Fans of Donaggio's previous De Palma scores will find a lot to admire here. In the many years since his last collaboration with De Palma, Donaggio hasn't lost a step, and his score for PASSION contains all the brooding darkness and sensuality one would want. As a bonus, you get an excellent recording of one of Debussy's finest pieces.

Composer Pino Donaggio teamed with filmmaker Brian DePalma to forge one of the most memorable collaborations in cinema history, writing a series of suspenseful, hauntingly atmospheric scores evoking Bernard Herrmann's landmark work for Alfred Hitchcock.

In February 2017 Time Out magazine polled actors, producers, directors and movie mavens to create a list of the top 100 British films of all time. Forty-four years after its release, Nicolas Roeg's Don't Look Now was a comfortable winner. Defined by them as, "a movie whose every glorious frame is bursting with meaning, emotion and mystery, and which stands as the crowning achievement of one of Britain’s true iconoclasts and masters of cinema". Based on a Daphne Du Maurier short story, Julie Christie and Donald Sutherland play a couple who travel to Venice after the tragic death of their daughter. Pino Donaggio as well as composing the score, performed a substantial portion of it himself. He played the piano pieces, despite the fact that he was not very accomplished at playing the piano. These pieces are usually associated with Christine in the film, and Roeg wanted them to have an innocent sound reminiscent of a little girl learning to play the piano. Donaggio claims that since he was not very good at playing the piano, the pieces had an unsure style to them, perfect for the effect they were trying to capture. The song - "I Colori Di Dicembere" - was recorded by Iva Zanicchi and released on her 1974 album "Amare, Non Amare". It is not heard in the film and was only included on the Italian pressing of the soundtrack where it was released as "A Venezia… Un Dicembre Rosso Shocking". This new edition of Donaggio's classic score reinstates the song and reverts to the original track sequence and edit.

Available for the first time on CD, Pino Donaggio’s immortal score to the THE HOWLING is finally here, digitally remastered from the original ¼ inch album mastertapes. Directed by Joe Dante (“Gremlins”, “Innerspace”) and co-written by John Sayles (“Lone Star”, “Passion Fish”) this film remains a touchstone of contemporary horror, mixing classic scares with a still-relevant satiric look at media-obsessed culture. Mr. Donaggio (“Dressed to Kill”, “Body Double”, “Carrie”) anchors all the film’s suspense, chills and eroticism with his legendary orchestral score. Features bonus tracks and exclusive liner notes from the composer!

Carrie is a 1976 American supernatural horror film based on Stephen King's 1974 epistolary novel of the same name. The film was directed by Brian De Palma and produced by Paul Monash, with a screenplay by Lawrence D. Cohen. The film received two Academy Award nominations, one for Sissy Spacek in the title role and one for Piper Laurie as her abusive mother. The film featured numerous young actors – including Nancy Allen, William Katt, Amy Irving, and John Travolta – whose careers were launched, or escalated, by the film. The score for Carrie was composed by Pino Donaggio. In addition, Donaggio scored two pop songs with lyrics by Merrit Malloy for the early portion of the prom sequence. These songs were performed by Katie Irving. In 2010, Kritzerland Records released all 35 cues of Donaggio's score for the film on a two-disc CD set which was presented as the complete score. Also included in this edition were the versions of "Born to Have It All" and "I Never Dreamed…" which were heard in the film, as well as instrumentals of both songs, and hidden at the end of the final track, a version of the "Calisthenics" cue with Betty Buckley's studio-recorded voice-over from the detention scene. The second disc was a remastered copy of the original 13-track album.

Pino Donaggio's score to the Brian DePalma psychological thriller Dressed to Kill vaults the composer to an altogether new level of mastery. With its unusually lengthy passages of dialogue-free narrative, DePalma's film relies heavily on Donaggio's score to communicate drama and suspense, and the composer responds with a hypnotically sensual work of extraordinary melodic complexity. His lush melodies perfectly articulate the intoxicating dread of DePalma's twisted erotic fantasia.