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KIND DAVID (2-CD)
Music Composed and Conducted by Carl Davis
Limited Edition of 1000 units
Release date: 09/08/2014
World premiere release of mammoth score composed by Carl Davis (The French Lieutenant’s Woman, Frankenstein Unbound, Champions) for the 1985 Biblical epic from Paramount Pictures.
Actor Richard Gere gives a bravura performance as the lowly shepherd boy who ascends to the throne of ancient Israel in this compelling, thrilling Biblical saga directed by acclaimed filmmaker Bruce Beresford. This panoramic drama brings David and his legendary Old Testament adventures to life, from his confrontation with Goliath to his self-destructive desire for Bathsheba. Supporting cast includes Edward Woodward as Saul, whose complex relationship with David is the catalyst for strife and conflict that threatens both kingdom and crown in this sweeping, exciting screen epic!
Performed by The London Symphony Orchestra under the baton of the composer, this 2-CD set (for the price of one) contains all the material conceived by Davis for the film, including several alternates (many involving choir). Davis adopted a bold and somewhat austere approach for his score, resulting in haunting, powerful music that is somewhat off the beaten path for Biblical epics. The score features many original source dances and songs as well as dramatic underscore.
The album has been almost entirely mastered from original stereo masters, vaulted in pristine condition courtesy of Paramount Pictures; four cues (and one source dance) that were rescored by Davis for the film’s final cut have been taken from the mono music stem. Although the master recordings of these cues have been lost, the original versions conceived by the composer are here and in full stereo. Package includes a 16-page full color booklet with liner notes by Frank K. DeWald.
This title is now available for order and shipping.
For more info and listen audio samples, please visit www.quartetrecords.com
Don’t forget to regulary check our “upcoming releases” section http://www.quartetrecords.com/upcoming-releases.html
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Wonderful, I've wanted this score for years. I actually asked Carl, at a concert he did if there was any chance of a release of the score, he didn't confirm or deny it, so I just kept hoping, and now here it is.
Bravo Quartet.
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Very nice.
A magic score with several really good themes.
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I remember seeing this one in Edinburgh, and, try as I might, I just couldn't get anyone to go with me, so I went on my own and the theatre was empty bar me, one married couple, and a man whose every detail cried out 'rabbi'. Yet the queue for '9 and a half weeks' stretched round the block. I heard the projectionist shout, 'No, we have to show it: it's been advertised.'
Peter Schaffer's play 'Yonadab' dealing with the same material bombed around that time too.
I think many folk don't really realise the scope of that massive saga. And y'know, though no masterpiece, it's not so bad a film. The public just weren't prepared to see Gere as David. Gilboa was shot in Switzerland and I recall publicity footage of a poor extra wandering around the location waiting for medics to withdraw an arrow from his leg.
Woodward is good as the manic-depressive Saul, and there's depth analysis re the darker side of the prophetic mindset. Poor Richard has to dance ecstatically into Jerusalem in a loincloth, the biblical scene where he makes a fool of himself and gets rebuked by Michal his wife. And what did the critics attack him for? ...yep, making a fool of himself. You can't win when you're Richard Gere ... they own you. But he looked the part, he IS a David bodily.
Davis's score is very powerful, not his usual typecast 19th Century romantic silents style. He's versatile. Synths play a part here and there. A great score.
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DP.
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I just listened to the samples, and this is a score that clearly bears analysis, far more so than just what made it to the OST.
One of the most arresting passages in the score is the big theme for Saul and his army as starts the battle at Gilboa, (sample track 17 I think), and the supplemental stuff on disc 2 shows this a development of one of the Psalm tunes Davis wrote.
All the tracks together and sequenced make quite a composition, I'd think.
I like Davis' music always, but some have said they don't quite gel with it. This is possibly the Davis score that might convince them, since the style is quite different, yet it's still identifiably Carl Davis. This, and 'The World at War' show more of his eclectic skill than is often known. He's a master.
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I don't remember this but the samples sure sounded great. Looking forward to hearing the rest of it. Thx quartet
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I ought to correct a statement above. I don't think synths do play any signif part.
'Not sure where I got that idea from.
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Received my copy just a few hours ago and listening right now...
It's gorgeous! Wonderful orchestral score.
Thank you very much, Quartet!
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Now when I have heard it all several times, and albeit my above post, I must comment that in my humble oppinion the inclusion of the Mono tracks among the rest in Stereo is a mistake.
These cues taken from the Mono film stem broke the fluidity of the listening experience. There is an obvious difference in sound quality. One of them even has sound effects (knocks). These tracks are mostly short and they could have been placed at the end of Disc 2, maybe as a separate section.
The inclusion of the Alternate versions of these same cues in Stereo as Bonus makes the above even more annoying. Yes, I understand that the Alternates are not heard in the film, but I would have prefered to have the Alternates in gorgeous Stereo placed instead of the Mono tracks, so to keep the listening fluidity without ups and downs.
I am sure other collectors may disagree, and as said I like this album (and respect its producers) a lot, but this is what I feel. Sure, I can program my player, but this is not the point. This may become the old discussion (again) about strict film order against album re-order so to achieve a mayor listening pleasure.
Personally, I definitely prefer the fluid listening experience over the strict film order, especially in this case, when such an artistical liberty would have been justified for an important reason (I mean the difference in sound quality).
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My copy of King David arrived today, and having listened to the entire score (through headphones) I have to say that Quartet have done a wonderful job. The mixing of the mono tracks with the stereo is well done, they've managed to keep the volume level of the mono tracks to the same level as the stereo and the sound quality isn't all that different. It's certainly no worse than the expanded version of The Good, The Bad and the Ugly. It's always difficult mixing stereo and mono, in this case Quartet have done an excellent job. The knocking sound the above poster referred to in track 14 is in actual fact someone playing a percussion instrument (don't know what it is) which comes in right at the end of the piece of music.
Many thanks Quartet for releasing a score that I'd given up all hope of ever owning. Great job folks, please keep up the good work.
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