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Not to sound ungrateful but...
Having EVERY cue recorded as a SEPERATE entity does not make for great cd's. Artisitically or practically (programming becomes very difficult).
I hope many will be combined into mini suites/
bruce Marshall
Bruce and Ed, John did address this in my earlier message >
''As far as Jon's query, yes, we like to put cues together for a nicer listening experience. Many of the cues are meant to dovetail into the next one, and the music was written with common chords or musical procedures in order for them to go together. And although we will probably have separate indexing for all the cues, the music will flow in the manner it was conceived. I much prefer this than having 3 seconds of silence between every 10 or 20 second cue. Although these cues are individually named, they are meant to be heard together in the bigger picture.''
And to be blunt, there's really no reason for anyone to complain about this recording -- it's cause for rejoicing that this is being re-recorded by Stromberg and Morgan (and it will go right alongside my CD of the original tracks.)
Now, if we could get re-recordings of 7th Voyage and Golden Voyage, I'd think I'd died and gone to heaven.
Jon
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It always amazes me when you admit something like this. It tends to make your opinions about film music negligible, to say the least.
Perhaps you should get a consensus of what the older members of this board find to be great film music and then do your best to find out why.
But there is an interesting dilemma for me here IF I were to chose between them. On one hand, the Cloud Nine release obviousy has a program and presentation that suits my taste better (re-arranged and non-chronological).
What an extraordinarily stupid and pathetic comment. I, too, won't be rushing for either of these discs; I happen to think these Harryhausen pics produced the least interesting scores from Herrmann, as opposed to all those Fox titles (for example)--which I love.
I certainly don't need a consnsus, thank you very much. I know why they often appear overblown, brass and percussion heavy, and often lacking in the beautifully inventive music he had been capable of in the '40s and earlier '50s. Just because you like them it doesn't make them more worthy.
I think I've seen everything now on this too- bitchy board.
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Well, Mysterious Island, along with Steiner's KONG and CHARGE OF THE LIGHT BRIGADE, Rózsa’s THIEF OF BAGDAD, the music of Skinner and Salter were all formative in making me what I am, musically speaking, today. For some reason, I was more attracted to Herrmann's Harryhausen scores than say, A HATFUL OF RAIN or TENDER IS THE NIGHT. MI is very inventive in both orchestration and musical content. It is my favorite of his Harryhausen scores, with THREE WORLDS OF GULLIVER a close second. So, if one doesn't feel attracted to this music, I concur that one shouldn't purchase it. Bill, Anna and I can only do what we think is worthy for rerecording based on our own musical prejudices. I, for one, offer no apology for doing MYSTERIOUS ISLAND.
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What an extraordinarily stupid and pathetic comment.
Not at all. Perhaps you didn't understand it, which is more than likely.
I, too, won't be rushing for either of these discs; I happen to think these Harryhausen pics produced the least interesting scores from Herrmann, as opposed to all those Fox titles (for example)--which I love.
Simply your opinion. I happen to think Herrmann's greatest work came from the period of the Harryhausen and Hitchcock films. I believe most others do, too. In fact, it's Herrmann's output from this period that got me and most of my filmmusic friends into soundtracks in the first place.
I certainly don't need a consnsus, thank you very much. I know why they often appear overblown, brass and percussion heavy, and often lacking in the beautifully inventive music he had been capable of in the '40s and earlier '50s. Just because you like them it doesn't make them more worthy.
And I wasn't talking to you. I was talking to a much brighter person who has taken a scholarly approach to film music, yet continually finds no interest in older, truly landmark scores.
I think I've seen everything now on this too- bitchy board.
Then you haven't read much on this board, obviously. Frankly, I find your comments most curious.
This Stromberg/Morgan MYSTERIOUS ISLAND will be a dream come true. If you don't get it, it's your loss.
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From your mouth to John Morgan's ear! I'd love to hear his and Bill's take on each of these scores.
Well, I am very particular about what mouth goes into my ear. But I think I can speak for Bill and Anna, that we adore both the Herrmann and Rózsa Sinbads. I wonder, however, the commercial feasiblity of doing another 7th Voyage so soon after the Varese edition. I have a CD with the original stereo album cues along with the isolated score on the laser, filling in the blanks. It is a marvelous score.
As to the Rózsa, it certainly would be ripe for a rerecording, as the original was terribly underfunded. Again, I remember the laser having the isolated score, and it certainly is a major score in intent. To do it complete, I think it would need two CDs.
Since I have heard that we may be having an EL CID in the future, I still would like to do FIVE GRAVES TO CAIRO or THIEF OF BAGDAD as our first Rózsa recording. And although off topic, I think a recording of Skinner's ABBOTT AND COSTELLO MEET FRANKENSTEIN may delight more than a few people and NIGHT OF THE HUNTER, HORN BLOWS AT MIDNIGHT, etc.........
(Here I go again!)
