Performed by The Philharmonia Orchestra. Orchestrations by Andrew Powell. Edited by Donald Harris. Score produced by Alan Parsons. Album produced by Ford A. Thaxton, Mark Banning and James Nelson. I would love to buy the Score for symphony performance……………. Paul Ruffolo…. Soundtrack is great but where can I get the sheet music? I have a very talented son who would love piano and Utan Dej - Efva* - Nerver music for this.
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Leave a Reply Cancel reply Enter your comment here Fill in your details below or click an icon to log in:. Fiona from the UK submitted the following enquiry: Hi there!
I help to run a Music Camp for young people to develop their music abilities and perform together as groups. We run an orchestra session, and I would absolutely love to play John Miles "Music" - it brings back such fond memories for me, as I used to play it with a youth orchestra when I was 9 about 30 years ago!
I am really struggling to find Bishops Death - Andrew Powell & The Philharmonia Orchestra* - Ladyhawke - Original Motion Picture S full score online, and have limited access to music shops in my area.
I was wondering if such a score existed, and if you had any ideas where I might be able to purchase please? It is such an amazing piece of music, and when played in an orchestra with vocals, guitars, drums etc.
Dear Fiona, Thank you for your email. I'm afraid that you will struggle to find a score online - or in any music stores. As far as I know, the music was never printed or if it was, it would have been done only in the form of a voice Im Only Shooting Love - Various - Damn! MP3 Top 100 piano arrangement. So, I'm sorry but I can't really help you with this one.
I don't have a Tequila Sunrise - Eagles - Eagles copy of it either. I wish you luck! Jackie from the UK submitted the following enquiry: I've recently obtained the Ladyhawke CD and it's brought back amazing memories from my teens when I first fell in love with the film, the music and Rutger Hauer.
Where can I get the score from please as I'd love to be able to play it on my piano? Thank you. I have loved Ladyhawke since it was first released and have a copy of the soundtrack. Are the sheets available?? Would love to be able to play. I'm glad to hear that you enjoyed the new Ladyhawke CD - it took a while to track down all of the old tapes, but I thought it was worth it for the end result. As far as a printed score is concerned, there was only ever one "cue" from the film actually printed - and I never saw a copy!
They printed the Main Titles. Apart from this, I'm afraid that I can't help you. Since my teenage years, my favorite hobby has been to listen to good music. The kernel of the love I have for such songs lies in the magical instrumental work they have. I already listened thousands of times to the French horn, cello, Rezo Una Oración Por Ti = I Say A Little Prayer - Pandora - Ilegal sax in those songs, I never get tired!
Thousands of times more to come As I learned over the years, you are the "magician" behind such instrumental works. I could try to described the joy I have when listen to instrumental portion of the "Year of the Cat" when you combine cello, guitar, sax, and many cellos, violins and violas in the background, but probably I will not match what you felt when you made such arrangement.
The song "The Turn of a Friendly Card Part 2" is my favorite of them all: The instrumental work with the guitar, French horn, and violins is "from heaven.
Bishops Death - Andrew Powell & The Philharmonia Orchestra* - Ladyhawke - Original Motion Picture S just would like you to know that your work has been an inspiration for many years in my life, and also to thank you for your hard and inspired work!
I'm glad that you enjoy the records you mention. I did do one record with them - a song called "Boulder to Birmingham", but not this one. I agree with you, however, that it's a very good record! When I listen to it, I'm always turning up the volume louder and louder as the music fades in hopes of eeking out every bit of it! How much longer did the solo go beyond what can be heard on the album and where can Yksin Oon Mä Vain - Topi Sorsakoski & Agents - Maxi-EP find the longest version available I would love to hear where that sax leads to as the music went on!
Thank You for this very informative and entertaining site. The answer is that it definitely did go on longer than the fade on the album, but I can no longer remember exactly how long. It was a very good solo Carlos from Spain submitted the following enquiry: Hi from Madrid! It is a really pleasure to talk yo you. I have all APP albums remastered. I would like to know the name of the orchestra used in Tales, Robot and Pyramid.
The booklets dont mention it. The only thing I could read is that someone unidentified from the london philharmonia played an ancient woodwind instrument in song In the lap of God. In my opinion The APP is the best band mixing rock and orchestra. About one Rapowanie To Zajebista Sprawa - Aes - Rapowanie To Zajebista Sprawa ago I started to search for more groups in this genre.
