Music is a crucial element in every Oscar-winning film. In this concert you will be taken on a musical journey through the sounds of the greatest Oscar winners of all time, from classics like Casablanca and Citizen Kane to monumental cinematic works like The Godfather and blockbusters like Forrest Gump - blockbusters with music, that for almost a century have made us shudder, melt and cry in the darkness of the cinema.

Over fifteen years ago the DJ duo from Cologne (Blank & Jones) decided to strike quieter, more relaxed tones. From the passion for Ambient, Chill Out, Downbeat, Lounge Music, Beach House, Bar Grooves and Co. was created the idea of ​​Milchbar Seaside Season - a summer soundtrack for the cult Norderneyer Location milk bar. On the first compilation followed in recent years regularly further new Chillout compilation.

Some refer to The Miraculous Hump Returns from the Moon as the greatest album of all time! The story behind this LP, according to legend, is that when Hello Hello from Sopwith Camel's debut lp was used for a TV commercial, the band became inspired to make a new record. They supposedly went to Hawaii, enjoyed the herbal splendors the island is known for, then returned to California to record The Miraculous Hump Returns from the Moon. The record does indeed sound like a band drifting through clouds, as the cover illustration suggests. The lead track, Fazon became a minor FM radio hit, (when FM radio was still underground). It sounds like Traffic's Low Spark meets Steely Dan's Dr. Woo meets Flying off of the Beatles Magical Mystery Tour…

With the help of frequent collaborators (and ambient pioneers) Steve Roach and Robert Rich, as well as percussionist/programmer Djen Ajakan Shean, Vidna Obmana piles layers upon layers of diverse sonic textures to create a seamless, flowing record perfectly suited for meditation or simple relaxation. By incorporating various ethnic instruments (including flutes, didgeridoo, and percussion) with abstract synth textures, natural ambient sounds and effects-layered vocals and chanting, Obmama creates mesmerizing, otherworldly soundscapes unlike anything you've heard before. A nice chill-out disc after a night of overstimulation, The Spiritual Bonding is a soothing, natural remedy for 21st century digital burnout.

Darwin! will remain Banco del Mutuo Soccorso's masterpiece. This album, the band's second, is the proud equal of Premiata Forneria Marconi's Per Un Amico and Le Orme's Felona e Sorona in the Italian progressive rock hall of fame. In Darwin!, every promise made by Banco's eponymous debut was realized. Vittorio Nocenzi's writing has flourished into complex songs blending Italian songwriting, bel canto, and progressive rock. The arrival of guitarist Rodolfo Maltese crystallized the band's luxurious sound, all topped by Francesco Di Giacomo's operatic vocals. The majestic "L'Evoluzione" opens the album, providing some of the best moments ever recorded by this band (along with "Canto Nomade per un Prigioniero Politico"). "La Conquista Della Posizione Eretta" ("The Conquest of the Wrong Position") reproduces the same pattern as "Metamorphosi" from the first album…

18 Essential Songs is a one-disc distillation of the triple-disc Janis box set. Running 70 minutes, it is a more extensive best-of than the ten-track 1973 Janis Joplin's Greatest Hits album.

For many listeners, the keyboard works of Gabriel Fauré epitomize French music of the fin de siècle, typically because its languorous melodies and subtle harmonies are at times evocative of late Romantic parlor music. Yet Angela Hewitt defends Fauré's piano music from such a superficial judgment, demonstrating that it is much more substantial in content than the conventional piano pieces of the time, and that the difficulties one encounters in his music are akin to the complexities in Bach. Hewitt's polished performances of the Thème et variations, two Valses-caprices, three Nocturnes, and the Ballade are proof of her longtime commitment to this music, and her penetrating insights into Fauré's expressions and technical artistry reveal levels of inventiveness that are often missed in less competent performances. Of course, having played Fauré for most of her life, Hewitt has intimate knowledge of the music, and her sensitivity and control communicate precisely the effects she wishes, so the music never seems sloppily sentimental or vaguely sketched.

Come a Little Closer is a surprisingly effective mating of a distinctive singer with seemingly incongruous material and production. Helmed by Gabriel Mekler, who'd produced Steppenwolf and Three Dog Night, the record features Etta James supported by a slew of hotshot L.A. session men (including Little Feat's Lowell George). The song selection ranges from "St. Louis Blues" to Randy Newman's perverse "Let's Burn Down the Cornfield" to the dramatic, melismatic "Feeling Uneasy," in which the junk-hungry James improvised wordlessly over an otherwise blues progression. Here's more evidence that Etta is one of the most versatile vocalists of her era.

After dispensing with his services in December 1967, the remaining members of Traffic reinstated Dave Mason in the group in the spring of 1968 as they struggled to write enough material for their impending second album. The result was a disc evenly divided between Mason's catchy folk-rock compositions and Steve Winwood's compelling rock jams. Mason's material was the most appealing both initially and eventually: the lead-off track, a jaunty effort called "You Can All Join In," became a European hit, and "Feelin' Alright?" turned out to be the only real standard to emerge from the album after it started earning cover versions from Joe Cocker and others in the 1970s.