Mainhorse Airline - SUPERGIRL - DAS MÄDCHEN VON DEN STERNEN (wger, Thome 1971)

Imagine my surprise when this movie started with great music and a MAINHORSE AIRLINE (Patrick Moraz) credit. Imagine my surprise when it was kind of a not-good movie. The music remained great, however.

Here it is.

Maurice Jaubert - L'ATALANTE (fr, Vigo, 1934)

 

Simply one of the best films. 

And the music is lovely. 

Get it here:

L'Atalante soundtrack

(14 tracks, 20:51)

I found quite a decent paper on music in the film - here (you know she loves the business with the phonograph) - although it doesn't make clear why Narcisco Yepes' names is always associated with this soundtrack. I couldn't swear there's even a guitar on the soundtrack (but lots of pleasure for accordion fans). It did however remind me that Vigo and Jaubert were introduced by Jean Painlevé. So that's nice.

Klaus Doldinger - BAAL (wger, Schlöndorff 1970)

Three tracks from the Schlöndorff's Brecht TV adaptation starring Rainer Werner Fassbinder. 
Music by great West German jazz scenester, Passport leader, and soundtrack composer (Tatort, Das Boot) Klaus Doldinger.

Here - enjoy!

Teijo Ito - MESHES OF THE AFTERNOON (us, Deren 1943 - st, 1959)

Maya Deren and Alexander Hammid's Meshes of the Afternoon (1943) presumably needs no introduction, pretty much the pinnacle of mid-century experimental cinema. There are those (talking bout you, Brakhage) who consider it to be more a work by husband #2 Hammid (and conversely, Maya the driving force behind his Private Life Of A Cat, 1945) but her mesmerising central presence, its unassailable cultural position and definition, and not least her other films, have made it hers forever.

Originally the film was silent. In 1959 husband #3, Teijo Ito, made this fantastic, semi-abstract soundtrack. Enjoy!

MESHES OF THE AFTERNOON SOUNDTRACK

Marlos Nobre et le folklore de Minas, Walter Quiroz, Sérgio Ricardo - ANTONIO DAS MORTES / O DRAGÃO DAMALDADE CONTRA O SANTO GUERREIRO (fr/bra/wger/usa, Rocha 1969)

HERE

Brigitte Mira - WIE EIN VOGEL AUF DEM DRAHT (wger, Fassbinder 1975)

More or less outrageous: Fassbinder stages a variety show for Brigitte Mira to sing a bunch of torch songs, randily recount her love life, and wear a succession of swishy outfits. Fantastic.

Track listing:
01 Einen richtiger Mann
02 Was wissen Männer von Liebe?
03 Die Männer sind alle Verbrecher
04 Ich trink auf dein Wohl mein Schatz
05 Weist du, wieviel Sternlein stehe
06 Träumen von Liebe
07 Emil seine Hä
08 Ein Männlein steht im Walde
09 interlude
10 Wenn das alles ist
11 Die Diamanten bleiben treu
12 Wie ein Vogel auf dem Draht

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Barre Philips and John Surman - MERRY-GO-ROUND (fr, Rivette 1981)

One of the most fascinating Rivette films, even aside from the amazing soundtrack, and probably the only one that can be called a failure (though it remains an endearing one).

Story goes, frère Jacques had a breakdown a couple of days into part three of his filles de feu tetralogy. When he returned, and tried another Out 1-esque McGuffin-driven mystery, the magic was gone. Little Joe reports that Rivette seemed like he never wanted to stop filming - I guess he couldn't find what he was looking for; it certainly seems like the actors didn't (and one can see Joe more than once, and more than usual, clearly looking as though he has no idea what is going on). Oddly, the excuse for a plot is very similar to Monte Hellman's Road to Nowhere (2010). I wonder if Monte assumed no-one had seen this.

It's nonetheless a very enjoyable film, due in no small part to the soundtrack by Barre Phillips (bass) and John Sman (bass clarinet). For no clear reason at all, the movie repeatedly cuts to them improvising in a small studio, and the music they make is marvelous. Enjoy!

Get Merry-Go-Round OST

various - MEDEA (it/fr/wger, Pasolini 1969)

This is a great movie for many reasons - Pasolini and Callas; a really rich disquisition on myth and reality; amazing locations; just about the greatest costume design of all time; and a remarkable soundtrack, compiled by Pasolini from various more-or-less ethnographic sources.

Fabio Masetti breaks it down on Quora. Not sure the interpretation is as straightforward as stated, but this is helpful:

The soundtrack of  Medea in made of  different folk and ethnic music tracks he choosed personally with Elsa Morante.

• Musiche sacre giapponesi, edizioni Bixio Sam, Milano. -  Japaneese sacre music, Bixio Sam recordings, Milan - Bixio Gruppo Editoriale Official Website
• Canti d’amore iraniani, edizioni Bixio Sam, Milano. - Iranian Love Chants, Bixio Sam recordings, Milan
• Musiche tibetane: campanelli buddisti, Khyabjug Chenden, Musica del Ricevimento (tratta dall’LP Tibet III, A musical Anthology of the Orient,

These three albums reissued by Rounder as Anthology of World Music: Music of Tibetan Buddhism, CD 5129/5130/5131.[7] Review by Wei Li in Yearbook for Traditional Music 32 (2000), pp. 239-241, JSTOR 3185295; review by Adam Greenberg on Allmusic, [4].

the music score is curated by Carlo Andrea Bixio, and it's S.I.A.E. property

useful notes:

In a first draft Pasolini Thought the film without soundtrack or to use a minimal sound approach. Then thought that Gregorian music could be a good solution.

Collaborating with Elsa Morante decided for a long, endless and wonderful soundtrack based on ethnic sounds and world music.
Pasolini uses the music in opposition to the spoken words to underline different phases in Medea's Life. The first part, popular the second One bourgeois, once she decided to escape with Argonauts. Giasone represent the world of technology.

******

Track listing:
1. Opening titles
2. Sparagmos i
3. Sparagmos ii
4. Koto interlude i
5. Koto interlude ii
6. Sun witch
7. Fire ritual
8. Koto interlude iii
9. Koto interlude iv
10. Absyrtus' slaughter
11. Aeërtes' discovery
12. Absyrtus' return
13. Koto interlude v - consummation
14. Divestment
15. Koto interlude vi
16. Disunion
17. Return of the Sun witch
18. Revenge of the Sun witch
19. Fear and banishment
20. My mother sends you this wedding gift
21. Nothing more is possible, ever.

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