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We only enhanced the lower strings by 9 players.
(Originally 8) to our 10 Violas
(originally 6) to our 10 Celli
(originally 4) to our 7 Basses
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Posted: |
Apr 5, 2007 - 6:46 AM
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By: |
.
(Member)
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Most of the tempos are off and slow compared to the originals - and they just aren't able to conjure the 'sound' of the orchestras they're trying to emulate
I feel this was true of the early efforts, like the Captain Blood and Historical Romances discs. But these were by (if I recall correctly) The Brandenburg Orchestra, with VERY cavernous sound. That might contribute to the feeling of sluggishness in places. A pity because the suites, like Gunga Din and Charge of the Light Brigade, were much needed. These, along with Captain Blood should be expanded and re-recorded. Those two Brandenburg discs were very unsatisfactory in my opinion.
Some of the early Moscow recordings were also a bit too "concert hall" for my liking, but I feel this was overcome some time ago and I've now come to expect consistently outstanding quality CDs from Mr. Stromberg and Co. Their work is invaluable and 100% praiseworthy. And the best is surely yet to come, with their new venture and independence.
My only real gripe is the non-appearance of Adventures of Don Juan, which I was promised would be recorded about seven or eight years ago. So I still can't listen to my favourite cue, the climactic duel, which is not on the BYU soundtrack release.
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Four tubas, wow!!!! I can't wait to hear this!!
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Posted: |
Apr 5, 2007 - 12:00 PM
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By: |
John Morgan
(Member)
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I've got the majority of the Morgan/Stromberg re-creation scores on cd - and although they're OK, they are certainly no match to the original soundtracks. Most of the tempos are off and slow compared to the originals - and they just aren't able to conjure the 'sound' of the orchestras they're trying to emulate.
Even Herrmann himself couldn't re-create his own sound when he re-did Mysterious Island for the Phase4 recordings.
Personally, I congratulate both Stromberg and Morgan for trying their hand at this classic score - but based on their previous track record, I don't hold out high hopes that they'll make it sound like the original score heard in the movie. For me, the Cloud Nine release is as good as it's going to get...and if you don't have it - it's a bargain at $25 bucks.
As I have said in many previous posts...especially those windy ones about original vs. rerecordings, we don’t try to “emulate” the original orchestra. We are performing this music as a listening experience - away from the film.
I would love to do many of our early recordings again. Those Brandenburg recordings were done in a church and the acoustics were unacceptably cavernous. Also, I would have done many of those scores more complete and if doing them today, would dedicate an entire CD to such masterpieces as THE CHARGE OF THE LIGHT BRIGADE, GUNGA DIN, etc. As we got more control on our recordings, we have updated such recordings such as HOUSE OF FRANKENSTEIN, DEVOTION, ADVENTURES OF MARK TWAIN.
It was around 1998 with THEY DIED WITH THEIR BOOTS ON that we hit our stride with recording and performance of this music. As far as tempos go, we more often than not, take things a bit faster than the original....occasionally slower, depending on the emotion and character of the music. We try to put the music in its best light and we don’t worry about “catching” cues, as we want our performance to be musical first and foremost. Our recordings are never, ever meant to replace what is on the soundtrack. That is the definitive performance of the music for the film.
So, for anyone loving Herrmann’s MYSTERIOUS ISLAND score, the original tracks are imperative, just as I hope our new recording will be. As I have multiple recordings of certain classical music and find new things in every one, I hold film music in that same high regard and would welcome rerecordings on most symphonic-based film scores.
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As I have said in many previous posts...especially those windy ones about original vs. rerecordings, we don’t try to “emulate” the original orchestra. We are performing this music as a listening experience - away from the film.
I would love to do many of our early recordings again. Those Brandenburg recordings were done in a church and the acoustics were unacceptably cavernous. Also, I would have done many of those scores more complete and if doing them today, would dedicate an entire CD to such masterpieces as THE CHARGE OF THE LIGHT BRIGADE, GUNGA DIN, etc. As we got more control on our recordings, we have updated such recordings such as HOUSE OF FRANKENSTEIN, DEVOTION, ADVENTURES OF MARK TWAIN.
