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 Posted:   Jan 21, 2011 - 10:26 AM   
 By:   JamesFitz   (Member)

It's rather depressing to think that somebody who is managing Rozsa's estate seems to think the composer's music is better served by having the score rot away in a box at Syracuse University rather than letting James record and present it to Rozsa fans across the world.

As I said before I think that maybe they believe that there is financial gain to be had from these type of recordings ....how wrong they are. Did a very rough costing on all the money I have spent on recordings over the past 6 years...and the payback from sales. So far it is running that I have made 55% to 60% recoupment on these titles ....so only lost 35% to 40% of the investment!!!!


OUCH!!!!


The most successful recent re-recording appears to be CONAN ...and that one was not on Tadlow as I only produced the recording for Prometheus. But, ALAMO sales were not good for Prometheus ...so you win some you lose some !

 
 
 Posted:   Jan 21, 2011 - 10:35 AM   
 By:   BillCarson   (Member)

Taras sounds like its going to be grand.

I know everyone is thowing in dozens of ideas and perhaps I missed the reason why not but wasnt there some discussion as to the possibility of a re-recording fitz special on The Pride and the Passion? wonderful score which would has such depth and potential.

 
 
 Posted:   Jan 21, 2011 - 10:36 AM   
 By:   BillCarson   (Member)

double bubble. please ignore

 
 
 Posted:   Jan 21, 2011 - 10:39 AM   
 By:   ms1999   (Member)

Now that the new recording of the Score from TARAS BULBA is "in the can" would people be upset if I did not record the source music, the Yul Brynner songs and the chistmas carols from the movie?

If you will be upset that they are not included then it's going cost me a whole lot more to record these "extras"

PS

Tadlow has a swanky new website ... let me know if anything doesn't work???

 
 Posted:   Jan 21, 2011 - 12:11 PM   
 By:   mildcigar   (Member)

The most successful recent re-recording appears to be CONAN ...and that one was not on Tadlow as I only produced the recording for Prometheus. But, ALAMO sales were not good for Prometheus ...so you win some you lose some !

Alamo is the best re-recording of 2010 IMO. Classic emotional stuff.

Conan,Lawrence and Alamo were all great and powerful scores. Wonderful.

Mild.

 
 
 Posted:   Jan 21, 2011 - 3:28 PM   
 By:   pp312   (Member)

The most successful recent re-recording appears to be CONAN ...and that one was not on Tadlow as I only produced the recording for Prometheus. But, ALAMO sales were not good for Prometheus ...so you win some you lose some !

James, what's the extent of promotion for these titles, if any? Obviously billboards in Times Square wouldn't really be hitting the target audience, but what does? If I were promoting the re-recorded soundtrack to a 50 year old John Wayne movie that hardly anyone remembers, I wouldn't know where to start.

I think what I'm asking is, is there any attempt to stir up interest beyond the usual suspects?

 
 
 Posted:   Jan 21, 2011 - 5:28 PM   
 By:   paul rossen   (Member)

Taras sounds like its going to be grand.

I know everyone is thowing in dozens of ideas and perhaps I missed the reason why not but wasnt there some discussion as to the possibility of a re-recording fitz special on The Pride and the Passion? wonderful score which would has such depth and potential.


Would The Pride & the Passion be a viable financial enterprise? It's a bit disappointing to learn that The Alamo hasn't done that well as I'm sure Tiomkin's masterpiece has a larger following than Pride and the Passion.

 
 Posted:   Jan 21, 2011 - 6:54 PM   
 By:   Gary S.   (Member)

It's rather depressing to think that somebody who is managing Rozsa's estate seems to think the composer's music is better served by having the score rot away in a box at Syracuse University rather than letting James record and present it to Rozsa fans across the world.

As I said before I think that maybe they believe that there is financial gain to be had from these type of recordings ....how wrong they are. Did a very rough costing on all the money I have spent on recordings over the past 6 years...and the payback from sales. So far it is running that I have made 55% to 60% recoupment on these titles ....so only lost 35% to 40% of the investment!!!!


OUCH!!!!


The most successful recent re-recording appears to be CONAN ...and that one was not on Tadlow as I only produced the recording for Prometheus. But, ALAMO sales were not good for Prometheus ...so you win some you lose some !


Well that is disappointing as it is my most played release of last year and is a recording that should be in everyone's collection.

 
 Posted:   Jan 21, 2011 - 7:48 PM   
 By:   George Komar   (Member)

Well that is disappointing as it is my most played release of last year and is a recording that should be in everyone's collection.

