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STOP bitching at each other or this thread is done. Who wants to wade through urine to engage in the discussion? Most of us don't.
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Large cooking man have enormous cleaver.
Can kill many warriors!
Oc knows stuff!
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Large cooking man have enormous cleaver.
Can kill many warriors!
Oc knows stuff!
To say anything about dirty knife is to risk own life!!
YOU Basterd!
you vicious , heartless basterd.
you who are not fit to lick this man's boot....
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Yes, phrasing is crucial. It goes without saying that it is perfectly okay to enjoy whatever recording or performance one prefers, there is no "right" or "wrong" with that. It's like reading a piece of poetry or performing "HAMLET". The "score" (or the play) is all written down, and the words are clear. However, you would not expect Kenneth Branagh to read "The Raven" by Edgar Allen Poe exactly the same way as Morgan Freeman. In fact, if he tried to read it like someone else, it will never be as good as that someone else and never be as good as it could be if he read it like himself.
That's pretty much how it is with a musical performance. The score is all written down on a page, the notes are all there, but how you pronounce the music, how it is performed, that is something that will be different from every performer, every orchestra, every conductor, every room, and that is a good thing. You can listen to two different Sinatra recordings of "New York" and immediately hear the differences, so certainly you will hear differences if a two different orchestra and two different conductors perform the same music.
To expect a new recording of any piece of music to be performed like an older recording is the same as expecting Morgan Freeman to imitate Laurence Olivier when reading a poem. That's just not what they should do.
That's why if you love the way a performance sounds in the movie, if your appreciation of a performance of the score is deeply tied to how it is performed on the original motion picture soundtrack, that's what you should get. No way that a new recording ever will or should sound like that. Perfectly okay to enjoy the film recording because it is the film recording.
A good performance of music is one where the conductor does justice to the music, to bring it alive, to perform it "right". Not to imitate another performance, which will almost always sound flat by comparison. A new recording of orchestral music is not to be the same thing just with new sound quality. That's just not what it is about. Nor should it be.
And, also quite important to point out, composing and conducting are two very different things. Some composers are poor conductors (or don't conduct at all), some conductors are poor composers (or don't compose at all), some are great at both (I think Esa-Pekka Salonen is easily as great a composer as he is a conductor, though for now, he is much better know as conductor).
I enjoy both the Intrada as well as the Nic Raine recording of CONAN - THE BARBARIAN. But then, I consider music a living, breathing, organic thing. I sure don't want performances Beethoven's Symphonies all sound alike, I want them to sound like they are true to Beethoven. Now sure, I might have a dozen Beethoven 9ths in my collection and they are all worthwhile, I don't think I need a dozen CONANS... it's not Beethoven, after all. But there is certainly room for two in my collection. And there should be in yours if you love the score. :-)
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I love "Conn the Barbarian" both film and Basil score. For me it is the greatest soundtrack of all time.
Of course I have all versions but Prometheus recording is for me the best and to be honest - it is the most important music album in my life. I love new interpretation, orchestral nuances, tempos etc - not everything is "better" but I love to hear it different - for example first listen of new recorded "Recovery" was jaw dropping for me - it sounds different but how wonderfully.
Of course I also love original recording despite some problems.
But if I want to listen original I choose Varese.
Intrada was for me so big dissapoitment - awful crossfades
(Warpaint/The Kitchen - really?), weird editing choices (joining Tree of Woe with Recovery for example) some weird mixing choices (especially loudness of Prologue) and sometimes awful noises in background (Atlantean Sword).
Varese sounds much better for my ears.
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The premise of this thread answers its own implied question, that being "if you have to choose one of these issues, which one do you choose?"
Since the Intrada issue contains the Varèse issue within it, the choice seems obvious to me.
Those Nic Raine/Prague Phil re-records are always hit-and-miss affairs, the only question being will they botch your favorite cues or just some lesser cues. The only albums where the interpretive and performance mistakes are kept to the barest minimum are Raise the Titanic and Zulu (not including the cues from the non-Zulu movies).
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I remember when I first picked up the Varese CD in the early 90's to upgrade my old MCA cassette, I had no idea it was expanded. When "The Leaving/ The Search" started playing, I was absolutely blown away. Overjoyed to have the new music.
Intrada is my go-to now. I find the Prometheus enjoyable too. So happy to have all these options for listening to one my favorite scores.
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Yes, I got the Varèse, the Prometheus, and the Intrada. The one I tend to listen to most is the Prometheus recording, which just by and large sounds more assured and spectacular, but I still like them all.
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