcyjniakow i thrillerów się pisało. Wpadający w uchu temat, świetne orkiestracje. Trochę za długi albums ale muzyka to klasa sama w sobie. Szkoda tylko, że musi powstać serial parodia, aby taką muzykę wykorzystać.

[Wawrzyniec]

A to ktoś słuchał?

THE FIRST 100 COPIES ARE SIGNED BY JOE KRAEMER! (Check your retailer!)
Caldera Records is proud to present the new score for the motion picture “Sunrise” from 1927, directed by F.W. Murnau, featuring music by Joe Kraemer, commissioned by the Dallas Chamber Symphony.
Featuring enormous stylized sets in order to create an idealized view of the world, “Sunrise” tells the story of three characters with no real names given. The Man and The Wife had been living happily on their farm until the appearance of The Woman From The City, who seduced the husband prior to the beginning of the story. In order to get rid of the farm that is tying The Man to country life, The Woman From The City convinces him to get rid of The Wife by staging a boating accident. When The Man realizes he is unable to commit the deed, The Wife flees to the City. He follows her and they rediscover their love for each other in the exotic world of the City.
In 2016, Joe Kraemer got the chance to prove himself as a masterful composer for silent film when he was commissioned by the Dallas Chamber Orchestra to write an original score for Murnau’s masterpiece. In terms of the overall picture, Kraemer shares his inspirations: “I created themes for each of the major characters and concepts in the film, and then used those themes to carry out the plot of the film. It is a highly programmatic composition. I was influenced by composers like Copland, Gershwin, and Strauss. Additionally, I had just finished a three-week stay in Austria when I began writing the score, and I was very influenced by the culture I experienced in the wonderful town of Baden.”
The score had its world premiere, live-to-picture, in Dallas in October 2016, where it was conducted by Richard McKay. It had a second performance in August 2017 in Baden, Austria, where Kraemer himself conducted it live-to-picture with members of the Synchron Symphony Orchestra. A few weeks after the live performance, the orchestra reconvened at the Synchron Stage in Vienna to record selections from the score for this CD release. The 26th CD-release of Caldera Records features a detailed booklet-text by Gergely Hubai, an exclusive audio commentary by the composer, and elegant artwork by Luis Miguel Rojas. The CD was produced by Stephan Eicke and John Elborg.

Music Composed and Conducted by Joe Kraemer
Album Produced by Stephan Eicke
Executive Producers for Caldera Records: John Elborg, Stephan Eicke

Sunrise
1. Sunrise (2:23)
2. The Train Sequence (1:50)
3. The Other Woman (2:15)
4. Whistle (1:52)
5. The Husband Sneaks Away (3:26)
6. The Marsh Sequence and City Song (4:27)
7. Gathering Reeds (2:27)
8. To Bed (2:23)
9. Off to the City (2:16)
10. The Dog Scene (2:47)
11. A Man Posessed (4:34)
12. City Arrival (1:36)
13. Buying Flowers (2:28)
14. The Wedding Scene (3:26)
15. Traffic Jam (2:02)
16. Pictures in a Window (1:19)
17. The Photo Session (2:01)
18. Antics in the Studio (2:41)
19. Night in the City (2:22)
20. Pig on the Loose (3:53)
21. The Dance (2:54)
22. Storm at Seam (4:24)
23. Salvation (4:53)
24. Finale (1:43)

Bonus:
25. Audio Commentary by Joe Kraemer (13:09)

https://soundcloud.com/alderaecords/sunrise-joe-kraemer

[Mystery]

Wydaje Lala, elektronicznie tez będzie.



1 Barr’s Theme (1:13)
2 The Man Who Killed Hitler (3:33)
3 The Tent Sequence (7:22)
4 The Hat Shop (2:58)
5 Barr’s Tale (3:11)
6 European Trek (6:19)
7 Brothers (2:18)
8 One Last Mission (1:57)
9 Letters From Home (3:12)
10 Chase Through The Forest (2:16)
11 The Mountain (3:18)
12 Coming Home* (2:47)
13 The Last Night (5:36)
14 And Then The Bigfoot (2:05)
15 Resolution (2:31)
16 Finale And End Credits (9:15)

[Adam]

pierwsze 100 z autografami.

[Adam]

słuchał ktoś? warto?

[Mystery]

Film rozczarowujący, myślałem, że będzie jakaś akcja i przygoda, a tu głównie przegadany dramat.

Muza jak to u Kraemera, stara, dobra szkoła, sporo suspensu i underscoru (głównie w pierwszej części pracy), ale ładnej liryki i akcji nie brakuje, a wszystko to skąpane w klasycznej formie, całość może trochę siermiężna i rzewna, ale nie sposób odmówić pracy oldschoolowego uroku, no i warstwa dramatyczna jest tu naprawdę niezła.

