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Ed Hartman | As the Earth Turns (Original Soundtrack Recording)

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Classical: Orchestral Jazz: Orchestral Jazz Moods: Type: Soundtrack
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As the Earth Turns (Original Soundtrack Recording)

by Ed Hartman

The award-winning score by Ed Hartman, from the award-winning silent film, "As the Earth Turns".
Genre: Classical: Orchestral
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  Song Share Time Download
clip
1. As the Earth Turns Main Title, War and News on the March
2:05 $0.99
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2. Jazz up the News
2:01 $0.99
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3. Waiting for the Signal
3:02 $0.99
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4. You Can’t Win, The Clock Is Ticking and We Need a Plan
2:54 $0.99
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5. All Hell Is Breaking Loose
2:26 $0.99
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6. Earthquake at the White House and Snow
3:59 $0.99
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7. Jazz for a Classic Car
0:56 $0.99
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8. Finally We Meet
3:58 $0.99
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9. News Flash, Waking up and How Can We Find Her?
2:19 $0.99
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10. Take Off
2:40 $0.99
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11. A Flying Adventure and Hiking to the Lair
4:18 $0.99
clip
12. Meeting the Enemy and Back in Time
4:49 $0.99
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13. The End of the Lair, Pax and End Credits
8:44 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
“As the Earth Turns” Original Soundtrack Recording - Ed Hartman’s award-winning score for the award-winning silent-film.

This period-classical and jazz music was written for a film that was started in 1938, and finished 80 years later in 2018!
Ed Hartman produced and scored “As the Earth Turns” for 8th Sense Productions, LLC (the home of Richard H. Lyford films). Richard Lyford, directed, edited and photographed the film, along with playing the character, “PAX” (Peace in Latin).

Special thanks:
Kim Lyford Bishop, Executive Producer "As the Earth Turns"
Peter Barnes and Eric Johnson, Clatter&Din (Sound mixing and mastering for "As the Earth Turns")
My wife, Candace
Music: ©2018 Ed Hartman (BMI), Olympic Marimba Records (BMI)
All images ©2018 Courtesy 8th Sense Productions, LLC
Ed Hartman is a YAMAHA performing artist.

Thoughts about scoring the film from Ed Hartman:
“This film has been a great experience for me.  I would like to thank Kim Lyford Bishop, my co-producer, for inviting me on this grand adventure.   Kim knew me as a music teacher, initially. She had been gathering films from her family, and saw some of my work, as a composer.   She asked if I was interested in adding music to one of the films.  I watched the film and agreed to score it.  It has been a true challenge for me, and I feel it pushed me to create something really special.  This is hardly a silent film.  Most films have music under the dialogue.  This film has to be completely supported by music, end-to-end.  That is a composer’s dream-score.  Lyford did experiment with music, including devising a way to synchronize records timed to the action.  We discover this after I had started to score.  Based on family information, though, I believe my choice on style and orchestration is in the spirit of the director's wishes.”

About “As the Earth Turns”:
In 1937, in Seattle, a twenty-year-old budding filmmaker using his own equipment had already created 58 plays and 9 never released award-winning films. This director would go on to work for Disney Studios, and direct and edit a 1950 Academy Award Documentary. Richard H. Lyford’s films have developed a following among film-historians since his early “amateur” films are some of the first “indie” films ever created outside of Hollywood. Lyford experimented with special effects, and models, and was becoming an excellent director. His final and most challenging film of this era was “As the Earth Turns”, with a screenplay based on "The Man Who Rocked the Earth" by Arthur Train and Robert Williams Wood, 1915. It was filmed in the Pacific Northwest, in and around Seattle. “As the Earth Turns”, is presented for the first time after 80 years of development!

