Saturday Soundtrack: The Best in Film Music 1996 The First Wives Club (Marc Shaiman) One Fine Day (James Newton Howard) Mars Attacks! (Danny Elfman) Independence Day (David Arnold) The Ghost and the Darkness (Jerry Goldsmith)

Maximilian Peter on the best in film music from 1996:

In 1992, American author Olivia Goldsmith (January 1, 1949 – January 15, 2004) wrote her first novel called The First Wives Club. The story deals with four old friends who have all been left by their husbands. All for younger women. A „first wife“ even kills herself after she has been left. At her funeral, the other three women meet each other again – after many years – and decide to take revenge on their ex-husbands. What sounds sad and in some way dark is really a very funny comedy written by Olivia Goldsmith. Hollywood loved the story of Goldsmith´s comedy-book and made a movie out of it. In september 1996 the film version of the book with the same titel – The First Wives Club – premiered in cinema. It stars three of the best Hollywood-actresses of the past decades: Diane Keaton, Bette Midler and Goldie Hawn. Co-stars were Sarah Jessica Parker, Marcia Gay Harden and the great English actress Maggie Smith, who won an Academy Award for her performance in The Prime of Miss Jean Brodie (1969). The film became a box-office hit and the ensemble played that well that the National Board of Review Award for Best Acting by an Ensemble went to it in the following award season. A great component of the funny film is Marc Shaiman´s wonderful comedy score, which was nominated for an Oscar in the category Best Comedy or Musical Score, but lost to Rachel Portman´s soundtrack for Emma. However, Shaiman´s soundtrack musically reflects exactly the meaning of the term ´´comedy score´´ and was the best score for a comedy movie in 1996. It was funny, romantic, emotional and a great listening experience. All you need for a really good comedy score! 

Another great score for the genre in 1996 was James Newton Howard´s One Fine Day. Michelle Pfeiffer and George Clooney are the stars of Michael Hoffman´s romantic comedy film (the film´s title comes from the 1963 song One Fine Day by The Chiffons, an all-girl group from New York). James Newton Howard wasn´t indeed nominated for an Oscar his delightful score, but he was nominated for his original song for the motion picture called ``For the First Time´´. He shared the nomination with Jud J. Friedman and Allan Dennis Rich, who collaborated with the composer especially on the lyrics. 
It was (almost) a shame that Danny Elfman´s masterful comedy score for Mars Attacks! (Tim Burton´s parody of science fiction B movies in combination with black comedy and political satire) wasn´t nominated for an Oscar in the category Best Musical or Comedy Score. The main theme is spectacular. It and the rest of the score show Elfman´s and Burton´s (special) ``black comedy minds`` in full force! At least the Academy of Science Fiction, Fantasy and Horror Films recognized that and honored the score with its Saturn Award for Best Music. Great!

1996 was also a great year for English composer David Arnold. After his fabulous soundtrack for Roland Emmerich´s adventure science fiction film Stargate, which brought the composer on the A-list of Hollywood-composers, the musician worked again with director Emmerich on the movie Independence Day. His score for the blockbuster-hit is big, loud, exciting and became a well-known dramatic work by the British artist. Also dramatic are the scores for Sleepers composed by John Williams, Hamlet by Patrick Doyle and Shine by David Hirschfelder. All of them were nominated for Academy Awards – plus Michael Collins written by Elliot Goldenthal. At the end, Gabriel Yared took home the trophy for his dramatic music for The English Patient. Director Anthony Minghella´s romantic drama based on Michael Ondaatje´s novel of the same name and won Oscars in a lot of categories at the following Academy Award ceremony, including Best Picture, Best Actress in a Supporting Role (Juliette Binoche), Best Cinematography (John Seale) and Best Director. 