Every one of James' film score re-recordings from THE GUNS OF NAVARONE on (TADLOW001) should be in every serious collector's collection:

 
 
 Posted:   Jan 21, 2011 - 7:52 PM   
 By:   cody1949   (Member)

To see that Alamo sales were not good for Prometheus is very disheartening. I have been "crying" for DUEL IN THE SUN for a very long time and this news makes it seem more unlikely. I can only hope I am wrong . I wish there were more WW2 babies out there who love soundtracks.

 
 Posted:   Jan 21, 2011 - 8:31 PM   
 By:   George Komar   (Member)

Not remembering the film very well, I have no opinion on James's question.

...What do folks have against source music?


I've been away from my computer for a couple of weeks, so forgive my belated reply.

I, for one, would have loved to hear at least some, if not all, of the "source" material that Waxman prepared for TARAS BULBA, as they were the basis for much of his score. According to the composer, "I actually found some beautiful authentic material in the music stores of Kiev, such as the tune which underlines Taras’ speech in which he pledges revenge and fight for freedom of his people. The other themes were composed in the spirit and harmonic structure of Kievan folk music."

The two Christmas carols (the first Polish, the second Ukrainian) are appropriate as lead-ins to Waxman's "Sleigh Ride", the opening measures of which are based on the second carol, known it modified form in the Western world as "Carol of the Bells."

"Zaparoshtchi" (aka "The Two Sons of Taras") is incorporated instrumentally into the score, most notably at the conclusion of the cue "Chase At Night." "I Lulee, Lulee" becomes the lullaby theme for "The Birth Of Andrei."

Since Alfred Newman included music from Orthodox Easter services on his ANASTASIA Fox soundtrack album, and Maurice Jarre thought it important to include the Orthodox funeral prayer for the burial scene in DOCTOR ZHIVAGO on the MGM Records soundtrack album, I would bet that there are Eastern Orthodox choirs within Prague that would readily render (or even provide a ready-made recording of) the classic prayer "Vo Tzarstvie Tvoem" ("In Your Kingdom").

I'll grant that "Zaparoshtchi" and "The Drinking Song" won't sound the same without Yul Brynner.

Perhaps an instrumental suite (arranged by Nic Raine) of some of the above source cues might be a reasonable compromise.

These are only my opinions, James. There are undoubtedly financial and time considerations involved in all this, so I will bow to your experience.

 
 
 Posted:   Jan 21, 2011 - 8:32 PM   
 By:   TerraEpon   (Member)

Hmmm, I have 6 of those 8.

 
 
 Posted:   Jan 21, 2011 - 10:11 PM   
 By:   John Black   (Member)

I'm another who considers THE ALAMO to be the best CD release of 2010.

 
 
 Posted:   Jan 22, 2011 - 12:12 AM   
 By:   JamesFitz   (Member)

Taras sounds like its going to be grand.

I know everyone is thowing in dozens of ideas and perhaps I missed the reason why not but wasnt there some discussion as to the possibility of a re-recording fitz special on The Pride and the Passion? wonderful score which would has such depth and potential.


One of my favs too ..... but the Antheil people never reply to my emails!!!! Will try ....yet again

 
 
 Posted:   Jan 22, 2011 - 12:21 AM   
 By:   JamesFitz   (Member)

Not remembering the film very well, I have no opinion on James's question.

...What do folks have against source music?


I've been away from my computer for a couple of weeks, so forgive my belated reply.

I, for one, would have loved to hear at least some, if not all, of the "source" material that Waxman prepared for TARAS BULBA, as they were the basis for much of his score. According to the composer, "I actually found some beautiful authentic material in the music stores of Kiev, such as the tune which underlines Taras’ speech in which he pledges revenge and fight for freedom of his people. The other themes were composed in the spirit and harmonic structure of Kievan folk music."

The two Christmas carols (the first Polish, the second Ukrainian) are appropriate as lead-ins to Waxman's "Sleigh Ride", the opening measures of which are based on the second carol, known it modified form in the Western world as "Carol of the Bells."

"Zaparoshtchi" (aka "The Two Sons of Taras") is incorporated instrumentally into the score, most notably at the conclusion of the cue "Chase At Night." "I Lulee, Lulee" becomes the lullaby theme for "The Birth Of Andrei."

