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Posted: |
Feb 9, 2018 - 9:14 AM
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By: |
Rozsaphile
(Member)
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The multitude of invented categories is a typical awards organization strategy ("Something for everyone"). However, this title makes no sense: "BEST NEW RELEASE, RE-RELEASE OR RE-RECORDING OF AN EXISTING SCORE." An archival release is one thing. Such projects demand negotiation, location of materials, audio restoration, etc. In other words business and technical skills, supported by informed appreciation of the music. A so-called re-recording (actually a NEW recording), on the other hand, demands all of the above, plus score preparation, orchestral contracting, musicianship of orchestra and conductor, and audio engineering. It's a completely different animal and belongs in a category of its own. It is in a category of its own. It starts out separate. However, in order for the category to remain viable, there have to be enough options to choose between in order to award something. There were not enough this year, so the category gets rolled up into one all-encompassing category so that at least we *can* award the Tadlow re-recordings, and others, if we want to. It was an entirely separate category in 2015, 2012, and 2011, when there were enough re-recordings for the category to be viable. The Tadlow re-recording of Obsession won in 2015. The Tadlow re-recording of Quo Vadis won in 2012. Stromberg & Morgan's re-recording of The Battle of Neretva/The Naked and the Dead won in 2011. But, please, go right ahead and piss on a celebration of the music we all love. Actually there are precedents for noncompetitive categories. For example, my late wife was an equestrian with long experience in the world of horse shows. Those competitions had a similar multiplication of categories. A big show might feature literally hundreds of "classes" over several days. In some cases, even when a class had but a single entrant, the rider still went out to display her horse and receive a ribbon. The point, after all, was to "show" and to be recognized. It wasn't just about beating some competitor. In any event I have no particular concern with the present event -- certainly nothing descending to the excretory level! I simply want to make the point that real live music making is something very different from archival restoration. In my opinion (and meaning no disrespect to the wonderful archival labels), it is of greater importance in the long run.
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Another 2017 Carter Burwell score with some really lovely cues was 'Goodbye Christopher Robin' which again isn't nominated in any category. Also I can't believe Kritzerland's release of the original film tracks of 'Two For The Road' wasn't nominated in Best New Release of an Existing Score category. It's one of Mancini's finest scores previously only available as a 30 minute rerecording.
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The IFMCA... lol
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Also I can't believe Kritzerland's release of the original film tracks of 'Two For The Road' wasn't nominated in Best New Release of an Existing Score category. It's one of Mancini's finest scores previously only available as a 30 minute rerecording. Which unworthy release out of the 5 nominations would you have replaced? -Erik- I'd have scrapped 'Damnation Alley' .......Minor Goldsmith......
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I’m not as enthralled as you were with the movie, but I agree that the score was the year’s best and it was certainly my #1 vote (“The Museum Beckons” might be my favorite piece of Burwell music to date, and this is coming from someone who loved Carter Burwell’s ‘90s scores). I’m pretty sure a good number of IFMCA voters heard it though - for reasons that are just as baffling to me as they are to you, they just didn’t seem to like it. Again, members did vote for it but it just didn't get enough votes to be among the nominations. There are plenty of scores I voted for that didn't make the top 5. Them's the breaks. -Erik- Well obviously, dude - I just said that I was one of them! My only point was that just because some (a majority) of people didn't vote for a score doesn't mean that they didn't bother to listen to it.
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I'd have scrapped 'Damnation Alley' .......Minor Goldsmith...... Doesn't mean that it's not award-worthy. Rescuing a "minor Goldsmith" score for all to finally hear along with newly recorded electronics) is quite an accomplishment. Same goes for something like The Salamander. No one would say that's a major Goldsmith work based on the popularity of the film but the work that went into resorting that score and NEWLY recording it definitely deserved the IFMCA Awards it won. -Erik- ...and what's your opinion of the Kritzerland, 'Two For The Road', Erik? ......For me, a release where the score masters, recorded at CTS London, were feared lost but a mono backup copy that survived has resulted in a sublime album of this wonderful score. Surely worth a nomination?
