Sony Classical is proud to announce the release of the Original Motion Picture Soundtrack "Concussion", composed by James Newton Howard. Will Smith stars in a dramatic thriller based on the incredible true David vs. Goliath story of Dr. Bennet Omalu, the brilliant forensic neuropathologist who made the first discovery of CTE, a football-related brain trauma, in a pro player. Will Smith stars in Concussion, a dramatic thriller based on the incredible true David vs. Goliath story of American immigrant Dr. Bennet Imalu, the brilliant forensic neuropathologist who made the first discovery of CTE, a football-related brain trauma, in a pro player and fought for the truth to be known. Omalu’s emotional quest puts him at dangerous odds with one of the most powerful – and beloved – institutions in the world. James Newton Howard is one of the most prominent film score composers, known for orchestrally oriented scores, with a selection ranging from relationship dramas to romantic comedies to large-scale action pictures. He is also a composer/arranger/orchestrator and record producer. He has written or arranged songs for Barbra Streisand, Bob Seger, Rod Stewart, Rickie Lee Jones, Cher, Randy Newman, Chaka Khan, Toto, Earth, Wind & Fire, Glenn Frey, and Olivia Newton-John. His song “The Hanging Tree” - performed by Jennifer Lawrence for The Hunger Games: Mocking Jay OST - has been all over the charts worldwide. 1.Concussion 2.Dr. Bennet Testifies 3.Strzelczyk Visits Webster 4.Webster’s Autopsy 5.Jacked Up 6.The Head as a Weapon 7.Bennet and Prema 8.Strzelczyk Loses It 9.Published – Marry Me 10.We Used to Be Warriors 11.Tell the Truth 12.I Am Offended 13.Shakespeare 14.News Conference 15.Hello Little One 16.Prema Followed 17.Be At Peace 18.Bennet’s Decision 19.Concussion End Titles 20.In the Darkness - Lisbeth Scott

LAST OF US, THE

Wilson Phillips, one of the best selling female groups of all time, bring their smash album, DEDICATED, to the stage in a new DVD, Live from Infinity Hall. Recorded live on February 24, 2012, the concert captures the bands unique harmony-rich sound on songs made famous by their parents, the Mammas & the Papas and the Beach Boys. Included are such well known hits as "Wouldn't It Be Nice, " "Monday Monday" and "California Dreamin'" plus their own worldwide smash, "Hold On." LIVE AT INFINITY HALL aired nationwide on PBS and the DVD includes a bonus performance of "Good Vibrations".

WAY DOWN LOW

The score for Kon-Tiki was written by Swedish film composer Johan Söderqvist, who is amongst the most renowned film composers in the Scandinavian region.

Born in 1966 in Täby outside the capital, Söderqvist studied composition and arranging at the Royal College of Music in Stockholm. He wrote his debut film score in 1991 (Agnes Cecilia), and the same year wrote his first score for Danish director Susanne Bier (Freud Leaving Home). The soundtrack CD featuring both scores earned a Swedish Grammy for the composer. Bier remains a valuable colleague for Söderqvist, who has written the scores for most of her films, including Brothers (which won him the UCMF Film Music Award at the Cannes Film Festival), along with the Academy Award® nominated After the Wedding and In a Better World, winner of the Academy Award® for Best Foreign Film in 2011.

Söderqvist’s signature scores also include the acclaimed 2008 vampire thriller Let the Right One In by director Tomas Alfredson, for which So?derqvist was nominated for the European Film Award for Best Score and won the Bernard Hermann Award, and Effi Briest, the touching 2009 adaptation of Theodor Fontane’s popular novel.

Whilst writing the score for Kon-Tiki, Söderqvist worked primarily with Tormod Ringnes, one of Norway’s most prominent sound designers, with whom he had collaborated on Together (2009) and King of Devil’s Island (2010), along with Patrik Andre?n (Söderqvist’s assistant). The team worked together to create a soundtrack, a combination of music and sound effects that function as an emotional unit, with the aim of the audience not knowing where one starts and the other ends. Using Skype for daily discussions, they collaborated on cues and sound design concepts before Ringnes would show the sketches to the two directors in Oslo, Joachim Roenning and Espen Sandberg. Andre?n also provided additional music for the process.

A trademark of Söderqvist’s scores, Kon-Tiki is characterised by a unique atmosphere based on many exotic and unusual instruments recorded especially for this score.