It was around 1998 with THEY DIED WITH THEIR BOOTS ON that we hit our stride with recording and performance of this music. As far as tempos go, we more often than not, take things a bit faster than the original....occasionally slower, depending on the emotion and character of the music. We try to put the music in its best light and we don’t worry about “catching” cues, as we want our performance to be musical first and foremost. Our recordings are never, ever meant to replace what is on the soundtrack. That is the definitive performance of the music for the film.
So, for anyone loving Herrmann’s MYSTERIOUS ISLAND score, the original tracks are imperative, just as I hope our new recording will be. As I have multiple recordings of certain classical music and find new things in every one, I hold film music in that same high regard and would welcome rerecordings on most symphonic-based film scores.
Your recording of 5 FINGERS was exceptional, and while utilizing an enhanced orchestra, captured the score magnificently. If this one is as good, it'll be marvelous. I, for one, can't wait.
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More Herrmann is always good!
I think his original recordings are important as a guide to how things should sound, though, maybe more than for most composers.
I don't have a technical background in music, but I think Herrmann often wrote his film scores for the microphone more than for the concert hall, knowing that he could achieve a balance of sounds in a studio that wouldn't be there if you just played what was on the paper. Am I off base here?
You are right on base. Actually, most composers in Hollywood know there are things you can do for recording that would be lost in a purely acoustic enviroment. Saying that, most of the Golden Age composers were taught about orchestral balance and they wrote music based on the symphonic traditions of classical music. There are surviving acetates of Max Steiner recording his "Glass" music for THE GLASS MENAGERIE, and just on those acetates, you hear him trying out things with the bells and celeste to get the right sound down. So yes, this always must be a consideration.
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As I have said in many previous posts...especially those windy ones about original vs. rerecordings, we don’t try to “emulate” the original orchestra. We are performing this music as a listening experience - away from the film.
I would love to do many of our early recordings again. Those Brandenburg recordings were done in a church and the acoustics were unacceptably cavernous. Also, I would have done many of those scores more complete and if doing them today, would dedicate an entire CD to such masterpieces as THE CHARGE OF THE LIGHT BRIGADE, GUNGA DIN, etc. As we got more control on our recordings, we have updated such recordings such as HOUSE OF FRANKENSTEIN, DEVOTION, ADVENTURES OF MARK TWAIN.
It was around 1998 with THEY DIED WITH THEIR BOOTS ON that we hit our stride with recording and performance of this music. As far as tempos go, we more often than not, take things a bit faster than the original....occasionally slower, depending on the emotion and character of the music. We try to put the music in its best light and we don’t worry about “catching” cues, as we want our performance to be musical first and foremost. Our recordings are never, ever meant to replace what is on the soundtrack. That is the definitive performance of the music for the film.
So, for anyone loving Herrmann’s MYSTERIOUS ISLAND score, the original tracks are imperative, just as I hope our new recording will be. As I have multiple recordings of certain classical music and find new things in every one, I hold film music in that same high regard and would welcome rerecordings on most symphonic-based film scores.
Thank you for a perfectly expressed reasoning for your re-recordings and why they are essential additons to the library.
I can't wait to get this one!
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Thanks for the info on the LSO and that this recording bumps up the string players by nine. Still, very unusual-sized orchestra for early 60s - they probably struck a deal with the LSO is my guess.
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Of course, I meant 2 Glocks (as in glockenspiels), and not Clocks. Who knows, I bet Herrmann used a clock or two in his day.
I am sure Herrmann would have loved to have used the Glock 9mm semiautomatic on some of the people he had to work with over the years.
I am salivating now just thinking about this recording -- and my head is still spinning just reading the instrumentation.
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As I have said in many previous posts...especially those windy ones about original vs. rerecordings, we don’t try to “emulate” the original orchestra. We are performing this music as a listening experience - away from the film.
John and William, I was curious re: the statement above... are you considering blending any of the short cues together to make the album (perhaps) flow better? I noticed that there are a lot of very short cues in the track list, and that can sometimes make for a disjointed listening experience.
(Note: this is NOT a criticism -- "Mysterious Island" is one of my favorite scores of all time, and I am thrilled to get it in ANY form. I'm just asking.)
Thanks, and I'm looking forward to the CD!
Jon
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