A powerful score – overlooked by the members of the Academy of Motion Pictures Arts and Sciences and the members of the Hollywood Foreign Press – is Jerry Goldsmith´s score for The Ghost and the Darkness. It was directed by Stephen Hopkins, starring Michael Douglas, Tom Wilkinson, Bernard Hill and Val Kilmer. The film tells the story about two lions that attacked a little village called Tsavo in Kenya and killed workers during a building of a railway in Africa in the late 19th century. It is based upon the book The Man-eaters of Tsavo written by John Henry Patterson in 1907, which reconstructs Patterson´s own experience with both lions. He was the man, who killed the ´´Tsavo maneaters´´. Hopkins´ film version of the book won an Academy Award for Best Sound Editing, although the movie received mixed critical response. One of the best ingredients of The Ghost and the Darkness is Jerry Goldsmith´s thunderous score. A melodic, dramatic and complex work. The composer, who also wrote the majestic and exciting music for Star Trek: First Contact (directed by Jonathan ´´Riker´´ Frakes) in the same year, combined African musical elements (including snippets of African chant, which Goldsmith congenialy integrated in his instrumental composition) with material that ´´sounds´´ Irish and English. His score is a masterpiece, a great listening experience. The Los Angeles-born musician found once again the ´´right sound´´. For the adventurous, sometimes dark historical film he created romantic melodies, dramatic action cues and an outstanding main theme. The Ghost and the Darkness is the adventure-score of the year.

A man walks into a bar...

Opening on January 25, me collectors room, Berlin presents a somewhat different collection of contemporary art:

“A man walks into a bar. . . .”—the unmistakable prelude to a joke. This remarkable collection of artist’s postcards of the same name could not have a more fitting title. Drawn, written, or stuck together, postcards featuring the contributing artists’ favorite jokes make up the unique content of this amusing exhibition at me Collectors Room Berlin.
The postcards are addressed to the fictitious figure Pepe Nietnagel—a pseudonym that prompts us to pick up our ears: is it the rascal from the popular series of German “Pauker” films from the late sixties and early seventies? As it happens, there is indeed something mischievous about this undertaking. The two curators and editors, Franziska and Johannes Sperling, wrote to selected artists, and about one hundred of them responded to their request and mailed them small works of art. Besides word- and joke-savvy contemporaries such as Erwin Wurm, Lawrence Weiner, Nedko Solakov, or Ragnar Kjartansson, to our great delight, protagonists such as John Baldessari, Jonathan Meese, Daniel Richter, and Karin Sander also participated in the playful game.

The collection of artist’s postcards is published in the small volume A Man Walks Into a Bar... by Hatje Cantz (€ 14,80, ISBN 978-3-7757-3914-6).

Saâdane Afif, Donald Baechler, John Baldessari, Fiona Banner, Rosa Barba, Thomas Bayrle, Olivia Berckemeyer, Tim Berresheim, Beni Bischof, Norbert Bisky, Pierre Bismuth, John Bock, Michaël Borremans, Marc Brandenburg, Ulla von Brandenburg, Sergey Bratkov, André Butzer, Janet Cardiff, Michael Craig-Martin, Keren Cytter, Tacita Dean, Tatjana Doll, Sven Drühl, Marcel Dzama, Marcel van Eeden, Haris Epaminonda, Elger Esser, Matias Faldbakken, Valérie Favre, Simon Fujiwara, Barnaby Furnas, Ryan Gander, gelitin, Andrew Gilbert, Mathew Hale, Lothar Hempel, Uwe Henneken, Anton Henning, Arturo Herrera, Gregor Hildebrandt, Andy Hope 1930, Matthew Day Jackson, Christian Jankowski, Annette Kelm, Ragnar Kjartansson, Terence Koh, Jakob Kolding, Friedrich Kunath, Alicja Kwade, Jim Lambie, Tim Lee, Via Lewandowsky, Atelier van Lieshout, Erik van Lieshout, Robert Longo, Kris Martin, Jonathan Meese, Julie Mehretu, Bjarne Melgaard, Bjørn Melhus, Gerold Miller, Ingo Mittelstaedt, Jonathan Monk, Olivier Mosset, Mariele Neudecker, Frank Nitsche, Roman Ondák, David Ostrowski, Seb Patane, William Pope.L, Tal R, Tobias Rehberger, Daniel Richter, Julian Rosefeldt, Ed Ruscha, Karin Sander, Tomás Saraceno, Matt Saunders, Thomas Scheibitz, Ariel Schlesinger, Thomas Schütte, Norbert Schwontkowski, Sean Scully, David Shrigley, Ann-Sofi Sidén, Sara Sizer, Andreas Slominski, Nedko Solakov, Thaddeus Strode, Rirkrit Tiravanija, Fred Tomaselli, Ignacio Uriarte, Markus Vater, Mark Wallinger, Rebecca Warren, Lawrence Weiner, Rachel Whiteread, Johannes Wohnseifer, Erwin Wurm, Ralf Ziervogel, Thomas Zipp