“The first thing that came to my mind” says Söderqvist, “was the sound of the conch horn for Tiki, the God of the Sun in ancient Polynesian mythology. Tiki is omnipresent in the score; even the opening that still plays in Norway has a foreboding episode with the conch horn playing over the frozen lake. I looked high and low for a conch horn soloist, looking up websites in Polynesia and France, then I happened to find the best soloist right here in Stockholm! His name is Tommy Adolfsson. We scheduled a recording session where Tommy brought in his conch horns of all sizes. We mostly made use of the smaller and medium conch horns and found a way to play the instrument with much more air, a more ‘leaking’ sound a bit similar to the Armenian instrument called ‘Duduk’. In the end I think we found a very significant sound with an ‘ancient’ quality to it.”

There were also two major pre-recording sessions of percussion with three players playing on the largest drums they could find. This material was used to create initial sketches to find the tone of the film score.

“You never know if a recording is going to stand all the way to the final mix but in this case, both the conch and the drums helped us to set the tone of the film. When some of the first sketches were made, I sent them confidentially to Tormod and asked him not to show anything to the directors just yet, all I wanted was a little check through his fine ears... Apparently Tormod didn’t follow my orders and showed the sketches to the filmmakers who luckily loved the half-finished work. We had a direction and everyone was happy. The track on the album called ‘Tiki’ is an early recording of the conch horn, and to conclude the project it is also the last thing you hear on the album.”

Tracks:
1. Kon-Tiki (Opening Credits) 2:09
2. Thor and Liv 1:20
3. Fatu Hiva 1:10
4. The Shaman 2:22
5. Kon-tiki is On Course 3:06
6. Into Space 2:18
7. Thor Meets Herman 1:12
8. the flight To Peru 0:56
9. Calling Liv 1:41
10. Thor’s Failure 0:52
11. Following the Sun 1:47
12. The Crab 1:25
13. Tiki 2:16
14. Building the Raft 1:59
15. The Whale Shark 2:35
16. The Journey Begins 0:35
17. The Swede 0:51
18. Luminescent Creatures 0:52
19. lorita The Parrot 1:52
20. The Letter 1:57
21. Herman Is Afraid 0:56
22. Shark Attack 2:11
23. Thor Is Sad 2:06
24. The Seagull 1:00
25. The Raroia Reef 2:14
26. The 13th Wave 0:56
27. Reaching Land 1:59
28. Thor Laughs 1:12
29. Kon-Tiki (End Credits) 5:04
30. Epilogue 5:15

Joe Henderson, Herbie Hancock, Ron Carter, George Benson and Jack DeJohnette helped this trumpet titan record the 1970 LP that countless critics and fans hold up as Freddie's very best. Leading to his beautiful duet with Benson, Here's That Rainy Day, are epic renditions of Straight Life and Mr. Clean that feature one heroic Hubbard solo after another!

Sony Classical proudly announces the release of the soundtrack celebrating the MTV original series Teen Wolf.  The Teen Wolf – Original Television Soundtrack features beloved indie rock and electronica songs used throughout the series from artists including Young the Giant, Mikky Ekko, Fink, and the haunting cover of “Bad Moon Rising” performed by Mourning Ritual feat. Peter Dreimanis. Loosely based on the 1985 film of the same name, MTV's Teen Wolf and stars Tyler Posey as a teenager named Scott McCall, who is bitten by a werewolf and must cope with how it affects his life and the lives of those closest to him, and Dylan O'Brien as "Stiles" Stilinski, Scott's best friend. Teen Wolf first premiered in 2011, and is currently airing its sixth and final season Sundays on MTV in the US and on various channels internationally.“You can hear over time how the show really developed a sound of its own,” said composer Dino Meneghin.The show became quickly became a fan favorite of the network, and became known for its song choices as well as its original score.  “I always love to share new bands with viewers, especially with the ones that I am a fan of personally,” said series music supervisor Laura Webb in an interview on MTV.com. She pointed out the song, “Who Are You, Really?” describing: ”I was really excited about using Mikky Ekko in episode 10. His music was sent to me by someone that works on his team, and it always stuck with me. The song that we are using worked so unbelievably well that it still gives me goosebumps.”​​​​​​​TRACKLIST:  Teen Wolf – Original Television SoundtrackTeen Wolf Main Title – Dino MeneghinMy Body – Young the GiantWho Are You, Really? – Mikky EkkoBad Moon Rising – Mourning Ritual feat. Peter DreimanisMy Own – WhitakerStart of Time – Gabrielle AplinTouch – DaughterGiven the Chance – The Kite String TangleCatch the Wind – High HighsAva – FamyI Found – Amber RunLooking Too Closely – FinkThe Last One I Made – Pim StonesThe Sun – Frida SundemoYou Were Never Gone – Hannah EllisUp N Away – Emmi

