Ennio Morricone has had to postpone both his L.A. concert appearance and his planned on-stage conversation with Quentin Tarantino at an Academy/LACMA event, as well as some other planned public appearances, due to recovery from his recent back surgery.

Next week, Intrada will present the first-ever release of Henry Mancini's score for the 1975 romantic drama ONCE IS NOT ENOUGH (aka Jacqueline Susann's Once Is Not Enough), starring Kirk Douglas and Deborah Raffin, which received an Oscar nomination for Brenda Vaccaro's supporting performance (Mancini's title song was short-listed for a nomination), and Sol Kaplan's score for Martin Ritt's 1965 film version of John Le Carre's classic espionage drama THE SPY WHO CAME IN FROM THE COLD, starring Richard Burton (in an Oscar-nominated performance), Claire Bloom, Sam Wanamaker and Oskar Werner.

The last CD from Kritzerland features the suriving score tracks from three Paramount films scored by Victor Young -- the 1951 thriller APPOINTMENT WITH DANGER, starring Alan Ladd; the 1949 film noir THE ACCUSED, starring film noir perennials Loretta Young and Robert Cummings; and the 1950 romantic drama SEPTEMBER AFFAIR, pairing Joseph Cotten and Loretta Young.

This week, Varese Sarabande is releasing the latest in their limited edition series of contemporary scores -- ENOUGH SAID, the 2013 romantic comedy-drama pairing Julia Louis-Dreyfuss with James Gandolfini in one of his last and most memorable performances. The film was written and directed by Nicole Holofcener (Friends with Money, Walking and Talking), and reteams her with Please Give composer Marcelo Zarvos. The label is also releasing a CD of songs from the Showtime series SHAMELESS on April 15.

Quartet has announced that they will be presenting the first-ever soundtrack release of Georges Delerue's score to the 1982 comedy PARTNERS, which teamed straight cop Ryan O'Neal with gay cop John Hurt to investigate a murder in West Hollywood. While the final film featured only 12 minutes of Delerue music, Quartet's CD will feature the complete, 50-minute score.

Deutsche Grammophon has a released a CD with Andre de Ridder conducting the Cophenhagen Philharmonic in a six-movement suite from Jonny Greenwood's score to There Will Be Blood, as well as a concert piece titled St. Carolyn by the Sea, composed by Bryce Dressner of the group The National.

Creature Features in Burbank plans upcoming soundtrack CD signing events with Bruce Broughton (April 5) and John Debney (April 26).

The recently opened Wallis Annenberg Center for the Performing Arts in Beverly Hills is planning to present two film music "Composers Labs" in collaboration with the Sundance Institute - one on March 30 involving composers Harry Gregson-Williams and Peter Golub as well as directors Andrew Adamson and Zal Batmanglij, and another on April 12 currently scheduled to include Golub, Jeff Beal, Jon Frizzell, Trevor Morris, Blake Neely and Thomas Newman.

CDS AVAILABLE THIS WEEK

After the Dark - Nicholas O'Toole, Jonathan Korn - Varese Sarabande
The Bag Man - Tony Morales, Edward Rogers - Lakeshore [CD-R]
The Basil Poledouris Collection Vol. 1 - Basil Poledouris - Buysoundtrax
Enemies Closer - Tony Morales - Lakeshore [CD-R]
Enemy - Danny Bensi, Saunder Jurriaans - Milan
Enough Said - Marcelo Zarvos - Varese Sarabande
Flash Gordon Vol. 1 - Michael Picton - Perseverance
Girl on a Bicycle - Craig Richey - Lakeshore [CD-R]
Le Week-End - Jeremy Sams - Milan
O. Henry's Full House/The Luck of the Irish - Alfred Newman/Cyril J. Mockridge - Kritzerland
The Sum of All Fears - Jerry Goldsmith - La-La Land
Wavelength - Tangerine Dream - La-La Land

IN THEATERS TODAY

The Art of the Steal - Grayson Matthews
Bad Words - Rolfe Kent
Better Living Through Chemistry - Andrew Feltenstein, John Nau
Dark House - Bennett Salvay
Grand Piano - Victor Reyes - Score CD due April 29 on MovieScore Media/Kronos
Le Week-End - Jeremy Sams - Score CD on Milan
Need for Speed - Nathan Furst - Score CD due April 15 on Varese Sarabande
The Right Kind of Wrong - Rachel Portman - Score CD due March 25 on Varese Sarabande
Shirin in Love - Alex Kovacs
The Single Moms Club - Christopher Young
Sparks - Jacob Shea
Uwantme2killhim? - Jon Hopkins
Veronica Mars - Josh Kramon - Score CD-R on Watertower