Art Nouveau in Barcelona: Sant Pau Hospital


On Monday, the president of the Catalan Government, Artur Mas, the Vice President of the European Commission, Viviane Reding, the Spanish Minister of Public Works, Ana Pastor, and the Mayor of Barcelona, ​​Xavier Trias, amongst others unveiled the premises of Barcelona’s Hospital de la Santa Creu i Sant Pau, the largest Art-Nouveau structure in Europe. 

The Hospital was designed by Catalan Architect Lluis Domenech i Montaner over a century ago and it was divided in a set of pavilions located in a park. It has treated its very last patient in June 2009, before moving to new facilities. 
The renovation work of 5 years have been conducted with one major purpose in mind: reinforcing the structure and foundations of the hospital’s numerous pavilions - some over 100 years old and at risk of collapse - while also staying true to Modernist architect Domenech i Montaner’s original ideas and adapting them to the building’s new functions. Thus, isolation and wiring have been improved, notably by dismantling and concealing structures that had been added after the initial construction works.
Among the most significant spaces restored are the Administration pavilion, with its old Lluís Domènech i Montaner hall and its new conference rooms and auditoriums, such as the Hipòstila room. In addition, the underground tunnels connecting all of the pavilions together - one-kilometre long combined - and the Historical Archives of the hospital have also been renovated. In total, 35,500 square meters inside the various buildings and 27,700 square meters of outside space have been restored. Such works have required the involvement of 67 architecture firms employing 90 architects, 25 engineering offices, 103 construction companies, 20 rehabilitation firms, 3 stonemasons, and 37 partner companies specialised in landscaping, signalling systems, or security infrastructure due to the presence of international diplomacy institutions on the grounds.
The compound has become a centre devoted to research and innovation, now hosting renowned international institutions, such as the University of the United Nations, UN-Habitat and the European Forest Institute.

All images courtesy of David Cardelus 
For further images click here.

Art in the Public Realm - Tobias Rehberger "The Moon in Alabama"

© Roman Mensing/

© Roman Mensing/

Every city has its spots that strike out through mere functionality, hence not necesarily add to the beauty of the city scape and are usually left rather unnoticed. They serve as boxes, hiding electricity, contorl buttons etc. and reveal nothing but a grey, drab surfacce. In order to enhance the citiy´s grey spots, Münster had invited the German artist, Tobias Rehberger to give the distribution boxes an artistic makeover. Known for his colorful clashes between art, design and architecture, transformed the grey cubes into highly imaginative seating arrangements: on one corner, a bright-orange pipe meanders around a grey box to swirl a lightball into the sky; two other pipes spring up the ground - covered in stars-and-stripe patterns; like a striped metal worm another one balances between a box and a street light to then lean against a house; bright yellow, pink figures or blue figures invite the passerby to take a seat, rest in the middle of the city´s buzz, to wonder or simply enjoy. It seems like the artist has extraverted the inner cable and lines of the grey boxes, presenting them in all their beauty.  A total of eleven sculptures adorns by now the citiy of Münster, transforming "non-places" into living locations. 
Adding to the romantic idea of finding an escape of the cityy´s chaos, each sculpture is shown down by its own moon. Each form is matched to a certain city and the moon comes on when it actually rises in the matching city.  
As Rehberger states: “I did indeed find the idea of doing something with the distribution boxes in Münster a little bit strange at first. But as in the case of my work for the Sculpture Projects 1997, I then saw it as a challenge to transform these “non-places”, which you normally simply blank out from your perception like blind spots, into sites with a certain quality and so in fact make them “places” at all.“

The initiator and body with principal responsibility for the project is the ISG, Immobilien- und Standortgemeinschaft Bahnhofsviertel Münster e.V., together with the City of Münster; the sponsors and financial supporters include the firms of Aurelis and Brillux, the Hotel Kaiserhof, the LVM, and the Sparkasse Münsterland Ost. Curator of the project is Dr. Gail B. Kirkpatrick, director of the Kunsthalle Münster.