Since Alfred Newman included music from Orthodox Easter services on his ANASTASIA Fox soundtrack album, and Maurice Jarre thought it important to include the Orthodox funeral prayer for the burial scene in DOCTOR ZHIVAGO on the MGM Records soundtrack album, I would bet that there are Eastern Orthodox choirs within Prague that would readily render (or even provide a ready-made recording of) the classic prayer "Vo Tzarstvie Tvoem" ("In Your Kingdom").

I'll grant that "Zaparoshtchi" and "The Drinking Song" won't sound the same without Yul Brynner.

Perhaps an instrumental suite (arranged by Nic Raine) of some of the above source cues might be a reasonable compromise.

These are only my opinions, James. There are undoubtedly financial and time considerations involved in all this, so I will bow to your experience.


I think that it might be a case of doing what Franz actually wrote ...i.e. Cossack camp music ...rather than the stuff that was arranged by other hands...i.e. Christmas carols...Jack Halloran

As for the 6 songs written for Yul by Franz and Mack David ...with 4 not being used. There is only a lead sheet with chords and vocal line ...so absolutely no clue as to what the accompaniment might be! It might be nice ...and not too expensive to do Vocal and guitar versions ....as I am certain that at least 2 of the songs would have been done this way. But sometimes the lyrics are really hilariously awful !!!!

 
 Posted:   Jan 22, 2011 - 12:53 AM   
 By:   Chris Rimmer   (Member)

It doesn't seem (sadly) that there is such a demand for "Classic" scores from the sixties, which is a tragedy for those of us who were fanatical film and soundtrack fans back then.

Thank you James for recording some of the classical scores from my favourite period in film music, Lawrence, Alamo, Exodus, El Cid and now Taras Bulba.

I'd love you to re-record Magnificent Seven, but that probably wouldn't sell very well either, previous re-recordings have always been somewhat lacking, I'd love to hear a complete score recording done by Tadlow, sadly I think this will be one dream that doesn't come true.

I suppose that if the Rozsa estate refuse permission for Quo Vadis then the same goes for Sodom and Gomorrah, King of Kings and Ben Hur?

Just asking.


 
 
 Posted:   Jan 22, 2011 - 1:30 AM   
 By:   Doug Raynes   (Member)


I suppose that if the Rozsa estate refuse permission for Quo Vadis then the same goes for Sodom and Gomorrah, King of Kings and Ben Hur?


What I don't understand is how the Rozsa Estate has the power to withold score material for film scores for which the film company and/or publisher retain the rights.

 
 
 Posted:   Jan 22, 2011 - 4:13 AM   
 By:   JamesFitz   (Member)


I suppose that if the Rozsa estate refuse permission for Quo Vadis then the same goes for Sodom and Gomorrah, King of Kings and Ben Hur?


What I don't understand is how the Rozsa Estate has the power to withold score material for film scores for which the film company and/or publisher retain the rights.


Neither do I ...especially when I have a letter from EMI Music (the publishers and therefore the copyright owners of the scores) requesting Syracuse University to make copies of the original sketches and any scores for both Tadlow Music and EMI themselves. Yet Syracuse refuse to make any copies unless permission also comes from the Rozsa family....


It is all very strange ....that's why I moved onto TARAS BULBA ...plus also last week I recorded another favourite Jarre score ...then in April another Epic! So I am sorry for Rozsa fans as I could record QUO VADIS almost straight away if I had sketches.

But maybe the Rozsa estate feel that from re-recordings like EL CID or SPELLBOUND they should be getting more than their mechanical royalties? But sales would never be enough to warrant any additional royalties as these recordings virtually never recoup the recording costs....so a royalty based on nothing is nothing. At least Tiomkin had the clever forsight to retain his publishing ....which at least means that Olivia Tiomkin has these additional rights which helped greatly towards the reconstruction costs of THE ALAMO.

 
 Posted:   Jan 22, 2011 - 4:36 AM   
 By:   Chris Rimmer   (Member)

James, fellow Lancastrian (me, no I'm not crawling.....really) what Jarre score was this then?

Ah I guess we'll find out soon enough, it would be nice if you could give us a hint though . smile

Then another epic, well, I wish it was The Vikings, but whatever it seems like we've got lots to look forwards to again this year.

 
 
 Posted:   Jan 22, 2011 - 5:26 AM   
 By:   David Charles   (Member)

Very disappointing news about 'Quo Vadis'. Is there any way for fans of this music to contact the Rozsa family to try to persuade them to release the music to Tadlow and so do Miklos the honour of having this score re-recorded? I am sure that he would have approved himself as he always seemed to be in favour of making his music available to his fans.

David Charles

 
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