“As the Earth Turns” is a 45 minute, sci-fi film that foresaw WWII, future technology, climate change, and the extreme need for peace, as the world was drifting back into world war again. The main character, “PAX” (“Peace” in Latin), is played by Lyford, himself, a scientist who desperately wants peace. He uses climate-changing science to keep mankind from war. The lead actors are both male and female. The lead actress, Barbara Berger (AKA Barbara Berjer) portrays a hard-working newspaper reporter. Her strong character, “Julie Weston” leads the hunt for the villain all the way to the end of the film. Berger had a long career on Broadway and television (ironically including “As the World Turns”).

The acting is dramatic, professional and realistic. Lyford used early homemade FX including controlled dynamite explosions and miniature models similar to those used in “Flash Gordon” (1936 Serial). His make-up work was excellent (he loved Lugosi and horror films) and his framing of the picture is mature and developed. Lyford was very capable of directing his acting troupe, as well. A legendary location in Seattle, “Gasworks” was used for PAX’s lair. The film has similar themes to “Things to Come”(1936), “In Like Flint” (1967), and even a little “Austin Powers” (1997). Some of the dialogue seems to come out of the TV series “Star Trek” (1966), and even “Dr. Strangelove”(1964). The film was shot in B&W, but the last scene was shot color for dramatic purpose, foreshadowing “Wizard of Oz” in 1939.

“As the Earth Turns” is an example of a true “indie” film, completely shot outside of Hollywood. It is an amazing educational film for any filmmaker to learn from. This filmmaking had no sophisticated technology available. It has multiple-exposure sequences (including a very professional title sequence), “day for night” shooting, simple transitions, and intense editing between live-action and miniature model sequences. Richard Lyford did his best with very limited resources. This film is a great lesson for anyone in media creation, today.

Tracks:
1 As the Earth Turns Main Title, War and News on the March - This is the opening theme of the film, upon which many other pieces are based on. The film opens with scenes of war. Newspapers report the events of the day!
2 Jazz Up the News - Reporters Arthur Verrill and Julie Weston enter the newsroom.
3 Waiting for the Signal - Strange signals from “PAX” threatening destruction if war continues.
4 You Can’t Win, The Clock Is Ticking and We Need a Plan - Frustration at the office, strange occurrences at the Equatorial Time Center, planning begins.
5 All Hell Is Breaking Loose - Tidal waves, trains derailing, and flooding in the Sahara!
6 Earthquake at the White House and Snow - The heads of Europe fight in the war-room, earthquakes strike all over the planet, and it’s snowing in July!
7 Jazz for a Classic Car - Our heroes go to meet the Professor.
8 Finally We Meet - Flying spaceships, Julie goes for the story, Arthur is left in the dust, and PAX is revealed!
9 News Flash and Waking Up - More breaking news, and Arthur looks for Julie.
10 Take Off - Arthur and the professor steal a plane to go after Julie and PAX.
11 A Flying Adventure and Hiking to the Lair - Heading to Labrador, the plane is attacked by a mysterious ray, and crashes!
12 Meeting the Enemy and Back in Time - Julie is found, and the three meet PAX. A flash-back to WWI reveals the origins of PAX.
13 The End of the Lair and End Credits - Our heroes try to save the planet from PAX! The Lair is destroyed, and Julie confronts PAX. Is all lost? Who will survive? Will there be a final twist?

"Ed Hartman's music is astounding."
Strong Body Strong Soul (Podcast)

"Hartman’s new score is a fine complement to this new release. It is period-appropriate, but with a modern feel, which is appropriate for the forward-thinking tone of the film."
Kendahl Cruver
aclassicmovieblog.com

"...the digitally restored 1938 original has been outfitted with a period-appropriate score by contemporary composer Ed Hartman.”
Michael Rechtshaffen
LA Times

“Congratulations on your achievements and fantastic score. Continue making music that tells a story as much as the film itself. We hope to experience more of your work in the future.”
Global Independent Film Awards
(Winner Gold Award, Best Score)

“Fans of the obscure will want to check out this...program, which represents an act of love and faith from one artist [Hartman] to another [Lyford].”
Nathaniel Bell
LA Weekly

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