[Wawrzyniec]

Joe Kraemer dość szczerz wypowiada się o muzyce filmowej w Hollywood:

This is a sad truth for everyone trying to make it in show business - it is virtually impossible for people who are neither born into money or born into the business. And it IS a business - money is the bottom line. As one very successful producer recently told me "Joe, no one gives a shit about your art".

I can count the number of mainstream Hollywood composers that I KNOW write all their music themselves on one hand, John Williams being the most famous example. Everyone else is a team leader, a figurehead for a team of composers who are getting no credit, very little money, and no job security. None of us have any job security anyway. One of my closest friends made a deal behind my back that swindled me out of hundreds of thousands of dollars and then dumped me for a Zimling and this was after assuring me that working for him/her was the same as having a "savings bond".

In 2010, having score "The Way of The Gun" and close to 40 TV movies for the Hallmark Channel, I was so broke I had to sell my CDs and DVDs to feed my son. This is not a pity-party for me. This is just a reality check for people who dream of scoring movies in Hollywood: It is a cutthroat community of people who are in the business to get rich and famous. Writing music of any quality is secondary to that ultimate goal. And keep in mind, being an artist is not a civil right - no one owes me anything, even the ex-friend who swindled me. Making art is a hobby, and if we can manage to make some money from it, so much the better.

I promise to always do my best to write all the music in anything I score myself, and if I don't, to properly credit the people who co-write with me (i.e. @PenkaKouneva on #Pandora). I promise not to hire an 'assistant' who is really a ghost-writer. I promise to do my best not to just copy the temp, but to contribute to the film in a meaningful way. These promises have definitely impeded progress in my career - I haven't scored a single mainstream Hollywood movie since 'Rogue Nation'. But I also haven't ripped anyone off, or swindled my friends, or presented a false impression of myself to directors, producers, or studio execs. To the OP, Nadia, thank you for sharing your story. There are a lot of hard truths that need to be shown to those who hope to join this business.

I think often of a quote once heard, spoken by one of the cinema's greatest composers: "I got into this business to make a living. Now people get into it to make a killing." In closing, let me reiterate, this is not whining - this is a tough business, and it's not for the faint of heart to undertake. It can be wonderfully rewarding, but it is also impossibly challenging. I hope it can evolve to a community that helps each other rather than competes with each other.

Ten fragment:

One of my closest friends made a deal behind my back that swindled me out of hundreds of thousands of dollars and then dumped me for a Zimling and this was after assuring me that working for him/her was the same as having a "savings bond".

"Zimling" Tutaj pewnie chodzi o angaż Lorne Balfe przy "M:I Fallout".
Dość szczera wypowiedź, ale nie wiem czy raczej nie narobi ona mu więcej problemów niż korzyści w branży? Z drugiej strony skoro i tak ma już źle, to chyba gorzej być nie może...

https://twitter.com/joekraemer/status/1 ... 7610980353

[qnebra]

No to Joe ma już kompletnie wywalone na filmówkę. Chociaż, jestem pewien że będzie robić w tym gatunku, tylko po prostu dla mniejszych projektów, tak z dala od Hollywood.

[MichalP]

A mnie zastanawia co sie mu teraz stalo, ze zdecydowal sie zamiescic ten wpis wlasnie w tym momencie. Mogl to zrobic juz dawno temu przeciez. Moze go zrejectowali przy czyms i sie wnerwil jak Yared swego czasu i faktycznie stwierdzil, ze nie ma nic juz do stracenia w Hollywoodziu.

Inna sprawa, ze jak dla producentow taki Junkie jest mega objawieniem i robi w Hollywodziu za mega speca od filmowki, a wiekszosc filmow obskakuja klony i podnozki Zimmera to o czym tu gadac. I nie chodzi tylko o to, ze filmowka z lat 80-90 jest staromodna. Jest po prostu monotematycznie i wszystko jest na to samo kopyto. Junkie zna tylko jeden rytm, klony Zimmera tylko jedno ostinato. Jeden kopiuje od drugiego cos co juz wczesniej ktos inny wymyslil a wszyscy bija brawo. Nie dziwie sie takiemu Kraemerowi, ale i sporo innych kompozytorow tez z Hollywoodem sie pozegnalo. Sound design nie muzyka. Co zreszta pokazuje proba zlokalizowania Top 10 za zeszly rok .

[Adam]

Powinno się też tu przykleić duże uzupełnienie postu, które napisał później