COMING SOON

March 18
Once Is Not Enough - Henry Mancini - Intrada Special Collection
The Spy Who Came in From the Cold - Sol Kaplan - Intrada Special Collection
March 25
Breathe In - Dustin O'Halloran - Milan
Creepshow - John Harrison, various - La-La Land
The Film Music of Miklos Rozsa - Miklos Rozsa - Chandos
Noah - Clint Mansell - Nonesuch
The Right King of Wrong - Rachel Portman - Varese Sarabande
April 1
Captain America: The Winter Soldier - Henry Jackman - Hollywood
Draft Day - John Debney - Lakeshore
April 8
Immagini Di Un Convento - Nico Fidenco - Kronos
Rio 2 - John Powell - Sony
Sette Baschi Rossi - Gianni Marchetti - Kronos
Vita Di Michelangelo - Bruno Nicolai - Kronos
April 15
Need for Speed - Nathan Furst - Varese Sarabande
April 22
Bates Motel - Chris Bacon - Varese Sarabande
House of Cards: Season Two - Jeff Beal - Varese Sarabande
April 29
Grand Piano - Victor Reyes - MovieScore Media/Kronos
The Raid 2 - Joseph Trapanese - Spacelab2
Date Unknown
Danza Macabra - Riz Ortolani - Digitmovies
Donna Leon - Ulrich Reuter, Florial Appl, Andre Rieu - Alhambra
Geminus - Bruno Nicolai - Beat
Grazie...Nonna - Enrico Simonetti - Beat
Il Mio Nome E' Shanghai Joe - Bruno Nicolai - GDM
Il Pistolero Dell'Avemaria - Franco Micalizzo, Roberto Pregadio
In Einem Wilden Land [In A Wild Country] -  Karim Sebastian Elias - Alhambra
Inspektor Jury - Marcel Barsotti - Alhambra
La Casa Delle Donne - Radicanto - Intermezzo Media
La Regina dei Tartari - Bruno Canfora - Digitmovies
La Seconda Moglie - Aldo de Scalzi, Pivio de Scalzi - Intermezzo Media
L'Odore Delle Nozze - Aldo de Scalzi, Pivio de Scalzi - Intermezzo Media
Luana, The Girl Tarzan - Stelvio Cipriani - Beat
Partners - Georges Delerue - Quartet
Placido Rizzotto - Agricanto - Intermezzo Media
Professione Figlio - Ennio Morricone - GDM
Secret Sharer/Tsotsi - Guy Farley - Caldera
7 KM Da Gerusalemme - Aldo de Scalzi, Pivio de Scalzi, Transcendental - Intermezzo Media
7 Volte 7 - Armando Trovajoli - GDM
Steam: The Turkish Bath - Transcendental - Intermezzo Media
Three Days (of Hamlet) - Jonathan Beard - Buysoundtrax
Trinita E Sartana Figli Di... - Carlo Savina - Digitmovies
Tulpa - The Alvarius - Beat
Victor Young at Paramount - Victor Young - Kritzerland
Viva La Liberta - Marco Betta - Beat

THIS WEEK IN FILM MUSIC HISTORY

March 14 - Les Baxter born (1922)
March 14 - Quincy Jones born (1933)
March 14 - Roy Budd born (1947)
March 15 - Jurgen Knieper born (1941)
March 15 - Max Steiner wins Oscar for Since You Went Away score (1945)
March 15 - Ry Cooder born (1947)
March 15 - Stomu Yamashta born (1947)
March 15 - Jerry Fielding records his score for the TV pilot Shirts/Skins (1974)
March 16 - John Addison born (1920)
March 16 - Mario Castelnuovo-Tedesco died (1968)
March 16 - Recording sessions begin for Leonard Rosenman's score to Cross Creek (1983)
March 17 - Alfred Newman born (1901)
March 17 - Georges Delerue begins recording his score for Memories of Me (1988)
March 17 - Ernest Gold died (1999)
March 18 - William Lava born (1911)
March 18 - John Kander born (1927)
March 18 - Dominic Frontiere begins recording his score for Cleopatra Jones and the Casino of Gold (1975)
March 19 - Jean Weiner born (1896)
March 19 - Dimitri Tiomkin wins Oscars for High Noon score and song (1953)
March 19 - Jeff Alexander begins recording his score to Escape from Fort Bravo (1953)
March 19 - George Garvarentz died (1993)
March 20 - Michel Magne born (1930)
March 20 - John Cameron born (1944)
March 20 - Miklos Rozsa wins second Oscar for A Double Life score (1948)
March 20 - Franz Waxman wins his second consecutive Best Score Oscar, for A Place in the Sun (1952)
March 20 - Ray Cook died (1989)
March 20 - Georges Delerue died (1992)

DID THEY MENTION THE MUSIC?