Would you recommend any other artist? Many, many thanks. Your music has been with me since Best wishes, Carlos. Thanks for your question. The orchestra used on the first three alan Parsons Project albums was not a named orchestra, but a contracted one: booked by a "fixer", in this case a man called David Katz, who would phone up the best musicians from any London-based orchestra who were free on that day.
Some of the players would have done nothing but "sessions" - recordings for films and rock albums, and not been in any orchestra. I would always discuss with David which sort of player I needed for each instrument. I'm not sure where the credit about the wooden flute comes from - there is actually no such orchestra as the "London Philharmonia"! I think that your list of bands who work with orchestras is very thorough.
I'm not sure I can think of many more! I think this song is beautiful and is one of my favourite of the whole Al Stewart catalogue, so I wonder when it was written if you remember at least the yearwhat brought you, Al and David together, and how the three of you composed the song I'm pretty sure the lyrics are Al's own, but what about the music?
Thank you for everything you could tell me about this wonderful song. I have always really liked this song. I was working with David Pack on several other tunes one of which appeared on the "Try Anything Once album of Alan Parsonsand he played me the beginnings of this one.
I thought it was very promising. I was staying at Al Stewart's house in Bel Air at the time, and mentioned the song to him - and played him a taster of it. He suggested that we should invite David around, and all work on it together. We did - the three of us sat around Al's piano all afternoon Al wrote all of the lyrics, although this was done at a later stageand some of the musical ideas were his as well. I think this would have been in Ciao Andrew, More questions for you.
Throughout the "Project" period, you have been involved mostly in the choir and orchestral parts in the songs or your contribution to these was larger? For example: you gave advice to Eric and Alan? You have composed pieces of music that you do not then have been credited etc etc.? After "the Project", as Stuart Elliott and Ian Bairnson you followed a solo career of Alan: maybe you would find it more interesting?
What do you consider to be the best work of Alan Post Project and why? Have you heard "A valid path"? If you had to come back to produce a record with which artist would you like to do today? What music do you usually listen to? Thanks in advance for your answers. Well, as you probably know on the first two albums, "Tales of Mystery and Imagination" and "I, Robot" my contributions as a composer were acknowledged. Examples would be "In the Lap of the Gods" from Pyramid I suggested to Eric that the choir should sing words at the end - he hadn't thought of that - and also the opening of the "Eve" album the orchestral introduction to "Lucifer" and an even more obvious example would be the whole orchestral middle section from "Silence and I.
There are many other examples! I don't really know why I didn't bother to push for credits - one reason The Bees - Belly - King have been that I was always so busy working in those days, and the work, rather than the money, has always been my main motivation.
It was interesting to work with Alan, and more closely with Stuart and Ian, after the Project finished. I had felt that the APP records were becoming increasingly jaded and less interesting towards the end. It was good to work with Alan and Stuart and Ian as equals.
I was also very happy indeed to be able to write a couple of songs with my old friend David Pack. I particularly enjoyed writing the 2 songs with David, and working on "Jigue" and "Re-Jigue" with Alan. I do still occasionally produce records! I'm not sure who I would be most interested in working with today. I would love to produce an album with Bob Dylan! Whoever it was would have to be someone who liked to work quickly in the studio - I can't imagine spending 6 months or more listening to the same 10 songs As regards the shop page, we are working on a new idea which would mean that the shop pages for all of our websites David Paton's, Ian Bairnson's, Stuart Elliott's and mine will be linked together, as many people will, we feel, be interested in what each of us has to offer.
This does, of course, raise certain technical and cordination challenges, but hopefully they will be resolved in the next month or two. All the sounds, the intro, the climax it's all so perfect! Can you tell me more about this recording, the idea, how long did it take to make? I really want to know everything about Lucifer! I'm pleased to hear how much you enjoyed this track on the album I made with the Philharmonia Orchestra. Also, thank you for telling me about its use on Radio Hilversum - I didn't know about that.
There are two main elements which went into the making of this album: the thinking out and writing of the arrangements and orchestrations, and then the recording and mixing.
With regards to the first element, I used a fanfare from another title "May Be a Price to Pay" from the "Turn of a Friendly Card" album, as I felt that this was going to be the first track on my album, and I wanted it to start loudly and confidently - the intro to the original track on "Eve", which I wrote, is very quiet and rather unassuming! I also decided to link "Lucifer" with "Mamma Gamma", another well-known APP instrumental: this combination of the two titles seems to have stuck, as it Somebody Who Loves You - Joan Armatrading - Joan Armatrading been used live for years as "Luciferama.