For further info and images of all sculptures, please visit:

Saturday Soundtrack: The Best in Film Music 1995 - Braveheart (James Horner), Nixon (John Williams), Pocahontas (Alan Menken) & First Knight (Jerry Goldsmith)

Maximilian Peter on the best in film music from 1995:

In 1995, the Academy´s Music Branch split their Oscar category for filmmusic in two categories: the first one was called Best Original Dramatic Score, the second Best Musical or Comedy Score. That was a reaction of previous years, when the Best Score Oscars went to animated musicals like The Little Mermaid, Beauty and the Beast or The Lion King, seemingly more because of the soundtrack´s songs than of their original scores. The nominations for the ´´fresh introduced´´ category Best Musical or Comedy Score 1995 were the soundtracks for The American President (composed by Marc ´´The Adams Family´´ Shaiman), Sabrina (by John ´´Star Wars´´ Williams), Toy Story (by Randy ´´Maverick´´ Newman), Unstrung Heroes (by Thomas ´´Scent of a Woman´´ Newman) and Pocahontas (by Alan Menken). Alan Menken´s music for Disney´s animated musical film won the trophy not only for the best musical or comedy score of the year, but also for the song ´´Colors of the Wind´´ – Menken´s seventh and eighth Academy Awards within six years! The dramatic score category also had powerful soundtracks on its list. Again, John Williams got a nomination for his dramatic music for Oliver Stone´s Nixon, the biographical film about Richard Nixon (1913-1994), the 37th President of the United States. Leading Actor Anthony Hopkins was nominated for a Golden Gobe, a Screen Actors Guild Award and an Academy Award for his performance as Richard Nixon, too. The score for Sabrina – a romantic comedy film with the stars Julia Ormond and Harrison Ford – was a nostalgic approach to the romantic music of the Golden Age with elegant piano solos and jazz influences; the score for Nixon was a musical opposite to the more lighter style of John Williams´ romantic comedy score for Sabrina. A further nominated score was Patrick Doyle´s Sense and Sensibility. For Ang Lee´s period drama film, which was based on Jane Austen´s novel of the same name, Scottish composer Doyle wrote an emotional, sometimes sentimental score. James Horner received two Academy Award nominations for his great scores for Apollo 13 and Braveheart, too, but Luis Bacalov won the beloved trophy in this category for his music for Il Postino (The Postman). However, the most effective score was the music for the drama film Braveheart. Mel Gibson´s medieval epic was a worldwide hit (grossed $210,409,945), the thirteenth highest-grossing film of 1995, and won five trophies at the following Academy Award ceremony (Best Picture, Best Makeup, Best Cinematography, Best Sound Editing, and Best Director). But Horner went away empty-handed, even though his music was much more epic and powerful than any other score on the year´s nomination-list. A reason for the specific sound of the score was surely the outstanding performance of the London Symphony Orchestra. The soundtrack became a classic, although the music for Braveheart didn´t win the Oscar. Since that time, Horner´s musical composition for Gibson´s movie is a favorite among fans of the composer around the world. It is remembered as the strongest effort of Horner in 1995 (in the same year he also composed lovely music for the fantasy film Casper and the animated adventure Balto plus the sparse score for William Friedkin´s Jade).

1995 was also a strong year for composer legend Jerry Goldsmith, who not only wrote the score for the jungle adventure Congo, and integrated Lebo M.´s ´´voice´´ into the film´s soundtrack, but also the emotional music for a film called Powder. His gentle main theme for the fantasy drama film was later used by singer Sarah Brightman for the song ´´No One like You´´. Congo was pure adventure! Powder was pure emotion! And his score for First Knight was all of it. Jerry Zucker´s medieval film, based on the Arthurian legend, stars Richard Gere, Julia Ormond and Sean Connery. Los Angeles-born Goldsmith composed a critically acclaimed orchestral score for the movie – a 90´s favorite among fans. For many people, Jerry Goldsmith´s score is indeed the most outstanding part of the whole movie. It is leitmotivic; especially all of the main characters reveive their own motifs or themes: ´´Arhur´s Fanfare´´ stands for the grandness of the king, Lancelot´s Theme is adventurous and heroic, and Guinevere´s Theme is the romantic one. The beautiful melody for flute (and whole orchestra) also works as love theme and is pure magic. For the action scenes Goldsmith wrote incredible action music – dramatic, complex, full of orchestral force. For the climax of the film – the climactic battle scene and the film´s final scene – Goldsmith even inserts a massive choir. With great effect! 

