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i am really going to obtain 'GUNFIGHT, ' but i want to know if anyone might have an idea whenthe other tion tiomkin scores are supposed to be released from la la land so i can buy them all in one package. i would hpoe this score doesn't sell out once the other scores are announced. what's the latest on how this score is selling from the other labels? thank you.
I wouldn't worry about this selling out...
I wouldn't say that. Don't forget, Gunfight is only 2000 units where the others are 3000 units
MV
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Never thought I'd live to see this release. Glad I did. By the way, what about Rio Bravo?
Now that we have Gunfight, Rio Bravo moves up a notch and takes the #1 spot.
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Joint #1... with Duning's 3:10 to Yuma and another great Frankie Laine contribution.
And I'll second that (although, truth be told, I've had the Citadel release for decades.).
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For those in the uk who wish to remind themselves of this film and score, it is bein screened on film4 on monday.
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Posted: |
Dec 6, 2013 - 6:30 PM
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By: |
finder4545
(Member)
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Due to the stature of the CORRAL score and its giant composer, the true disturbing problem emerged from the thread, for me, remains the lack of consideration for that old film music by some young followers of NOT jazz or rock composers, BUT of today's symphonist composers for large orchestra: to say, Zimmer or Elfman. So, what's the matter with the old big symphonic scores? Maybe educational and existential, closely interlaced. Educational, not having seen and not knowing old movies on continuing basis; not having absorbed the inner contents and, for this, without having the right imprinting to interface a classic release as CORRAL with their current mind. Existential, not having "lived" that cinema at that moment in movie theatres and missing each nostalgic and emotional impact. Memory is important. And music just expresses memory in many ways. So we are at a third reason, out of educational and existential, which is the "cultural formation". Today's film music, in many cases, against the presumption of being symphonic, seems a unique thunderous stream without distinction and narration. Today's listener is accustomed to that kind of structure, in the same way he is accustomed to frantic editing. The old symphonic scores were true stories built with thematic material, solo passages and dialogue between instruments. So, they were wonderful items. But not all, of course. Even old scores could be bad. The difference was in the composer. In Tiomkin...or not Tiomkin! Regarding new wanted titles, yes, NIGHT PASSAGE deserves to be immediately released.
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I recorded this film again and watched it yesterday. The score works very well with the film still, even revisiting it with a much older eye! The pace dragged a little at times but it is an undoubted a classic. Interesting that Sturges directed such a wildly different vehicle a few years later with Magnificent Seven. Be tough to imagine two more westerns so apart in style and pace.
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let's hope the other tiomkin scores hopefully to be released are GIANT, NIGHT PASSAGE, TENSION AT TABLE ROCK and THE COMMAND if they still exist in any format. I guess most people know about GIANT and NIGHT PASSAGE, but if anyone knows the scores to the latter two titles, please comment.
Surely Tiomkin's The High And The Mighty original soundtrack which has never been released on any format (not including Bernstein's rerecording) should be added to that list. Or were you just listing Tiomkin's "western" scores.
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Existential, not having "lived" that cinema at that moment in movie theatres and missing each nostalgic and emotional impact.
I've never really understood the nostalgic part. I have a handful of scores that I experienced in the film which served as the basis for sparking my interest in film music. These scores transcend the others in a way, but a vast majority of my collection is from films I've never seen. When I do seek out the films, I am often disappointed or at best apathetic in what I see.
People just like different things. I enjoy a lot of Romantic and 20th Century orchestral music, but Classical and Baroque generally do not interest me much. I can easily understand how a fan of Zimmer or Elfman might not want to sit down and consume a Tiomkin score.
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Posted: |
Dec 10, 2013 - 4:25 PM
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By: |
PFK
(Member)
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<>today's film music, in many cases, against the presumption of being symphonic, seems a unique thunderous stream without distinction and narration.<> Regarding new wanted titles, yes, NIGHT PASSAGE deserves to be immediately released.
I would term most contemporary film scores as "drivel." Endless pounding chord progressions without distinction.
As to "Night Passage," as I recall there's only about twenty minutes of music in the film, nearly all of it in the early part of the film, with no music after the train sequence. Poor-sounding copies made from transcription discs have floated around.
"drivel" ..... sorry to say I have to agree. So it goes with the current generation.
We are lucky that we have the golden age, and much of the silver age, to listen to.
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