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As I've told John and Bill, their recording a Rózsa score is long overdue. I am, though, of two minds about it (maybe two-and-a-half): FIVE GRAVES TO CAIRO is one of my very favorite films, with the five-minute suite Rózsa recorded for Polydor nearly thirty years ago the only music available from the film, outside of the film's own soundtrack. Since the film, itself, runs only 97 minutes, with the score coming in at, perhaps, 35 minutes, that means that John and Bill would have to pair it with another equally wonderful score. I've nominated SAHARA, which Rózsa wrote the same year (1943), for a film that covers much the same geographical (desert) ground, if not quite the same emotional, ground. The only music available for that one is a two-and-a-half-minute suite on the Gerhardt Bogart CD, and a (better and more comprehensive) seven-minute suite floating around around on tape recorded from some concert performance.
The only score perhaps even better suited to pairing with FIVE GRAVES is THE FOUR FEATHERS, if, indeed, the two will fit on one CD.
GOLDEN VOYAGE was so badly represented in the OST that a new recording would almost be like its first recording, one that would be, I'm sure, eye-opening.
The half-a-mind part brings me back to QUO VADIS, music of such landmark status as regards the evolution of the historical-film score, and a work of such overwhelming quality, that it must, eventually, be on someone's to-do list of re-recordings, especially since Lukas insists that the original tracks are not to be found.
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As to the Rózsa, it certainly would be ripe for a rerecording, as the original was terribly underfunded. Again, I remember the laser having the isolated score, and it certainly is a major score in intent. To do it complete, I think it would need two CDs.
John, do you happen to know what Rozsa's original orchestrations called for on GOLDEN VOYAGE? It seems like I recall someone saying it was actually written for a huge orchestra, but ended up with about thirty or so due to Schneer's budget cuts.
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John, do you happen to know what Rozsa's original orchestrations called for on GOLDEN VOYAGE? It seems like I recall someone saying it was actually written for a huge orchestra, but ended up with about thirty or so due to Schneer's budget cuts.
I would love doing Perio Piccioni's mammoth Quo Vadis score.
I don't know the particulars of orchestration on GOLDEN VOYAGE. Besides being terribly recorded, I sense all the parts were covered in the woodwinds and brass, but the strings were reduced to a small chamber ensemble. Just a guess, but I bet he only had 8 violins (maybe 12 at most), and proportionally small viola, celli and bass sections. Sounded like a television-sized orchestra to me. But you certainly can hear the music trying to pry itself out of the underbuilt orchestra. Didn't Silva do a suite rerecording? I think I remember hearing it sometime ago, and I probably have it somewhere, but it demonstrated how well this music would fit a full orchestra.
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... For some reason, I was more attracted to Herrmann's Harryhausen scores than say, A HATFUL OF RAIN or TENDER IS THE NIGHT. MI is very inventive .... I, for one, offer no apology for doing MYSTERIOUS ISLAND.
Agreed!
bruce marshall
P.S. I still think a cd should not contain more than 25 indexed cues for ease of playing.
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Now, if we could get re-recordings of 7th Voyage and Golden Voyage, I'd think I'd died and gone to heaven.
Jon
Golden Voyage. I'm up for that. How about it?
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Posted: |
Apr 6, 2007 - 11:21 PM
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By: |
John Morgan
(Member)
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Mr. Morgan,
My best wishes on the MI project. If this
has already been answered, my apologies, but---
will you be recording the other announced
scores in your series at the same time as
"ysterious Island"?
I look forward to a Rozsa disc and, please,
try to do "A+C Meet Frankenstein".t is an
absolutely fantastic piece of work.
Again, my best wishes- and thanks to you and
Bill for all YOU HAVE DONE, all YOU ARE DOING,
and all YOU WILL DO for THE ART OF FILM MUSIC!
On this trip, we will be doing two CDs, both Herrmann. MYSTERIOUS ISLAND and a complete FAHRENHEIT 451 with a bonus suite from WALKING DISTANCE for string orchestra and harps.
Our Steiner SHE and Herrmann's THE KENTUCKIAN and WILLIAMSBURG will follow in two or three months. We wanted to do all these in a shorter time frame, but everything took longer than expected. What's new?
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Oh my list for sure!
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Rozsa's Sinbad and Theif of Bagdad would be super.
Though I am pretty satisfied with the Varese re-recording of Bagdad, mainly cause it doesn't have that rather annoying solo vocal stuff on the Bernstein recording.
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Poor Arch, he is obviously such a naieve and rather sad individual. He takes Thor to task for disagreeing with him (big deal!)- who quite simply says that such a release is not so important for him; later, I agree with Thor and the obviously dim individual lashes out with an attack which has no relevance to anything. Apart, that is, from his own prejudices and pathetic ideas as to what is good and what is not. Based, obviously on a complete lack of any sort of musical sensibility.
Perhaps he is about 15 years old, and should know better; perhaps he is older than this, but has the mind of a 15 year old; goodness knows. He is still the sort that is making so many reluctant to post on this forum due to the cretinous attitude of so many of its regulars. It really is a shame, and Lukas should have the power to bar such obvious troublemakers.
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