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Which unworthy release out of the 5 nominations would you have replaced? That's the other reason new recordings need to be in their own separate category, even if there weren't a lot of releases that would fit the category in a given year -- to make more room in an already incredibly crowded field for more premieres/expansions/etc. to be given a nomination. One Goldsmith and two Williams sci-fi scores? Doesn't give other worthy issues much of a chance, do they? Not that they weren't awesome and didn't deserve the nomination; there just should have been more room...if new recordings just can't get their own category for whatever reason, then at least increase the number of slots to 10 instead of 5, would be my suggestion...then great important releases like Two for the Road can actually have a chance against the sci-fi. Yavar
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Posted: |
Feb 9, 2018 - 11:39 AM
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By: |
Erik Woods
(Member)
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...and what's your opinion of the Kritzerland, 'Two For The Road', Erik? ......For me, a release where the score masters, recorded at CTS London, were feared lost but a mono backup copy that survived has resulted in a sublime album of this wonderful score. Surely worth a nomination? Worthy indeed. But I didn't nominate it. Maybe if the re-recordings were separated from the archival releases I might have put it in the top five, but as Jon stated above, we need a minimum number of re-recordings to create a new category. Anyway, there are other criteria we have to evaluate as well. Liner notes, artwork, sound quality, etc. -Erik-
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Posted: |
Feb 9, 2018 - 12:13 PM
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By: |
Tadlow
(Member)
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...and what's your opinion of the Kritzerland, 'Two For The Road', Erik? ......For me, a release where the score masters, recorded at CTS London, were feared lost but a mono backup copy that survived has resulted in a sublime album of this wonderful score. Surely worth a nomination? Worthy indeed. But I didn't nominate it. Maybe if the re-recordings were separated from the archival releases I might have put it in the top five, but as Jon stated above, we need a minimum number of re-recordings to create a new category. Anyway, there are other criteria we have to evaluate as well. Liner notes, artwork, sound quality, etc. -Erik- For goodness sake they are NEW recordings not RE because more often than not they include never recorded before! So you just cannot re-record something that has never been recorded before.! I have no objection to the lumping together of different genres...just get the terminology correct?
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Posted: |
Feb 9, 2018 - 12:13 PM
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By: |
Tadlow
(Member)
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...and what's your opinion of the Kritzerland, 'Two For The Road', Erik? ......For me, a release where the score masters, recorded at CTS London, were feared lost but a mono backup copy that survived has resulted in a sublime album of this wonderful score. Surely worth a nomination? Worthy indeed. But I didn't nominate it. Maybe if the re-recordings were separated from the archival releases I might have put it in the top five, but as Jon stated above, we need a minimum number of re-recordings to create a new category. Anyway, there are other criteria we have to evaluate as well. Liner notes, artwork, sound quality, etc. -Erik- For goodness sake they are NEW recordings not RE because more often than not they include never recorded before! So you just cannot re-record something that has never been recorded before.! I have no objection to the lumping together of different genres...just get the terminology correct?
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Posted: |
Feb 9, 2018 - 12:13 PM
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By: |
Tadlow
(Member)
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...and what's your opinion of the Kritzerland, 'Two For The Road', Erik? ......For me, a release where the score masters, recorded at CTS London, were feared lost but a mono backup copy that survived has resulted in a sublime album of this wonderful score. Surely worth a nomination? Worthy indeed. But I didn't nominate it. Maybe if the re-recordings were separated from the archival releases I might have put it in the top five, but as Jon stated above, we need a minimum number of re-recordings to create a new category. Anyway, there are other criteria we have to evaluate as well. Liner notes, artwork, sound quality, etc. -Erik- For goodness sake they are NEW recordings not RE because more often than not they include music cues never recorded before! So you just cannot re-record something that has never been recorded before.! I have no objection to the lumping together of different genres...just get the terminology correct?
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