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Posted: |
Oct 11, 2014 - 4:28 PM
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By: |
litefoot
(Member)
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1) As it was stated above, film credits are rather strange - first one said "composed & conducted by J.B.", second - "orchestrated & performed by Jonathan Elias and John Peterson".
So does it means, that Barry probably composed 2 versions for one film? Or he wasn't involved in final phase (very unlikable situation), so Jonathan Elias and John Peterson orchestrated & performed the score? Or maybe it was contract conditions that he must be credited as composer & conductor?
2) If I remember, the film shot was mostly by Canadian studio. So maybe here we have another sad situation as it was with Funeral Home - local music association will ask huge payment for releasing this score, so labels will think 2-3 times before they will make a deal? But from another point of view, only 2 musicians were used according to credits, so maybe we can have a hope?
That sounds like an orchestral score AND an electronic score were recorded. Say a label like Intrada wants to release both versions on one CD, but the cost of the orchestral version is prohibitive and they don't want to release the electronic version on its own? Maybe.
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We could be creating apocrypha here.
As far as I know the "Bells" score was always going to be synthesized. The credits are a bit weird, yes, because who conducts a single player? However, I've never heard that Barry first turned in an orchestral score. I've only ever heard that it was his first fully synthesized score.
Perhaps Jonathan Elias would communicate with us on this.
Cheers
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I am watching this motion picture now.
The score is good - a bit like Jagged Edge - actually better perhaps(?) - gothic organ like.
If the score was released in CD format I would be contacting my bank manager for a transfer of funds to acquire this score.
Mild.
Elias performed on Jagged Edge too, so not so strange it sounds a bit like that.
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I knew that Jonathen Elias performed on Murder By Phone, but I didn't know that John Petersen (from Miami Vice Season 4 fame) worked on it too.
I have had contact with both in the past, I can ask Petersen about this in an e-mail.
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Some thoughts, courtesy of friends we've discussed this with.
JB's "composed and conducted by" credit was probably determined and contracted before JB had worked the score out. Then when he decided he wanted his score rendered by synthesizer, that's when the other guys got contracted and had their contractual credits determined.
You can't take everything as a literal truth.
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Posted: |
Aug 8, 2018 - 5:43 PM
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By: |
Alex Klein
(Member)
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I remember hearing the compositional touch of John Barry in the music of Murder by Phone, but hidden underneath a radically different style.
I think Barry composed the themes and then handed them over to Elias and Petersen, who did their own thing with them. A similar situation than with Ken Thorne a decade earlier.
If this is correct, I wonder how this situation came about? Did Barry always set out to do that, or did he change his mind at a later point? Was the decision reached because of music/film-related reasons, or was Barry once again too busy to handle the entire scoring process?
It really depended on the project. What is definitely true, however, is that Barry used to write most of his sketches on four and five-staff music paper, which he later either orchestrated himself or handed over to an orchestrator with detailed instructions so as to keep the signature Barry sound (low brass choir accompanying almost every one of his melodies, alto flute as a solo instrument, etc).
With films that didn't seem to interest him that much, Barry generally relegated not only orchestrating duties but scoring duties as well (Murphy's War, They Might be Giants, The Golden Seal, The Appointment). With Bells, this certainly seems to be the case, although the keyboard players don't seem to have written much else to go with Barry's themes.
Alex
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Mr. Petersen replied "yes, guilty as charged" when I asked him if he had worked on Murder By Phone.
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. 
.