The mixing was quite complicated, as we were using 2 track analogue tape machines linked together, and it took a day and a half in the studio. I must say My Chérie Amour - Boney M. - MP3 this point that the engineer Jon Kelly got the most wonderful warm sound on this album - I think this is probably the richest sounding of any of the albums I've ever done. I have a question about the Wuthering Heights piano Bishops Death - Andrew Powell & The Philharmonia Orchestra* - Ladyhawke - Original Motion Picture S.
After the lyric, 'we'd roll and fall in green', there's a mix of a minor and major third run in the piano - was that yours or Kate's idea? Hello Dan. That was Kate's idea. Almost all of the piano parts on "The Kick Inside" are totally down to Kate - except on "The Saxophone Song", where I took some of her ideas, and elaborated on them in a part I played myself. Hello Andrew! The main symbol of the orchestral conductor is the Baton. I noticed from the rare movies where I could see you that you do not use it either during the studio sessions or the live concerts.
Why and what difference is there if any between the two modes of conducting? Pierre Boulez used to conduct with his hands. Yes, you are War Machine Casualty - Flyblown - The Fear And The Fury right, I never use a baton either in the studio or in concerts. It is, I think, very much a matter of personal taste for each conductor.
Quite a few conductors will put the baton down some of the time - interestingly, usually for the most sensitive moments in the music. I find that the hands can express far more than an inanimate piece of wood. You are quite right that Pierre Boulez never used a baton: I worked with Aaron Neville / Ketty Lester - Tell It Like It Is / Love Letters frequently in the early s, and found him the clearest, easiest to follow conductor I had ever worked with, which Covolux - Undertones think probably influenced my technique and my decision not to use a baton.
I think that the most important thing is that the conductor should use gestures which can clearly be understood by the performers. Clarity is vital! You are there to help the musicians as much as possible Dear Mr. Powell, Only recently I have listened to your wonderful album " Can you provide some information please, if there is a chance to get this gem on CD or MP3?
Would be great. Thank you very much and all the best. Thank you for your kind remarks about the album. Unfortunately, all of these CDs have been out of print for a while. Your best chance of fidning a copy would be at record fairs or online on eBay.
Will that happen? It would be nice to record "cover versions" of the best songs of the APP I know that David and Ian are preparing something like that. Thank you for your kind remarks about "Re-Jigue. I'm not sure about the old group re-uniting - some of us have moved on from our days with the APP: don't forget that all of us were also doing other things at the same time as the Project records. I wonder if the songs aren't best left alone now?
Also I'm not sure how many people would actually buy a record like this? Don't forget that Stuart, Ian, Alan and Ne Me Quitte Pas - Various - Les 12 Plus Belles Chansons Du Monde have already recorded most of the "best of" the APP catalogue twice - the first time was the original version, the second was the "Alan Parsons - Live" album.
This may seem like a daft question but how do you manage to hold your arms up during a performance for so long swinging that Baton? I noticed that you had them up for almost 2 hours at the Birmingham symphony hall. I am studying orchestration and need to conduct from time to time but when I try to hold my arms up they tire and fall limp at my side within minutes!
How can I overcome this terrible malady? Do you remember what type of bass you used on the "Wuthering heights"? I just love the bass sound. Could it be a Rickenbacker?
As teenager, I loved the film LadyHawke, which was made by the music - it was just perfect. I confess I recorded the music on to a tape and I have played the tape to death. I have ridden imaginary horses to it, danced to it and even exercised to it. It is guaranteed to make me happy. When the tape died, I was desolate. But, the thing is, I can't seem to find a CD - not even a version of the edition.
So, long story aside, can you advise me where I can buy a copy of this disc? I am getting withdrawal symptoms. Thank you for your email. I'm pleased to hear that you enjoyed my music for the film "Ladyhawke", and also pleased to hear that you now want to buy a copy! My advice would be - don't buy anything on ebay - wait until early next year, when La-La Land Records will be putting out a new deluxe edition of the "Ladyhawke" score - a 2 CD set which will contain almost all of the music from the film, and a large number of bonus tracks.
Keep a watch on the News page for more information. In the near Are We The Waiting - Green Day - Bullet In A Bible, we could hear an your orchestral cd with the best of your production? Maybe you could sell it only through your website. Well, these are a very interesting pair of questions. The answer to the first one is that it would mean getting permission from 10 or 12 different record companies, which could be complicated.
