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LOG IN Forgot Login? Register General Discussion • Trading Post • Non-Film Score Discussion  Profile • Preferences • Community Rules • Help/Contact • Search Board Search Terms:  Search Within:  topics posts since 2019 2018 posts 2017 posts 2016 posts 2015 posts 2014 posts 2013 posts 2012 posts 2011 posts 2010 posts 2009 posts 2008 posts 2007 posts 2006 posts 2005 posts 2004 posts 2003 posts 2002 posts 2001 posts 2000 posts users  search tips  You must log in or register to post.   Go to page:  1 2 3      General Discussion: Name your favorite scores using the Ondes Martenot     1 2 3    NEXT   LAST   Last Post   Posted:   May 1, 2011 - 7:37 PM     By:   ToneRow   (Member) What are some of your favorite scores featuring the sound of the Ondes Martenot? Here's a couple of film scores whose Ondes Martenot are put to good effect: SECRET CEREMONY (1968) composed by Richard Rodney Bennett has this chilling yet mesmerizing Ondes Martenot, which can be heard in this YouTube clip below starting at around 2:53 and again at 5:58 minute point. http://youtu.be/tzR5W2sFlpQ Maurice Jarre also uses an eerie yet engaging Ondes Martenot during the rooftop fight sequences near the end of Georges Franju's 1963 remake of JUDEX. Unfortunately, this film is not currently available in YouTube complete, but here's an impressive early scene (which doesn't call for this instrument): http://youtu.be/pzO12aez9kE Being the French composer he was, Jarre shouldn't surprise anyone by his usage of the Ondes Martenot - this instrument was given a good amount of attention from French composers during mid-20th century. Here's but only 2 such concert works , portions of which exist in You Tube: The opening movement of the concerto by Marcel Landowski ... http://youtu.be/6a4IJ3g_CLg ... plus another (earlier) one by Andre Jolivet http://youtu.be/3CFpA_qr5Gw    Posted:   May 1, 2011 - 7:52 PM     By:   Redokt64   (Member) Anything that Cynthia Millar did with the late Elmer Bernstein... 1993 The Good Son 1989 My Left Foot 1988 The Good Mother 1987 Amazing Grace and Chuck 1986 Legal Eagles 1985 The Black Cauldron 1984 Bolero (Peter and Elmer Bernstein)    Posted:   May 1, 2011 - 7:57 PM     By:   Michael24   (Member) I had to look up Ondes Martenot to see what one was and get an idea of what it sounded like. The demonstration clip I found on Youtube made me think of a particular sound heard in Ghostbusters (such as the opening track), so if Bernstein used an Ondes Martenot in that, then I guess I'd say Ghostbusters, as I've always liked that cues played on it in that. Can't recall any other scores off the top of my head where I may have heard it.    Posted:   May 1, 2011 - 8:16 PM     By:   Josh   (Member) Elmer Bernstein's Ghostbusters, Heavy Metal, and more recently, thanks to Perseverance Records, Slipstream. I'll add The Black Cauldron to that list, but I foolishly sold our copy of the Varese CD many years ago during a cash crunch, so I'm really hoping it gets reissued soon (hopefully expanded).    Posted:   May 1, 2011 - 8:39 PM     By:   Charles Thaxton   (Member) Barry Gray's JOURNEY TO THE FAR SIDE OF THE SUN, UFO, and I believe he used it on SPACE 1999.    Posted:   May 1, 2011 - 8:49 PM     By:   Mark Ford   (Member) None really. For some reason it is an instrument that I just don't like the sound of despite the fact l love the Theremin, the Novachord, etc. Jarre's continual use of it finally turned me away from his scores and I don't care for any scores of Bernstein's where he used it significantly. Strangely though I do kind of like it in Barry Gray's scores like Journey to the Far Side of the Sun and especially UFO where it seems to fit the music and atmosphere of the series. Anyway, I have no real concrete answer for why I don't care for its sound except it sort of reminds me of a wishy-washy electronic slide whistle.    Posted:   May 1, 2011 - 8:52 PM     By:   MMM   (Member) Maybe it's just me, or maybe it's because Elmer Bernstein went through a long phase when EVERYTHING he wrote featured that damn instrument, but I really dislike the instrument and hope to never hear it again as long as I live. There's something very cold and uninvolving about it to me. I would much rather hear a Novachord, Theremin, electric violin, or Mellotron than the Martenot. I don't think I've listened to any of Bernstein's scores in ten years that featured it.    