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I prefer re-recordings when they're faithful.
If they've been distorted or watered down in the take-down or in the re-orchestration, or if they're conducted to noticeably change the pace or mood, or if they're just performed or mixed bad, no thanks.
Of course, interpretations are fine. I define interpretation as the performer clearly sees a different 'take' on the material and wants to record that interpretation. What that happens, it's take your pick: do you like the new interpretation?
But whilst a lot of classical music recording is a famous conductor wanting to give an interpretation, most film music re-recording isn't going out to deliberately re-interpret, it's going out to effectively recreate lost scores. And in that venture, I think the goal should be faithfulness to the original.
If I'm honest, in the early years of Silva re-recordings, I was not always thrilled by the outcomes. I thought some of the material on, for instance "Bond Back In Action I" was just not right.
But, things have got better and better and better.
I can hear differences between Varese Sarabande's "Out Of Africa" and Barry's own 1985 recording, but they are minor and I adore both recordings.
And sometimes, as with Elmer Bernstein and "The Ghost And Mrs Muir", I do definitely prefer the rerecording even though it's less complete and you can clearly hear it's not a perfect forgery of the the Herrmann original recording. I play both at different times, but the Bernstein is my go-to recording.
On the other hand, as per a previous poster, Varese's "The Day The Earth Stood Still" just did not work for me. At all.
Sometimes, I'm split 50:50. Some days, I prefer the album re-recording of "Damien—Omen II" and sometimes I prefer the film recording.
In short, it's mixed. Sometimes you like one, sometimes you like the other. If we think about it, why would it be any other way?
And if we're determined to invoke the classical paradigm where there are no recorded "originals", then why wouldn't you want to own multiple recordings of your very favourite scores?
The Tribute Film Classics recordings are amazing.
And Tadlow have emerged as a major force in re-recordings. Their "El Cid" and "Lawrence Of Arabia" recordings are nothing less than incredible.
In short, I am a big fan of re-recordings of today even if I was hesitant about earlier ones. But, as I've said before, for me it's not either/or. It's both/and.
Cheers
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Original recordings because I'm getting the "real" thing. For me, a re-recording is only acceptable if the original tracks are either not available or lost.
For example, I have the Brigham Young Archives release of Max Steiner's original tracks to The Fountainhead, one of my favorite Steiner scores. Audio wise, yes, it is limited by recording techniques of the 1940s. But if Tadlow, Chandos, Varese or Intrada announced a new re-recording, I would have zero interest. I've got the original, what would I want with a knock off? If the Steiner tracks were lost or not available, then yes, I would be interested.
Let's put it this way. A woman can wear a $2,000 Valentino original. A dress company could knock off that dress for $79.99. It would look the same to the point that one might not be able to decipher the difference. But it's simply not the original.
But if Tadlow announced it was recording Tiomkin's The High And The Mighty, which has never had a soundtrack release, I'd snap it up in a micro second! I'd prefer the original soundtrack recording, of course but a re-recording is the second best option.
Bu hey ... that's just me!
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I generally prefer original tracks, but I'm not against re-recordings. I like hearing different interpretations.
On a related note, I've been playing the Donaggio/De Palma album a lot recently. It's a solid compilation, well performed, in my opinion.
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Posted: |
Sep 21, 2014 - 2:33 PM
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By: |
OnyaBirri
(Member)
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Also, there are Italian and French film music which is orchestral and possess no elements of pop rhythms or modes.
You are preaching to the choir.
Pop is very different from jazz, although there is overlap. There is jazz that leans closer to pop, and jazz that is 20th Century "serious" music, and all points along the spectrum between.
I would say the vast majority of composers from those countries to whom I listen have something of a jazz sensibility even in their straight orchestral writing. Piccioni, for example, often uses chord voicings associated with jazz in his orchestral scores. And Morricone's writing, from the period I listen to, almost always includes a variety of techniques, references and approaches from various genres. I could not imagine re-recordings of their scores, unless any of their albums are indeed re-recordings of their works and I just don't know it.
Also, I regrettably don't speak Italian, so will have to describe record covers, or give me years or genres, rather than listing film titles of most Italian films. I have a room full of LPs and CDs, and for better or worse have come to rely on visuals and my idiosyncratic filing system. So if you say the Morricone album with the mannequin on the cover, I know exactly what you're talking about.
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There are very few true jazz scores since jazz by definition implies impro, and film scores need precise control in their effect. There are plenty of jazz STYLE scores, and some with ad lib passages but not true jazz where each performance is impossible (virtually) to reproduce.
A good composer, mind you, only inserts ad lib where he knows one thing is as good as another, say, a cacophony.
So jazz type scores, especially with the Italian ambience of soundmix just can't be aped,though an American jazz style in tight composition can be, if you've talented soloists.
But with orchestral, the info is in the scoresheets and should be reproducable. To compare this field with that of buying an original designer dress is not valid. The original design is on the sheets, not in a possibly compromised first OST. I see no sense in this polarisation. If music is to live apart from the film it needs PERFORMED.
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Posted: |
Sep 22, 2014 - 6:08 AM
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By: |
Thor
(Member)
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Original tracks often don't sound like albums to me.
Re-recordings, if they are good, do sound like albums.
When I'm listening to a record, I want something that sounds like an album, and when i'm watching a film, I want the music to sound like and function like film music.
I couldn't have said it better. I'm the exact same way. Although, to be fair, mostly for older stuff (let's say, to pick a random year, pre-1970).
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