ENDLESS LOVE - Christophe Beck

"Airbrushed-looking lensing by Andrew Dunn and a sweepingly romantic score by 'Frozen' composer Christophe Beck round out the saccharine bill."

Ronnie Scheib, Variety

NON-STOP - John Ottman

"Cinematographer Flavio Labiano's camera never leaves the plane while the game is afoot, and Jim May's editing and John Ottman's music add to the pressure, essentially making us feel as trapped as the increasingly restive passengers."

Kenneth Turan, Los Angeles Times

"Reunited with most of his 'Unknown' crew, Collet-Serra delivers a technically proficient package, aided by the moody cabin lighting of d.p. Flavio Labiano and a bassy, propulsive John Ottman score."

Scott Foundas, Variety

SON OF GOD - Hans Zimmer, Lorne Balfe

"The epic proportions of the miniseries hold up well on the big screen, save for the digitally composed establishing shots of Jerusalem. Whereas some editing patterns and musical cues in 'The Bible' evoked co-producer Mark Burnett's reality-TV juggernaut 'Survivor' (a show not without its own heavy religious symbolism), film composers Hans Zimmer and Lorne Balfe have changed their tune here quite a bit to cinematic effect."

Martin Tsai, Los Angeles Times

"An irksome voiceover narration by Peter (Darwin Shaw) bookends the film. An overbearing musical score by Hans Zimmer threatens to bombard all of Bethlehem. Speaking of music, 'Jesus Christ Superstar' told the story with more excitement, depth and emotion than this overlong epic-lite."

Claudia Puig, USA  Today

"Filmed like a blockbuster epic, with quick cuts, hi-definition photography, a moody insistent score by Lorne Balfe, and some awkward repetitive CGI shots of what is clearly a model of the Temple in Jerusalem, 'Son of God' features a pretty bad script, especially when all of the Apostles are talking amongst themselves about Jesus' message and what it all will lead to. 'We have to take his message straight to the heart of power,' one Apostle helpfully exclaims. Or Pilate, looking on as Jesus is dragged out to be tortured, murmuring, 'It's as if he knows that this must happen.'"

Sheila O’Malley, RogerEbert.com

"Accompanied by a score that sounds recycled from 'The Fountain,' the most famous scenes are trotted out: 'I’ll give my stone to the first man who tells me that he has never sinned'; the loaves and fishes; the resurrection of Lazarus; the last supper."

Ben Kenigsberg, The Onion AV Club

"The crucifixion scenes are a bigger success. 'Son of God' gets a PG-13 rating solely for its violent moments, which capture the betrayal, brutality and sacrifice of the story without seeming gratuitous. A few heathens laughed out loud at some of the stilted dialogue and awkward directing choices. More audience members were weeping. I'm guessing that outside of free critic screenings, more crowds will be in the latter camp, and won't notice things like an overbearing musical score that doesn't give viewers a choice what to think. They won't care that risen-from-the-dead Jesus looks a little like he's in a 'Saturday Night Live' skit. They won't immediately think of 'Monty Python's Life of Brian' when crucified Jesus is talking to a sinner on a neighboring cross. Always look on the bright side of 'Son of God,' and the movie will provide higher rewards."

Peter Hartlaub, San Francisco Chronicle

"Perhaps the most damning criticism that can be directed at 'Son of God' is that it feels terminally dispassionate. For all its earnest histrionics, the film plays for much of its length like a terrible sketch comedy with one-dimensional caricatures shuffling listlessly through a succession of stilted tableaux, setting the titular messenger of God up for his best known adages. It's the world's most uninspiring and interminable sermon, chopped into orchestrally underlined soundbites that are subsequently tossed into a narrative framework so loose and arbitrary that it borders on Pythonesque. Nearly every scene is an elaborate excuse for Portuguese model turned actor Diogo Morgado -- in what might be the blandest, most charmless portrayal of Jesus Christ committed to film -- to breathily utter yet another well-worn aphorism. It's the Biblical equivalent of the latest 'Die Hard' movie: a rote and sterile buildup to the hoped-for frisson that may or may not be generated by a violent climax and the protagonist's familiar catchphrases.

Abhimanyu Das, Slant Magazine

"Blowing up the Morocco-lensed production on the bigscreen does Rob Goldie’s flat, serviceable lensing few favors; the frequent, fuzzy establishing shots of Jerusalem look especially phony and tacked-on. Hans Zimmer and Lorne Balfe’s poundingly unsubtle score sounds better suited to a superhero movie -- and not this kind."

