 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Damn. I received my LES MISERABLES CD last week but I've only gone and mislaid the thing - it's not even out of its shrinkwrap. Anyone got any idea where I might have left it?
NP: THE SIXTH DAY (Trevor Rabin). Which I wouldn't be listening to if I could find my Les Miserables.
|
|
|
|
|
|
To have this long-desired score in this quality is, quite frankly, astonishing.
I agree, the sound quality on this release is super. It's certainly the best recording I've heard from the optical film era thus far. The stereo field even has some directionality to it, which seems rather atypical when compared to other Fox optical recordings that I've heard from this time frame.
|
|
|
|
|
|
|
|
|
|
I heard this finally and it is marvelous. As you say, he's working in the Newman style occasionally, but not for long - suddenly the North we know and love comes popping out and it's just a mesmerizing listening experience, and the sound really is amazing for a recording that old. One can never give enough kudos to Mr. Redman and his Fox team.
|
|
|
|
|
|
|
 |
Posted: |
Jul 29, 2007 - 3:27 AM
|
|
|
|
By: |
Dana Wilcox
(Member)
|
Well, I couldn't be more pleased with this album. It's truly wonderful. How fascinating to hear North working in a somewhat more "conventional" style, but still unmistakably himself. Modernisms abound, but within the context of the late-Romantic conventions which were no doubt expected for a film of this type in 1953. Steiner it definitely ain't, though.
And apart from the superb music it's in stereo, too! Does anyone else find it odd that the liner notes make absoutely no mention of this fact?
How about Track 14, "Barricade"? One of the best action cues ever, and uniquely North! The sound is astonishingly good (and as Essankay points out, stereo) for a 55-year-old recording. The liner notes, while doing an okay job with a little film history and a recounting of the story, unfortunately give us next to nothing about the music or production, beyond where the tracks fall in the plot. I am thrilled to have the disc, finally, and can't help but think how nice it would be if the folks at Varese would take a lesson from the superb notes booklets that accompany all FSM releases.
The discs I ordered from Varese when the releases were first listed still haven't come, or even been charged to my debit card, while the ones I ordered a couple of days later from Screen Archives, as an afterthought, arrived today. CANNON FOR CORDOBA/FROM NOON TILL THREE is a delight as well.
|
|
|
|
|
|
|
Damn. I received my LES MISERABLES CD last week but I've only gone and mislaid the thing - it's not even out of its shrinkwrap. Anyone got any idea where I might have left it?
Last I saw, it was over by the loaf of bread and Bishop Courbet's candlesticks.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Found my LES MIS today, in the glove compartment for some reason.
And ... well, it's okay. It hasn't blown me away on first listen (I'm not familiar with the film); but I'll try and play it again this week sometime and see if it grows on me.
|
|
|
|
|
|
|
 |
Posted: |
Aug 8, 2007 - 1:25 AM
|
|
|
|
By: |
Ag^Janus
(Member)
|
Finally I managed to give Les Mis some time. I have only a faint idea what the Les Miserables is about. No doubt that knowledge would enlighten me somewhat, however my perspective is fresh.
First things first, this is misery, grinding, oppressive suffering incarnate in music. When Varése claimed in the product announcement that it would be a revelation, they were not wrong. Revealed to me was abject misery, the most wretched dragging kind, not a bit inviting. I found myself hoping for a moment of relief, and it came briefly in The Potter Shop, but not any joy, rather humble normality only to be wrenched back to reality at the end.
The music, in creating the mood, is brilliant. I expect no less of North, knowing what he is capable of. A quick look at Barricade reveals a giant piece of musical dramatization of mood. A Defiant militaristic tone, starting out with a clear patriotic influence. The intrusion of the Les Mis roots the momentary escape in action, what seems to be minor successes at the beginning in flute, driven on by incessant deep piano chords and low string plucking. I can't get enough of those brilliantly executed bouncing trumpet duos acommpanying the signature North brass snarling. I have only recently heard The Devil's Brigade. Barricade is monumental, I look forward to reviews.
Taking it's place as major work in my North collection, amongst many greats, plenty of signs of the future music to come from North that we have already heard. The performance is certainly one to cherish, the Fox orchestra seems unrivaled, very tight and supremely confident. Having that in clear early 1950's stereophonic sonics is a great boon.
I look forward with indubitable listening many times in the future. With only 1000 copies sold out I can only wonder at the future situation of availability.
|
|
|
|
|
|
|
I haven't spent too much time with this (Arnold's Godzilla has been getting a lot of air play as well as Yared's 1408) but North is one of my favorites and I'm looking forward to delving into this score.
Funny thing: I ordered from Varese initially but they were dragging their rears on shipping so (I thought) I cancelled the order and ordered through Intrada (much faster response) only to discover that the Varese order still went through. Ah well. I think I can afford to have one un-wrapped North classic in case I ever need to sell it on eBay or something,,,,
|
|
|
|
|
|
Alex North is my favorite American composer and "Les Miserables" is my 3rd favorite North soundtrack (and that's sayin' a lot when I consider 45% of North's soundtracks as 4-star masterpieces).
This sold-out Varese Club CD should have been reissued by this time, IMO.
|
|
|
|
|
|
Thank you bringing up this score again. Thanks to you, I just gave it another listen. What a great CD! I am in the camp that likes the North scores that are are melodic and tonal. This is one of them, and one of my favorite North scores. Plus the sound is wonderful, Newman's conducting is precise and full of passion as usual, and the orchestral performance outstanding. Truly, the Fox orchestra had to have been the equal of many symphony orchestras at the time, and the Fox orchestra probably had nowhere the rehearsal time symphony orchestras had. I'm guessing, perhaps a run-through, and then, "Let's record." (Anybody know more about that? Did they have ANY rehearsals, or did they just start recording on the first sight-read performance?)
Instead of certain individual cues, the thing that always goes straight to my heart about this score is the transformation of a tiny two-note motif. It first appears in the Main Title at several points (like 0:13, 0:18 and 0:33). It consists of two chords, usually a half-tone apart, ascending or descending, depending on where they appear. It pops up infrequently within the score itself (for instance, in "Boiling Sea," the end of "This is for Your Memory," "The Potter Shop" and "Order, Order") These chords always give off the feeling of despair and strife. But finally, in the End Title ("Take Care of Her'"), at about the 2:00 point, those two chords are suddenly transformed into a brilliant thing of beauty, triumphant and hopeful. It gets to me every time.
Yes, certainly worthy of a reissue.
By the way, when after the End Title you hear Newman say, "You're so wonderful," I always wondered if he was talking to North or the orchestra.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
