 |
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
May 26, 2014 - 5:55 PM
|
|
|
|
By: |
Jim Bailey
(Member)
|
INTRADA
Announces:
NIGHT CROSSING
Composed and Conducted by JERRY GOLDSMITH
INTRADA Special Collection Vol. 280
Intrada's latest release revisits its first Disney project -- the 1982 Jerry Goldsmith score to Night Crossing. Covering a dramatic range of ideas, Goldsmith's score expresses both the menace and aggression of the East German locale and the soaring aspirations of two families hoping to escape from it. The score is one of Goldsmith's busiest and throughout the action material the strings, woodwinds and piano are given an abundance of swirling, running figures that race over, under and around the thematic material. Comprised of three primary themes, the first introduces the theme for the oppressive East German military machine, a driving line of powerful brass and snarling string figures unfolding over the percussion motif and then in the trombones and tuba. The use of accordion introduces the second theme with a gentle and distant feel -- a delicate waltz setting for the families that hope to build a balloon and escape from their cold environment. The third and primary theme, tackles the central subject of the film: building, testing and launching the balloon needed for the escape. The melody appears in a wide range of instrumental colors, from a delicate flute solo over harp figures to a glorious and impassioned musical finale for the entire orchestra at the close.
To restore the entire score, Intrada revisited the original ½” 15 I.P.S. Dolby A-encoded three-channel session masters engineered at EMI Abbey Road by Eric Tomlinson, making new digital stereo mixes of every sequence. In addition to a few alternates appearing for the first time, an important change between this new CD and the earlier release should be noted. This change comes with those all-important pauses that occur between the many bars of solo percussion. The earlier release included numerous edits of both the percussion and intervening silences and lent a degree of forward momentum to the respective cues, but also truncated the important, rhythmically timed pauses that generated much of the suspense. This particular “percussion and pause” motif, including the meticulously timed silences between the phrases, occurs throughout the score. As such, for this release Intrada retained Goldsmith’s original unaltered cues, including the exact timings of the silences integral to the musical effect. Listeners familiar with the earlier edition will probably have to become used to the longer, more deliberate pacing of these “percussion and pauses” sections of the score, but—once having done so—will no doubt find rewards in the rhythmic architecture of Goldsmith’s original structure.
01. Main Title (Part 1) (1:16)
02. Main Title (Part 2) (1:55)
03. The Market (1:05)
04. All In Vain (3:24)
05. The Picnic (4:04)
06. Plans (5:08)
07. First Test (0:43)
08. Too Much Work (1:33)
09. Success (3:44)
10. First Flight (Original) (9:39)
11. The Car 2:19
12. The Patches (2:51)
13. Short Of Time (2:44)
14. Tomorrow We Go (1:05)
15. The Chemist (1:32)
16. No Time To Wait (5:35)
17. Final Flight (6:15)
18. Into The West (Revised) (3:41)
19. End Titles (1:14)
The Extras
20. Steel Guitar (0:52)
21. First Flight (Revised) (9:38)
22. Into The West (Original) (3:41)
INTRADA Special Collection Vol. 280
Retail Price: $19.99
Available NOW
For track listing and sound samples, please visit
http://store.intrada.com/s.nl/it.A/id.8754/.f
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
This will be my first time owning the score and after hearing the samples I simply cannot wait! Vintage 80's Goldsmith.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
New "digital mixes" from a three track tape... Okay, real complicated there folding down LCR to L/R?
I love this score and the previous expanded album is one of the oldest pieces of my Goldsmith collection. I'm glad it's available again for those who don't have it, but I'm not sold on the need for a double dip.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
New "digital mixes" from a three track tape... Okay, real complicated there folding down LCR to L/R?.
No, not to a qualified mixer. Provided the track levels are aligned correctly, the center channel is lowered 3 to 4db and assigned to both left and right channels.
I would like, maybe in the future, to have some more scores on SACD or blu-ray that retain their original LCR format. As good as a L/R mix sounds, you definitely lose something in the mix-down, but listening to the L/R mix, you would never realize it unless you were able to compare them side by side.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