But it's worth investigating, so I shall look into it. You then asked if there was one arrangement from my whole career which I wanted to correct. My first instinct was simply to say "No. So why don't I want to change the originals? I think that the answer is - these were my ideas at the time, and they worked at the time both for me and for the artists who had commissioned them. Now I know that there are composers in the classical world Pierre Boulez is famous for this who are constantly re-working old pieces.
There is also the trend in rock and pop music for multiple re-mixes of records. Some people even re-mix no. I just don't feel motivated to do this myself. The piece of music, or record, I'm most interested in is always the one I'm working on at the time - or the next one. Once I have finished a piece or a record, it's gone.
I'm still interested in whether people want to perform it, or play it on the radio, but no longer interested in working on it. Dear Mr Powell. Let me begin with saying that your music has brought me much joy over the last decades. Thank you for providing me many hours of active listening pleasure. To my knowledge, this wonderful soundtrack has not been released on CD. Do you know if it Grotowskis Last Journey - Apocalypsis Cum Figuris - Musterion - The Black Lodge be in the near future or a download will be made available?
I'm pleased to hear that my music has brought you so much joy - thank you for your comments. As far as the film "Triumphs of a Man Called Horse" is concerned, I am not aware of any CD release of this score, nor of any plans to release it, I'm afraid.
It was released on VHS and possibly Betamax? If a release does lok likely, I'll make sure it goes into the "News" page of the website. I know your work with Harley on the earlier Cockney Rebel albums but wondered how it felt after all those years with a sell out crowd. I'm glad that you Disguise (Jason Nevins Instrumental) - Ivyrise - Disguise the concert - so did I.
I'm interested to know why were you taken aback by my enthusiasm? I have always been proud of the work I did on the first Cockney Rebel albums: "Sebastian" and "Death Trip" were both arrangements which got me noticed in the music business. Steve's lyrics are fascinating.
I find that I respond best, and do my best work, when the lyrics interest A Week Later (Start) - George Gershwin, DuBose Heyward, Lorin Maazel, The Cleveland Orchestra, The C I get a lot of musical ideas from good lyrics. The crowd's response at the Symphony Hall concert was most gratifying - it's always good to get feedback from an audience - and this was obviously Steve's audience.
It really didn't seem to me as though 40 years had passed since we recorded these works, and I think Steve felt the same. I am really looking forward to repeating the experience next year. I just would like to say thanks for your inspiring work. I first heard your arrangements through the APP.
Actually I think they are the ones giving the APP the "magical" quality those songs have, and their "timeless" quality. A brilliant work for sure!! So my question is Have the APP orchestral scores ever been published anywhere and are they available to buy? I am attempting to replicate the "Silence and I" arrangement by ear, but there's so much going on that I can't hear everything Thank you for your kind comments about my arrangements.
There is indeed a lot going on orchestrally on the track "Silence and I" - I'm not sure that I could write it down correctly from the record The orchestra scores have never been published, so are not available to buy. The scores and orchestral parts for certain titles may be available for hire for orchestral performances. What was your approach in regards to the compositions for the Ladyhawke film? The music choice was quite interesting. There weren't many All Good Things - Esperanto - Esperanto pieces as would be expected in the film and seemed to have a mix of current 80's New Wave.
Once the director has decided on his composer for a film, they sit down together and go through the whole film to select the scenes where music is required, and to discuss what sort of music is needed, and what effect it should have a process know as "spotting". Richard Donner specifically wanted Alan Parsons Project-type music for all of the horseback scenes in "Ladyhawke.
The majority of the score is purely orchestral - nearly 47 minutes of it: there are only 7 minutes 15 seconds of music by the group alone less than the amount of mediaeval musicand 14 and a half minutes of group with orchestra. I know there has been some criticism of the fact that the score is "out of period. I think what many of these people actually wanted was a conventional Korngold type of score: this Rock The Shack - New Order - Get Ready be years out of period, whereas the small percentage of "rock" music in this score is years out of period: not a huge difference.
Finally, don't forget that this was a "Fantasy" film - not an historical docudrama. How did you come up with the orchestral arrangement for Al Stewart's "Modern Times" and the string arrangement for his "Year of the Cat"? Are you going to be working with Al again? I'm not quite sure what you mean, but i think you want to know how I decide what instruments to write for, and what they should play to contribute to the overall effect of the track and song?
I listen to the tune, the harmonic structure "chord sequences" and especially the lyrics, which often give the main pointers to the mood I want to create to enhance the track - particularly in the case of a writer like Al, whose words are very good indeed!