Justin Chang, Variety

"Shot in Morocco and evincing its TV-budget origins, the production features modest production values compared to most previous depictions of the same story, especially in the frequent and very cheesy-looking overview shots of Jerusalem. The score by Hans Zimmer and Lorne Balfe lumbers more than it soars."

Todd McCarthy, Hollywood Reporter

STALINGRAD - Angelo Badalamenti

"So it's slightly peculiar to me that 'Stalingrad,' the new movie directed by Fedor Bondarchuk (the son of the great Russian classicist director Sergei Bondarchuk, and the half-brother of actress Natalya Bondarchuk, who starred in Tarkovsky's 1972 'Solaris'), aspires in some ways to the conditions of an American war movie, or just an American movie period. It's shot in not just an iteration of IMAX but in IMAX 3D. It features a deft but unquestionably sentimental musical score from Angelo Badalamenti, a Hollywood veteran. It begins with a present-day frame story, just as Spielberg's 'Saving Private Ryan' did. And so on. It's a mixed bag overall -- hence my star rating -- but it's worth seeing nonetheless, largely because of the explicitly Russian qualities its sustains."

Glenn Kenny, RogerEbert.com

"An unsatisfied air of anticipation is established by an inelegant framing device -- the narrator is a rescuer looking back from Japan’s 2011 earthquake -- as the story waits out the war, to the ever-swelling score by Angelo Badalamenti. The large sets come to seem overused, and laid low, by a relentless monochromatic palette, while the 3-D imagery (as with so much of its kind) feels less impressive than a sharply plotted-out space of the standard sort."

Nicolas Rapold, New York Times

"As with Bondarchuk’s impressive Afghan war drama 'The 9th Company,' the viewer must have a high tolerance, if not love, of celluloid sentiment. Angelo Badalamenti’s score is positively dripping as it articulates every moment of bromance and noble sacrifice. Between shellings there are many, many dewy-eyed exchanges, two romantic subplots and a whole lot of bonding. It’s not subtle, and the bombastic presentation can work against the film’s saccharine leanings. But the set design and the effects are genuinely impressive, and even the least nuanced scenes are not without their mushy charms."

Tara Brady, The Irish Times

"Details, shmeetails: The appeal here is an almost choking sense of grandeur. Every moment is filled with slo-mo explosions, a constantly drifting camera, a computerized grayscape (much like 'Saving Private Ryan'’s) and a chest-beating orchestral sweep by Twin Peaks’ 'Angelo Badalamenti.' Hollywood does this too; truth be told, Russia’s high-tech whitewash goes down smooth like vodka.

Joshua Rothkopf, Time Out New York

"The spectacle, literally amplified by Angelo Badalamenti's strident score, helped make Bondarchuk's movie a hit not just in Russia but also in China. It faces much dicier prospects in the United States, whose filmgoers didn't grow up on the heroic national legend of Stalingrad -- and lately haven't shown much taste for gory war sagas unless they feature aliens, superheroes or the undead. Indeed, for all of 'Stalingrad''s curious developments and bewildering gestures, the strangest thing about the movie may be that it's even being released in the U.S."

Mark Jenkins, NPR

"Despite those melodramatics -- plus a terribly overdone score by Angelo Badalamenti, and far too much slow-motion -- it's an effective film and, as Russia's first big 3D IMAX extravaganza, often an impressive one. Still, I wish that -- like some far greater Russian films of the past -- it didn't also try to double as national anthem."

Stephen Whitty, Newark Star Ledger

"Visuals are the usual steely gray, relieved only by red-orange flames; the diet of coldly neutral colors makes for tiring viewing, not helped by unimaginative use of 3D. Praise should go, however, to the design team, whose striking set, along with the visual-effects crew, almost certainly consumed much of the $30 million budget. The score by Angelo Badalamenti shifts from bombastic to saccharine, no doubt reflecting the filmmakers’ wishes."

Jay Weissberg, Variety

"The fine opening CG sequence of shiny plane flying against a huge sun ball, as composer Angelo Badalamenti fires the opening salvos of his stirring and ever-present orchestral score, could almost be a salute to Japanese animator Miyazaki. But as soon as the camera hits the ground in Fukushima, the catastrophe scene becomes gritty and hyper-real. From there it’s an easy jump to the mega-disaster of 1942 Stalingrad. The story begins in the middle of the six-month siege of the city by the German army that ultimately ended in a Russian victory, turning the tide of WWII in favor of the Allies."

