 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Creating this new thread on the occasion of the 50TH Anniversary of Franz Waxman's passing in 1967. Strangely, there is not yet a thread of this kind for this great composer.
Now being a serious soundtrack collector for the last twenty years, I'm constantly amazed by the embarrassment of riches left behind by the Golden Age composers - and how little recognition they got for it. Waxman's 1950s output is pretty well represented on CD, but it still seems like a small effort compared to his entire oeuvre. Most of this 1940s output as a Warner staff composer is irrecoverably lost. We don't know how much of his MGM work is still in existence.
Fortunately, (among others) these are still here to enjoy (or are available again through re-recordings):
A Place In The Sun
Cimarron
Crime In The Streets
Demetrius And The Gladiators
My Geisha
Objective, Burma
Peyton Place
Prince Valiant
Rebecca
Sayonara
Sunset Boulevard
Taras Bulba
The Nun's Story
The Silver Chalice
The Spirit Of St. Louis
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Feb 24, 2017 - 6:27 AM
|
|
|
|
By: |
Jim Doherty
(Member)
|
Franz Waxman indeed should have more of his music on CD. There is quite a bit that still exists (at least partially) from his MGM scores, and even from his earlier scores for Universal (there are only pieces of THE INVISIBLE RAY, but acetates of BRIDE OF FRANKENSTEIN and SUTTER'S GOLD are almost complete). There are some of his WB scores that still exist. There's about 15:00 of OBJECTIVE BURMA, a sizable portion of MIRACLE IN THE RAIN, and, in a rare instance of any WB music tracks from the 1950s still surviving in stereo, MISTER ROBERTS. Also, his last film score, for Columbia's THE LOST COMMAND (1966) exists in nearly complete form.
Who even knows what the demand for this GREAT music is anymore? Sure, I want have it. I'm sure a few more of you want to have it. But, can any label really afford to produce CDs of this great music if very few people these days are going to buy it? Let's face it, younger film music fans who grew up with Hans Zimmer, Marco Beltrami and Tyler Bates probably have no connection with the type of music written by people of the caliber of Waxman or Rozsa or Korngold or Steiner, and on and on, and the fans (and, therefore, consumer base) of that great "Golden Age," and at this point, even "Silver Age" stuff are unfortunately passing away.
Therefore, the demand for these great scores also diminishes. It certainly doesn't mean that the quality of the music has diminished, but that the appreciation and longing for them has decreased to the point where no label who wants to make a profit will put this stuff out.
Is there some other option? Can some label set up a made-on-demand option where CDs are only made as orders come in? Or, can any of these classic scores be made available as downloads?
|
|
|
|
|
|
|
|
|
|
Posted: |
Feb 24, 2017 - 6:31 AM
|
|
|
|
By: |
Thor
(Member)
|
Let's face it, younger film music fans who grew up with Hans Zimmer, Marco Beltrami and Tyler Bates probably have no connection with the type of music written by people of the caliber of Waxman or Rozsa or Korngold or Steiner, and on and on, and the fans (and, therefore, consumer base) of that great "Golden Age" at this point, even "Silver Age" stuff are unfortunately passing away.
I see no reason to be so glum. As long as we're talking the niche market (like this board presents), I think you'll find several people who can enjoy Zimmer and Beltrami one moment, and then Waxman or Korngold the next. I know that's certainly true for me.
Most of Waxman's major efforts are out on disc (some of them multiple times, in full or suite versions), but I'd certainly welcome more of the unreleased material -- especially if it's RE-recorded. I always prefer re-recordings to original recordings for older scores. But THAT industry is indeed dwindling, sadly.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I've heard music critics say that the reason the excellent Waxman isn't better represented in concerts etc. is that he was SO talented at being a chameleon (compare Prince Valiant with Crime in the Streets, or Peyton Place with Spirit of St. Louis, or Philadelphia Story with Tara's Bulbs) that he didn't jump out immediately ... you sometimes need to listen a bit before you realise it's him, unlike Rozsa or Herrmann etc.. He was in effect TOO good for his own good.