BRIA - With a unique fusion of modern-day pop sensibility, combined with sizzling musicianship, Bria Skonberg makes a firm claim on fresh territory in the sophisticated pop landscape pioneered by Harry Connick, Jr., Diana Krall and Michael Bubl�. Titled Bria, her debut album on Portrait Records features standards plus five original songs. Skonberg credits producer Matt Pierson with helping her tie together the best aspects of the music she's been exploring, in a quest "to fuse my love of classic jazz with worldly rhythm, percussion, contemporary songwriting and more." Singer/Trumpeter's debut album on Masterworks/OKeh Records �New album brings a millennial flavor to a collection of standards and originals �"Poised to be one of the most versatile and imposing musicians of her generation." - Wall Street Journal �On tour throughout 2016

Sony Music proudly announces the release of The Emoji Movie (Original Motion Picture Soundtrack) with the music of Oscar® nominee Patrick Doyle.The soundtrack will be released July 28th, 2017ABOUT THE EMOJI MOVIE:The Emoji Movie unlocks the never-before-seen secret world inside your smartphone.  Hidden within the messaging app is Textopolis, a bustling city where all your favorite emojis live, hoping to be selected by the phone’s user. In this world, each emoji has only one facial expression – except for Gene (T.J. Miller), an exuberant emoji who was born without a filter and is bursting with multiple expressions. Determined to become “normal” like the other emojis, Gene enlists the help of his handy best friend Hi-5 (James Corden) and the notorious code breaker emoji Jailbreak (Anna Faris). Together, they embark on an epic “app-venture” through the apps on the phone, each its own wild and fun world, to find the Code that will fix Gene. But when a greater danger threatens the phone, the fate of all emojis depends on these three unlikely friends who must save their world before it’s deleted forever. Directed by Tony Leondis.  Produced by Michelle Raimo Kouyate.  Screenplay by Tony Leondis & Eric Siegel and Mike White. Story by Tony Leondis & Eric Siegel.ABOUT THE COMPOSER:Patrick Doyle is a classically trained composer of film, television, theatre and radio. He graduated from the Royal Scottish Academy of Music in 1975 and was made a Fellow of the Royal Scottish Academy of Music in 2001. Doyle has been commissioned to score over 50 international feature films, including Harry Potter and the Goblet of Fire, Gosford Park, Sense and Sensibility, Indochine, Carlito’s Way and A Little Princess.His work has led to collaborations with some of the most acclaimed directors in the world, such as Régis Wargnier, Brian De Palma, Alfonso Cuarón, Ang Lee, Chen Kaige, Mike Newell and Robert Altman.Doyle's creative relationship with director Kenneth Branagh has resulted in many of his best-known scores over the past 25+ years, for films such as Henry V, Hamlet, Frankenstein and Thor.Doyle has received two Oscar® nominations, two Golden Globe nominations, and two Cesar nominations, and won the 1989 Ivor Novello Award for Best Film Theme for Henry V. He has also been honored with a Lifetime Achievement Award from Scottish BAFTA and the ASCAP Henry Mancini Award.The track list of THE EMOJI MOVIE (Original Motion Picture Soundtrack) is as follows:1.    Emoji2.    Bathroom Life Lesson3.    Smiler Orientation4.    Gene5.    Rooftop6.    Boardroom Terrors7.    Blitzkrieg Bots8.    Let's Roll!9.    The Wallpaper10.    Mehs and Bots11.    Candy Rescue12.    Forest Road Planning13.    Tunnel to Dance App14.    Gene Choose Hi-515.    Smiler's Illegal Upgrade16.    Trash and Trolls17.    Instagram Paris18.    Seas and Whale Songs19.    The Trash Escape20.    Tentacle Chase21.    The Firewall22.    Cloud and Confessions23.    A Princess Takes Flight24.    Delete and Rescue25.    Desperate Deletion26.    Gene Saves Textopolis27.    Emoji Ringtone28.    Good Vibrations (from "The Emoji Movie") – performed by Ricky Reed

“I know of no Rameau work more colourful, more melodious, more replete with inventive vitality,” wrote Gramophone in reviewing this 1973 premiere recording of the French Baroque master’s 1735 “heroic ballet” Les Indes galantes. “There is immense enthusiasm and spirit in this performance … [and] some excellent singing … Among the array of sopranos I was specially impressed by the full, bright ring of Rachel Yakar … Anne-Marie Rodde: a good stylist and a clean, accurate voice, coping well with Rameau’s florid detail … The tenor Bruce Brewer is a real find for the lyrical French roles: his voice is very smooth and graceful … In all, a set which no Rameau admirer should miss.” Conducted by Rameau specialist Jean-Claude Malgoire, it is now being issued for the first time on CD.