It's important to remember that you are trying to enhance the track, and not take it over or overwhelm it. Then I start to think about what sort of forces are needed - in the case of "ModernTimes", a fairly large orchestra, with woodwind, brass and strings - for the "Year of the Cat", just strings and the sax solos. If you are asking me how I know what notes to write, then I can't really explain that to you - the same way that a guitarist probably couldn't explain why he chose the particular notes he did for a solo - it's down to experience - listening to a very wide range of music, Rehab - Down - NOLA studying scores of other composers - especially the greats, from Bach through Mozart,Beethoven up to Mahler, Stravinsky, Schoenberg, Boulez and Ligeti.
It's an instinctive process, which I can't really explain to myself I wanted to know something about the very special arrangements of the two lps of Cockney Rebel: "Human Menagerie" and "Psychomodo" especially regardings the songs "Ritz"and "Death Trip ". Do you have any anecdotes of meetings for the registration of these two discs? Firstly, Bishops Death - Andrew Powell & The Philharmonia Orchestra* - Ladyhawke - Original Motion Picture S must point out that these sessions happened a very long time ago!
I remember having a discussion with Steve Harley before the Human Menagerie sessions, when I said that I thought that two of the songs, "Sebastian" and "Death Trip", needed a really large orchestra and a choir. He agreed - and later said that he wanted the choir to sing along with him on the long build-up section Bishops Death - Andrew Powell & The Philharmonia Orchestra* - Ladyhawke - Original Motion Picture S "Death Trip" which begins with a piano riff, and ends with the choir singing along with Steve.
I said this would build to a better climax if there were some words there Megérkeztünk - Bartok*, Boulez* - Pierre Boulez conducts Bartok which there weren't originally.
Steve phoned me back a couple of hours later with the lines "All the boys say Run like a chicken, but The orchestra and choir sounded superb - no real surprise, with Geoff Emerick engineering.
With regard to the second album, and in particular the song "Ritz", I remember that I did ask Steve what he intended the song to be about, and he just looked at me and smiled, and said "That's up to you I think it worked I just wish that the orchestra were slightly louder in the mix! Two-part question here. We were absolutely thrilled to see you playing keyboards on the early Alan Parsons Live Project tour. Second, is there a chance we will see you share the Bishops Death - Andrew Powell & The Philharmonia Orchestra* - Ladyhawke - Original Motion Picture S with Mr.
Parsons again at some point? The keyboard set-up I was using in the US tour in I presume that's the one you're talking about? So the orchestral sounds were coming from the Proteus, S and sometimes the JD, with the Prophet occasionally reinforcing brass sounds. At the moment there are no plans for Alan and I to appear together again - we do, after all, live 6, miles apart The "Usher" suite is composed by you, Eric and Alan.
Can you tell us something about the specific contributions of the three composers? For example, the album notes quote you as main writer since the orchestral parts dominating the work, but the oboe's phrase at the beginning of Prelude is similar to the beginning of Stereotomy.
Who thought about arranging Pavane almost exclusively with string instruments as the music described in the Poe tale? It's often difficult to work out exactly which parts in a collaboration were done by whom: obviously a lot of the orchestral sections were down to me, but there were contributions from the others. With regards to your question about a similarity between the opening melody of "Prelude" and "Stereotomy", I should point out that as "Usher" pre-dates "Stereotomy" by some 10 years the former could have influenced the latter, but not vice versa.
Incidentally, the opening of "Stereotomy" was sequenced and played by Richard Cottle, not Eric; also, the opening theme of the "Prelude" is played by a cor anglais, a sort of alto oboe with a range down to the E below the oboe's bottom Bb not an oboe. I think I showed Alan the line in the story New Years Day - U2 - War says that Roderick Usher could bear almost no music except for "peculiar sounds, and these from stringed instruments".
Alan and I decided not because it's specifically stated in the text, but it is said that Roderick Usher plays the guitar to use only plucked string instruments -acoustic guitars, mandolin, string bass, kantele, harp and harpsichord - and cimbalom technically a percussion instrument, but it has a lot of strings.
The "Pavane" was Star One Traxx 1 - Various - The Oh! Addicted 2 Bass Megamix 3 written by Alan, with a few changes and additions from me - I don't think Eric contributed to this piece at all. How did the Tim Rice and Andrew Lloyd Webber album, Performancecome about and how did you go about choosing tracks and vocalists?
I was originally approached by Telstar Records, who explained the idea for the album, and said that they had booked Roger Daltrey, Jim Diamond, and several other top artists for the vocals.
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