And he had quite a legacy with his music festival etc..
|
|
|
|
|
|
|
|
|
Posted: |
Feb 24, 2017 - 11:26 AM
|
|
|
|
By: |
Jim Doherty
(Member)
|
I hope some one goes on a search for the missing music for Miracle in the Rain, one of Waxmanx finest scores. The themes are so beautifully used in the film.
Eventually, you realize that the love theme and the theme for the Miracle are the same theme.
Joe, I agree. I hope that someday we can get the complete score of MIRACLE IN THE RAIN. It really comes from Waxman's heart, especially if you've heard Waxman's original Main Title instead of what WB decided to insert. I know what you mean about "Eventually, you realize that the love theme and the theme for THE MIRACLE are the same theme," but I would have to add a word... "Eventually, you realize that the love theme and the theme for THE MIRACLE are ESSENTIALLY the same theme." They ARE really close, but not really the sames theme.
MIRACLE IN THE RAIN originally had a great Main Title theme by Waxman that was eventually replaced by a version of the Ray Heindorf and Ned Washington's song "I'll Always Believe in You" which is also used later in the film. It sort of made sense, setting up things that would happen later in the film, but robbed the film of a great Waxman main title, much in the same way that Max Steiner's elegant main title music was replaced by a song at the opening of A BAND OF ANGELS a couple of years later, even though that song was at least based on a Steiner theme for the film.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Feb 25, 2017 - 8:20 AM
|
|
|
|
By: |
alintgen
(Member)
|
I would agree, that Waxman is probably the most versatile of all major film composers.
The Waxman founded Los Angeles Film Festival was a very important center of music and culture in the country. I don't remember the number exactly, but something like 80 American or World Premieres were done at the festival, most of them conducted by Waxman. Waxman also had a major international conducting career. For example, he is the only conductor to ever conduct all of the major orchestras in Russia (at the invitation of Shostakovich). In fact, he was such a good conductor that it is virtually impossible to match his performances on original soundtracks in re recordings.
The discussion of Waxman and other greats of the Golden Age brings up an interesting point. In the world of classical music, the older classical composers (like Bach, Mozart, Beethoven, Dvorak, Mahler, Strauss etc) continue to be regularly played and recorded decades and centuries after the works were written, but contemporary classical music is comparably ignored. Well, Waxman, Korngold, Herrmann, Steiner, Rosza, and Newman are the Bach, Mozart, Beethoven, Dvorak, Mahler, and Strauss of the film music world. That is not to say, for example, that Waxman is as good as Beethoven, but it is to say that they occupy similar places in the history of classical and film music. So, why are the great Golden Age composers largely ignored by contemporary film music fans, while contemporary scores by obviously inferior composers sell better? It is the opposite of classical music. It makes you think that many modern film scores sell as mementos of the films more than the quality of the music.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Again....where on earth are you guys taking this premise from?
Film music is a niche to begin with, and among fans (regardless of age), you'll find plenty who like both Golden Age and contemporary stuff with equal measure.
I say, Thor, that this 'premise' is based upon the infrequency of soundtrack releases containing vintage/pre-1970s recordings.
A number of composers who worked during the Golden Age had deceased around 1970 [Waxman (d.1967), Frank Skinner (d.1968), Alfred Newman & Leith Stevens & Nathan Van Cleave all expired during 1970, Paul Sawtell (d.1971), etc.], so their entire lifetime of output are from sound elements dating from 1960s, 1950s & earlier.
Discs of music from the '60s, '50s & earlier do not sell in great numbers, though.
True, there may exist cinema music fans of all ages who appreciate the entire spectrum of film music throughout the decades, but it seems as though only a subset of these folks are willing to spend $20+ per album of music by Aaron Copland ... or ... Kenyon Hopkins (to cite recent Intrada CDs).
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