The year 1995 was a special year for filmmusic, one of the very best years of the whole decade.      

A second space for the Paris region´s contemporary art collection - Frac Île de France

A modernized châteu in the Parc culturel de Rentilly that has been renovated for two years and hosts another part of the contemporary art collection of the Paris region. As the building at stake was not listed on the register of Historic monuments, the renovation team consisting of the French artist Xavier Veilhan, the architects Bona-Lemercier and the stage designer Alexis Bertrand decided to create a castle resembling a science fiction fairytale: the entire facade has been covered in polished stainless stell mirrors, reflecting the surrounding park. The interior hosts two large exhibition spaces, each around 500m2, flooded by natural light and the top of the building serves as an open-air terrace. Merely the basement is left in its historic state and will be used as an reception area for visitors. 
While the Plateu, the Frac´s main space in the 19th arrondisement of Paris is also known for dance and musical performances in addition to art, Le Chateau de Rentilly will be dedicated to regular exhibition of its collection and in addition, organise exhibitions of other public collections, to make this new site become a unique venue in France for the promotion of the contemporary cultural patrimony.
The inaugural exhibition “Explore” (until 22 March) brings together 19 pieces from the collection focussing on the theme of “discovery and exploration”. With works by Dove Allouche, Pierre Bismuth, Keren Cytter, Philippe Decrauzat, Mark Geffriaud, Laurent Grasso, Joao Maria Gusmao/Pedro Paiva, Ulla von Brandenburg Explore. is the second part of an exhibition triptych of the frac île-de-france collection.  The show will be on until March 22, 2015.
More info here.

IK Prize 2015 Shortlist announced

Digital Re-Sculpt From Academism to Postmodernism, Artzoom, Olomouc, Czech Republic

Tate Here Wieden + Kennedy London,UK

My Tate Mate Five10Twelve, Birmingham,UK

Tate Sensorium Flying Object London,UK

For the second time, Tate announced the four shortlisted entries for the annual IK Prize. Supported by the Porter Foundation, the prize is presented by Tate to a team, company or individual for an original idea on using the power of digital to enhance the experience of art. The judges who nominated the shortlist include the artist Mat Collishaw; Justin Cooke, Founder and CEO of Tunepics; the American music video director and artist Chris Milk; Managing Director of Tate, Kerstin Mogull and John Porter of the Porter Foundation. As Chris Milk states: “Digital technology as a tool is so expansive, so full of possibilities, I find it exciting that museums like Tate are seeking to inspire the public in interesting yet unconventional ways”. Nicholas Serota, Director of Tate, pointed out: “The wealth of creativity shown by people working in the dynamic and fast-changing digital space is an inspiration. It is right that we celebrate in this way the new ways of thinking about how to illuminate the collection for our audiences”. 

Presented on the Shortlist are: 

Artzoom for Digital Re-Sculpt, which uses 3-D printing technology to enable replicas of famous sculptures to be exhibited in the street.

Wieden+Kennedy for Tate Here, a series of immersive audio experiences installed around the country at locations that themselves inspired well known artworks 

Flying Object for Tate Sensorium, an installation of sensory stimulators which will allow users to smell, taste, touch and hear works of art
The winner will be announced on 17 February 2015. 

Five10Twelve for My Tate Mate, a mobile app that uses complex algorithms to match snapshots with artworks 

For short videos to the four proposals click here.

Named in memory of the philanthropist Irene Kreitman, the winner of the IK Prize is going to receive a prize of £10,000 and a £60,000 production budget to turn their idea into a reality. Furthermore, the four entries shortlisted will be showcased at Tate Britain before the winning project will be shown there later in the summer.
The winner will be announced on February 17. 2015.