Deborah Young, Hollywood Reporter

THE NEXT TEN DAYS IN L.A.

Screenings of older films, at the following L.A. movie theaters: AMPAS, American Cinematheque: Aero, American Cinematheque: Egyptian, LACMA, New Beverly, Nuart, Silent Movie Theater and UCLA.

March 14
HIDER IN THE HOUSE (Christopher Young) [Silent Movie Theater]
THE MASTER (Jonny Greenwood) [Cinematheque: Aero]
MELANCHOLIA, ANTICHRIST [New Beverly]
NEAR DARK (Tangerine Dream) [Arclight Hollywood]
NEXT STOP, GREENWICH VILLAGE (Bill Conti) [Silent Movie Theater]
TROLL 2 (Carla Maria Cordio) [Nuart]
THE UMBRELLAS OF CHERBOURG (Michel Legrand) [Nuart]
WHAT TIME IS IT THERE? [UCLA]

March 15
BOB & CAROL & TED & ALICE (Quincy Jones), DRINKING BUDDIES [Silent Movie Theater]
BOOGIE NIGHTS (Michael Penn), HAPPINESS (Robbie Kondor) [Cinematheque: Aero]
MELANCHOLIA, ANTICHRIST [New Beverly]
PIECES (Carla Maria Cordio) [New Beverly]
SIDE STREET (Lennie Hayton), WINCHESTER '73 [UCLA]
THE UMBRELLAS OF CHERBOURG (Michel Legrand) [Nuart]

March 16
HAIRSPRAY (Chris Stein), CRY-BABY (Patrick Williams) [New Beverly]
PAPER MOON [Arclight Hollywood]
THE UMBRELLAS OF CHERBOURG (Michel Legrand) [Nuart]

March 17
FAST TIMES AT RIDGEMONT HIGH (Joe Walsh) [Arclight Sherman Oaks]
HAIRSPRAY (Chris Stein), CRY-BABY (Patrick Williams) [New Beverly]
THE UMBRELLAS OF CHERBOURG (Michel Legrand) [Nuart]

March 18
THE BREAKFAST CLUB (Keith Forsey) [Arclight Hollywood]
HAIRSPRAY (Chris Stein), CRY-BABY (Patrick Williams) [New Beverly]
HOLIDAY INN (Robert Emmett Dolan) [LACMA]
THE UMBRELLAS OF CHERBOURG (Michel Legrand) [Nuart]
YU TU MAMA TAMBIEN [Arclight Hollywood]

March 19
THE TERMINATOR (Brad Fiedel) [Arclight Hollywood]
THE UMBRELLAS OF CHERBOURG (Michel Legrand) [Nuart]
YANG YANG (Giong Lim), CHOCOLATE RAP (Sheng Chen) [UCLA]

March 20
CAT PEOPLE (Roy Webb), I WALKED WITH A ZOMBIE (Roy Webb) [New Beverly]
PUNCH-DRUNK LOVE (Jon Brion), JACK GOES BOATING (Grizzly Bear, Evan Lurie) [Cinematheque: Aero]
SPIRITED AWAY (Joe Hisaishi) [Cinematheque: Egyptian]
THE UMBRELLAS OF CHERBOURG (Michel Legrand) [Nuart]

March 21
THE BIG LEBOWSKI (Carter Burwell), ALMOST FAMOUS (Nancy Wilson) [Cinematheque: Aero]
CAT PEOPLE (Roy Webb), I WALKED WITH A ZOMBIE (Roy Webb) [New Beverly]
RAZORBACK (Iva Davies) [Silent Movie Theater]
TOO LATE FOR TEARS (Dale Butts), LARCENY (Leith Stevens) [Cinematheque: Egyptian]

March 22
BORN TO BE BAD (Frederick Hollander), IVY (Daniele Amfitheatrof) [Cinematheque: Egyptian]
CAT PEOPLE (Roy Webb), I WALKED WITH A ZOMBIE (Roy Webb) [New Beverly]
THE RAID: REDEMPTION (Joseph Trapanese, Mike Shinoda) [New Beverly]
TREMORS (Ernest Troost) [Cinematheque: Aero]

March 23
CREATURE FROM THE BLACK LAGOON, THE MUMMY [New Beverly]
MAGNOLIA (Jon Brion) [Cinematheque: Aero]
PEE-WEE'S BIG ADVENTURE (Danny Elfman) [Arclight Hollywood]
SAFETY LAST [UCLA]
THE TALL TARGET, THE FAR COUNTRY [UCLA]
THE THIEF OF BAGDAD [Cinematheque: Egyptian]