 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Jul 22, 2018 - 11:31 AM
|
|
|
|
By: |
Tom Servo
(Member)
|
Great memories evoked from this CD this morning.
It sounds excellent, especially for a live concert. The miking makes it sound VERY OST-like.
There's also no clapping or coughing (that I noticed), so I assume this was recorded in the rehearsal environment.
The choice of MK titles is fantastic. HIGHLANDER never sounded so good (aside from a slight squawk from the brass at the very end).
DON JUAN is very nice, despite my never really loving the CD. I liked bits and bobs of it, but could never get in there and formulate a nice suite of it, so this will be my future 'go-to' of this score.
The Action Suite was a dream come true, hearing it played live. 13 minutes of orchestral action Kamen brilliance (with a dash of Monty Norman/John Barry thrown in). It should become a staple of film music concerts henceforth.
I won't go through everything, at the risk of boring you all, but anyone who managed to grab a copy of this (now sold out) CD, is in for a treat.
Also, The MOSMA Fanfare*, which opened the concert and this CD, is such a fun tribute to Jerry Goldsmith, riffing on his Universal Logo music and Soarin'
*composed by Arturo Díez Boscovich
I totally agree with all that's stated, but also wanted to add a few more comments. It really is such as well-rounded presentation of all the variety in Kamen's creative output, well performed and arranged throughout. The Action Suite is a great addition, they tackle the Mulholland Chase from LW 2 amazingly well. I was a little surprised that the cues chosen to represent Die Hard weren't the action cues, but what can do, the suite has to have an ebb and flow to it.
The Baron Munchausen suite is another highlight, one of my favorite Kamen scores, although I do miss the harpsichord, which is so prominent on the original recording. The tempos are a little slower here too, but that's pretty common when it comes to live concert performances of film music.
The biggest disappointment for me is the suite from Robin Hood. It starts as expected with the overture, then moves into the Marian at the waterfall cue, but for entire rest of the suite it simply focuses on this love theme. I mean, I know that it is the most-remembered theme from the movie thanks to the Bryan Adams vocal version, but around the 8 or 9 minute mark I was really hoping to hear the main Robin Hood theme again in some fashion. Maybe the training montage cue? Only in the last seconds do we hear Robin's theme again, as in the film. But I personally was frustrated that 95% of that suite consists of variations on the love theme when there is other thematic material in the score that could have been included.
|
|
|
|
|
|
|
This is also still available on Intrada - I picked it up with the two Mummy releases, but I'm afraid the silly antics of O'Connell & Company are taking all my attention for the moment. But looking forward to listening when I take a breather.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