IF YOU COULD READ MY MIND

If you’re looking for an inexpensive single disc containing Saint-Saëns’ most popular orchestral works, then you can’t miss with this collection. I often wonder if Ormandy had not gone on to remake his core repertoire with RCA, in mostly duller performances and lousy sound, whether his reputation would be as low as it is at present. There’s some absolutely sensational music making on this disc, and to prove it I offer three sound samples for you to consider.

First, this is one of the great “Organ” Symphonies, not perhaps quite as exciting as Munch, but awfully close, with amazingly fine playing from the Philadelphians and astonishingly good sonics for the period (1962). E. Power Biggs is the excellent soloist, offering a rendition of the organ part that’s unusually well articulated rhythmically. Consider the opening of the finale: bold and quite striking in its firmly phrased, grand reprise of the symphony’s motto theme (first sound sample). Ormandy never matched this performance, and he re-recorded this symphony at least twice.

The symphony may be fine, but it’s the couplings that really close the deal. The Marche militaire française has plenty of swagger, and these versions of the Bacchanale from Samson et Dalila and the Danse macabre are simply the best available. Ormandy does a little light restoring of the former, and it matters not a bit–this performance just drips sex and couldn’t be more wildly uninhibited (second sound sample). As for the Danse, just listen to those Philadelphia violins sing out the main theme (third sound sample). It doesn’t get any better than that.

The Carnival of the Animals is no mere make-weight bonus. Heard in its chamber scoring, the performers make an impressive list: Philippe Entremont and Gaby Casadesus on pianos, Régis Pasquier and Yan-Pascal Tortelier on violins, Gérard Caussé on viola, and no less than the young Yo-Yo Ma on cello. Taken together, you have a perfect disc of Saint-Saëns favorites in performances as good or better than any available. And it’s all offered at budget price. Pure gold.

– ClassicsToday (David Hurwitz)

Drawn from the worldwide holdings of Sony Classical Music and re-mastered in 24bit High Resolution Audio, these smart, desirable and collectible EU (Germany) pressed import multi-disc editions, replete with legendary artists, offer many of the finest, most sought-after recordings in the classical discography.The slender, shelf-friendly box frontages feature large, prominently displayed photos of the edition’s featured artist, work listings at the back, with the CDs themselves housed in protective sleeves that divulge the recording specifics for each performance.

Review of a prior CD issue of this recording:

Both Scotto and Domingo, and Scotto especially, sing with real conviction and affection, and to have Tito Gobbi, no less, so obviously relishing the preposterous text of his spoken role is a considerable bonus. In all the score's more interesting passages Maazel too makes it clear that this score has as much of accomplishment to it as promise.

– Gramophone

Sony Classical offers opera lovers another ten complete recordings from the RCA Victor, CBS/Sony and Eurodisc catalogues, with highlights from La Juive and the complete Thaïs with Anna Moffo as well as Schoenberg’s Moses und Aron by Hans Rosbaud for the first time on CD, remastered from the analogue masters. This latest release is one of the widest ranging yet in this series, spanning the history of theatrical music from Monteverdi to Schoenberg. Rossini’s La donna del lago, loosely based on Sir Walter Scott’s The Lady of the Lake, “succeeds in conjuring up the atmosphere of the Scottish Highlands,” said BBC Music Magazine. “This tuneful, delicately orchestrated opera of innocent Romantic charm is given a splendid performance by the Chamber Orchestra of Europe under Maurizio Pollini and its cast could hardly be bettered today. Katia Ricciarelli brings to the title role rich creamy tone and a fine appreciation of the style, and Lucia Valentini Terrani is impressive in the travesti role of Malcolm. The two high-lying tenor parts are sung with assurance by Dalmacio Gonzales and Dano Raffanti, and Samuel Ramey is a tower of strength as Douglas, the heroine’s father. The recording is admirably clear and sensibly balanced.”