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Posted: |
Nov 17, 2012 - 8:29 AM
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By: |
Dana Wilcox
(Member)
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As always, simply a matter of personal taste.
Not if you're rejecting the score because you're mentally comparing it to Goldsmith, which is what you wrote before this.
If the score was introduced as being for a film most people had never seen, with no mention of another composer, some of the naysayers would have had a different reaction. Yes, the cue is busy; I wouldnt say "noisy" which suggests some kind of chaos. I'm not saying it would work better in "Chinatown," only that it's an intriguing score for something.
Not sure how you're finding something to argue about in my factual statement that what one enjoys listening to is a matter of personal taste. I described how I found it (noisy, etc.). That observation demands no agreement from others. To each his own. It was the producers, not I, who rejected the score. I happen to agree with their decision, based on the main title clip, but that relates only to its appropriateness for the film. That is a separate matter from how enjoyable Lambro's score might or might not be to listen to on CD. Please feel free to enjoy it to your heart's content. Or are you one of those people who has to have everyone agree with you before you're satisfied?
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Posted: |
Nov 17, 2012 - 2:59 PM
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By: |
lexedo
(Member)
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I won't listen to samples before buying - just into the surprise. So, it was actually DW's comments that got me interested bc he knows his stuff. He described it as "like walking down a street in the French Quarter and hearing various jazz music and random noises coming from different directions." And this is what Ives' approach to composing was in many cases, so it piqued my interest. As well, Mancini's Touch of Evil Main Titles would fit this description, and this is kind of what Orson Welles had asked for.
I do not hear sadness in the trumpet lines, though. That would seem strange bc there isn't anything generally sad about the topic, or themes, of the film. It's a very complex film, so there can never be a right answer, but I would lean more towards the trumpets as "possibility" or "hope," and the pianos as "corruption" and "disgust."
Either way, a nice decription of someone's personal tastes that caused me to blink (or think).
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Posted: |
Nov 17, 2012 - 4:55 PM
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By: |
ToneRow
(Member)
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This latest disc of music by Philip Lambro on Perseverance looks to be a very commendable "crossover" or "concept" album, if my observation is not too premature.
Without having done any research prior to this post, might I suggest that this album could very well be a "first".
A "first" with respect to a disc presenting a composer's absolute music/concert works being paired with that same composer's score for a film which was commissioned on the basis of those very concert pieces!
Has this ever been done before?
I refer to this as a "crossover" in another sense, as well, in that this 45-minute program is split into two halves which could appeal to followers of contemporary classical music (a subset of classical music's customer demographic) in addition to soundtrack enthusiasts.
These two "markets" seem to be almost mutually exclusive, with a rather small interface between hardcore classical and hardcore soundtrack collectors.
How many people, as an illustration, who listen to the music by the modern three "B"s (Pierre Boulez, Luciano Berio, Milton Babbitt) are also film music aficionados, and vice versa?
No doubt FSM members are aware of FSM's CD of concert music by Maurice Jarre, which is a poor seller most likely because the program does not contain actual film music.
Perhaps these concert pieces may have reached to more listeners if these works were paired with a Jarre soundtrack ... say ... THE COLLECTOR? Who knows?
I can think of a few situations similar to this Lambro-Polanski-CHINATOWN item - such as director Andrzej Wajda who was impressed so much by a concert work entitled "Livre des Katuns" by Jean Prodromides that Wajda commissioned Prodromides to score DANTON.
The soundtrack album for DANTON, though, contains neither "Livre des Katuns" nor a rejected score.
Another permutation is Morton Feldman's unused music for the film SOMETHING WILD, which surfaced as "Something Wild in the City: Mary Ann's Theme" on KAIROS (a label specializing in contemporary classical). Obviously, this 3-minute piece of music does not have a corresponding soundtrack. The score which was ultimately used for SOMETHING WILD is by Aaron Copland. At the time, United Artists did not consider Copland's music as commercially viable enough to be released on a soundtrack LP. Copland fashioned a concert piece based upon this material and it achieved a second life within Columbia Records' classical music line.
The sound recording of SOMETHING WILD eventually appeared on a Varese Sarabande CD during 2003. However, the program on this CD does not contain Copland's concertized version, which was re-christened "Music for a Great City".
So ... as far as I can recall ... there hasn't been an album featuring film music (especially a rejected score) along with any of its related absolute music as companion pieces on the album's program. (though I welcome any information to the contrary  ).
Regarding this single sound sample, Philip Lambro's approach to juxtapose dissonances concurrent with the "straight" performances of period-appropriate tunes puts the music of Charles Ives in my mind.
Most of Charles Ives' mature music distorts accepted forms of music (marching band standards, popular tunes, hymns, patriotic pieces, the usual "war horse" suspects & old ditties, etc.) by having them performed off-key on purpose, by playing them incomplete and/or "bleeding" into each other, & by layering dissonances on top of them.
While it's too early to say so, I nevertheless expect Philip Lambro's "Los Angeles, 1937" could be companion to "Central Park in the Dark" or "Three Places in New England" by Ives!
[looking forward to "Structures for String Orchestra" & "Music for Wind, Brass & Percussion"]
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I can see why audiences would be put off by this. Based solely on the Main Title sample, it's pretty aggressively modern/post modern, and it's played against something more traditional (Yes, Charles Ives, exactly). This is a lot to take in all by itself, never mind as the Main Title of a Hollywood movie.
Goldsmith was solidly a modern/post modern composer, of course, but his style never seemed this in-your-face.
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Very interesting and different.
Of course, Goldsmith´s score is iconic and hard to separate from the film.
But this one track really attracts my attention. Would love to hear the rest.
How people immediately consider that this one track sample is telling them everything about all the other tracks... talk about premature.
Ordered!
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If you want to hear more of the score, check out the trailer which is 100 % Phillip Lambro (with the exception of the jazz bit during the Paramount logo). That should give you more than enough idea of what the whole score is like.
http://www.youtube.com/watch?v=3aifeXlnoqY
===========
Going by the music in the trailer, this is very good.
Change of mind, ordered!
Thanks for the link, Cat
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If you want to hear more of the score, check out the trailer which is 100 % Phillip Lambro (with the exception of the jazz bit during the Paramount logo). That should give you more than enough idea of what the whole score is like.
http://www.youtube.com/watch?v=3aifeXlnoqY
I maintain, more aggressive than Goldsmith, but no less enjoyable.
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order confirmation says it ships in 1-2 weeks. I wish the website had mentioned this.
The website mentions this.  "Availability: Usually ships in 1-2 weeks"
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I have to pile on. The Main Title sounds like somebody recorded two different pieces of music over each other.
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But seriously, what I meant is I got the impression from the website that it was released and available. Figured that shipping info was just a standard disclaimer about shipping. I see their older cds list shipping for 2-3 days, so my mistake, I sit corrected.