Kraftwerk at neue Berliner Nationalgalerie

Before the museum closes down for yearlong refurbishments this year, the neue Nationalgalerie in Berlin welcomes Kraftwerk - one of the most pioneering and most influential Popbands worldwide. Under the motto "Der Katalog - 1 2 3 4 5 6 7 8", the band will present their 8 albums in 8 8 subsequent concerts at the Mies van der Rohe building. It is the same 3D-show with respective effects and glasses that took place in 2012 at the MoMa in New York for the first time followed by concerts in London, Tokio, Sydney and the Kraftwerk-Hometown, Düsseldorf. Now, for the first time since 2004, the band will be on stage in the German capital. In fact, the Kraftwerk and the Museum form quite a match: on the one hand the timeless glass building by Mies van der Rohe, who was the director of Bauhaus in Dessau in the 1930s, on the other hand the band who, just as the Bauhaus group, managed to create a unique style of music in the 70s that seemingly never ages. 

The concert forms a perfect symbioses between the architect´s vision of absolute, strict and planned beauty, driven by perfect order and the visionary and utopian thoughts with which the musicians formed pop-history. The unconditional clear and transparent forms of the building in combination with the 3D light show, the robots and Kraftwerk`s synthetic music create a truly unique atmosphere, celebrating the visual Gesamtwerk of Mies van der Rohe on a never before seen tonal level.

Please find more info for available dates and tickets here.

Saturday Soundtrack: The Best in Film Music 1994 - Forrest Gump (Alan Silvestri), Legends of the Fall (James Horner), The Lion King (Hans Zimmer)

Maximilian Peter on the best in film music from 1994:

In 1994, the line ´´I´ m Forrest! Forrest Gump´´ became as prominent as a famous line written for a british secret service agent called ´´Bond, James Bond´´ years before. Robert Zemeckis´ epic romantic comedy drama about several decades in the life of Forrest Gump was a worldwide cinematic hit and the most entertaining and emotional movie of 1994. Zemeckis´ milestone won a lot of Academy Awards including Best Picture, Best Director (Robert Zemeckis), Best Actor (Tom Hanks) and Best Adapted Screenplay (Eric Roth), and was also nominated for several other awards of Hollywood in the following award season. Composer Alan Silvestri´s emotional score was nominated for the beloved Oscar trophy, too, but lost to Hans Zimmer´s magnificent music for Disney´s The Lion King. For Forrest Gump Silvestri got his first nomination in the category Best Original Score (neither his entertaining score for Back to the Future nor his marvellous music for Who Framed Roger Rabbit? (two other Robert Zemeckis gems) were nominated for an Academy Award in the 1980s). The composer wrote beautiful themes, which outstandingly accompany the adventures of the main character, played so wonderfully by Tom Hanks. The famous piano melody, which is also known as the main theme, is the centrepiece of the score. It´s absolutely emotional and reflects all the characteristics of the man Forrest Gump in one single cue. Now the theme is regarded as one of the most popular creations in film music history. Silvestri´s score is a great work, an emotional journey through the years of Forrest Gump

1994 was also a strong year for other composers: Elliot Goldenthal wrote the music for Interview with the Vampire, Thomas Newman got two Oscar nominations for his scores Little Women and The Shawkshank Redemption, and Randy Newman´s music for the Western comedy Maverick was pure fun and one of his best works of the early 90s.

It was also a very important year for James Horner, because the composer wrote one of his very best and most beloved scores. For the epic drama film Legends of the Fall (directed by Edward Zwick), which based on the 1979 novella of the same title by Jim Harrison, Horner created emotionally oustanding themes. The movie is an epic drama about three brothers, who fell in love with the same woman, but also an intimate romance and a family story, so that the musician accompanied the visuals of the film as well as the plot with a strong orchestral soundtrack, but also with some solo parts for instruments like solo violin and piano. The score opens, for example, with a moving trumpet solo, before the whole orchestra performs the tuneful main theme. A great film musical moment! For the action scenes Horner created thunderous sounds: The complex cues ´To the Boys´ and ´Samuel´s Death´ belong to the very best action music in Horner´s long career. Superb stuff! For the film´s finale, the artist created a powerful musical statement, which integrates all of the soundtrack´s main thematic material and concludes musically the story in an outstanding way. It was a little surprise that Horner´s great soundtrack wasn´t nominated for an Academy Award since Legends of the Fall is one of the top scores of 1994 – in consideration of melodic creativity and dramatic power. 

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