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Posted: |
Jul 7, 2016 - 10:57 AM
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By: |
Grecchus
(Member)
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Does the lack of availability of the Dracula source have something to say about the initial general perception of the film?
The film seems to me to have a somewhat lacklustre following, which rubs off on the overall value of everything else connected to it, including the score, no matter who wrote it. If one generalizes the picture with some brutality, it becomes associated with a sense of ill-worth and lack of commercial success and, hence, it's remunerative value equates to somewhere near zero. That may not be the case today, but years ago, it may have been viewed as little more than dead weight. It's the same sort of world path taken by Raise The Titanic. The film bombed and the original score is nowhere to be seen. So you don't bother to take care of storing it, or someone with an appreciative sense of the artistic value of the music walks off with it assuming not many will care or even notice? There's an interesting aspect here, which is - the whole of the musical source material embedded in the film as the original soundtrack is copyright, even if it no longer exists in exactly reproducible material form.
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Posted: |
Jul 7, 2016 - 12:14 PM
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By: |
Amer Zahid
(Member)
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Does the lack of availability of the Dracula source have something to say about the initial general perception of the film?
The film seems to me to have a somewhat lacklustre following, which rubs off on the overall value of everything else connected to it, including the score, no matter who wrote it. If one generalizes the picture with some brutality, it becomes associated with a sense of ill-worth and lack of commercial success and, hence, it's remunerative value equates to somewhere near zero. That may not be the case today, but years ago, it may have been viewed as little more than dead weight. It's the same sort of world path taken by Raise The Titanic. The film bombed and the original score is nowhere to be seen. So you don't bother to take care of storing it, or someone with an appreciative sense of the artistic value of the music walks off with it assuming not many will care or even notice? There's an interesting aspect here, which is - the whole of the musical source material embedded in the film as the original soundtrack is copyright, even if it no longer exists in exactly reproducible material form.
If we pick up the pieces as to when and where it was recorded
in London, although recording engineer Eric Tomlinson might have had the lead on it, but he died recently...we should ask our Chris Malone sound engineer, since he knew him well.
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Remastered album on one disc, complete score from whatever elements exist on another, sell it for $19.99. Make it happen, labels!
And Mr. Fitzpatrick, get on a good re-recording!
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This score, if recreated properly, is really beyond the Prague Phil and Nic Raine's range. This score is like those great classical records of the fifties and sixties. Only a team with an amount of commitment comparable to John Williams/LSO in '79 will get anywhere near the operatic thrill of that original album.
I'd thought that, under John Williams' auspices, Gustavo Dudamel and the LA Philharmonic could have done it justice. Maybe they could. I think to do a just recording, you'd have to get an ensemble along the lines of Solti/Chicago Symphony, or Walter/New York Philharmonic.
I just don't know, because I can't afford to know, which conductor and ensemble really has the chops to do this much-needed re-creation justice. But this project really should be a priority for John Williams himself as he becomes elderly, and begins to look to his legacy.
While JW's legacy is certainly substantial enough as it is, a proper recording of this fantastic score would be a great bon-bon to go with an already existing feast.
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Salonen did a marvellous job with Herrmann's F451 and other scores with the LA Phil a few years back (ok more like a couple decades) and I'd love to hear him treat Dracula in a similar way- make it more concertized not in its structure but in the expression. The sound quality of that Herrmann Film Scores CD is to die for. At times the orchestra is thunderous!
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