Posted:   May 1, 2011 - 9:06 PM     By:   Advise & Consent   (Member) The Bride by Maurice Jarre and Journey to the Far Side of the Sun by Barry Gray.    Posted:   May 1, 2011 - 9:09 PM     By:   Charles Thaxton   (Member) I think it's use during the astronaut sleep sequence in JOURNEY TO THE FAR SIDE OF THE SUN has a nice warm quality...but being a synth player myself, my idea of "warm" may differ from yours.    Posted:   May 1, 2011 - 9:15 PM     By:   orion_mk3   (Member) Maybe it's just me, or maybe it's because Elmer Bernstein went through a long phase when EVERYTHING he wrote featured that damn instrument, but I really dislike the instrument and hope to never hear it again as long as I live. There's something very cold and uninvolving about it to me. I would much rather hear a Novachord, Theremin, electric violin, or Mellotron than the Martenot. I don't think I've listened to any of Bernstein's scores in ten years that featured it. I feel the same way, if less strongly. In a sci-fi/fantasy/horror context, as in Heavy Metal, Ghostbusters, Slipstream, or Mars Attacks, it can be pretty good. But in a dramatic score, it's the kiss of death.    Posted:   May 1, 2011 - 9:28 PM     By:   SBD   (Member) As a huge fan of the Ondes, I can name quite a few scores. Obviously, THE BLACK CAULDRON, but also... GHOSTBUSTERS MAD MAX BEYOND THUNDERDOME HEAVY METAL SLIPSTREAM A PASSAGE TO INDIA SPACEHUNTER SPIES LIKE US MARIE WARD Honestly, with the deaths of Bernstein and Jarre, I'd given up hope on ever hearing it in a film score again, so I was quite tickled that David Arnold used it for PAUL.    Posted:   May 1, 2011 - 10:25 PM     By:   Octoberman   (Member) My vote: "Heavy Metal" all the way.    Posted:   May 1, 2011 - 10:42 PM     By:   Morricone   (Member) HEAVY METAL too.    Posted:   May 2, 2011 - 12:14 AM     By:   filmusicnow   (Member) Let's not forget Georges Auric's use of it in "L'Dee".    Posted:   May 2, 2011 - 12:50 AM     By:   Julian K   (Member) It works best in Ghostbusters, where it adds a mournful touch to Bernstein's otherwise quite cheery score.    Posted:   May 2, 2011 - 1:06 AM     By:   Loren   (Member) Maybe it's just me, or maybe it's because Elmer Bernstein went through a long phase when EVERYTHING he wrote featured that damn instrument, but I really dislike the instrument and hope to never hear it again as long as I live. There's something very cold and uninvolving about it to me. I would much rather hear a Novachord, Theremin, electric violin, or Mellotron than the Martenot. I don't think I've listened to any of Bernstein's scores in ten years that featured it. I feel the same way, if less strongly. In a sci-fi/fantasy/horror context, as in Heavy Metal, Ghostbusters, Slipstream, or Mars Attacks, it can be pretty good. But in a dramatic score, it's the kiss of death. Same here. My left foot's h.m. is unbearable. Slipstream's or Mars Attacks' h.m. sounds just perfect. So thumbs half way.    Posted:   May 2, 2011 - 2:05 AM     By:   The Underground   (Member) "Billion Dollar Brain" (Richard Rodney Bennett)    Posted:   May 2, 2011 - 3:49 AM     By:   joffa   (Member) GHOSTBUSTERS, specifically in "Dana's Theme", a gorgeous cue that's never off my high rotation playlist... There was also some really nice stuff in LEGAL EAGLES, from my memory of the vinyl.    Posted:   May 2, 2011 - 5:23 AM     By:   JamesFitz   (Member) I always felt that Elmer rather over-used the Ondes eventually ... featuring it more as a solo instrument rather than, as Jarre more often or not did, as an extra orchestral texture doubling the high violin and flute lines. I feel that Jarre's use of the ondes to create these additional "beyond this world" textures was particular well used in his scores for THE MESSAGE and JESUS OF NAZARETH ... giving both a more spiritual element. And of course his use of 3 ondes in both LAWRENCE and MAD MAX BEYOND THUNDERDOME is a model of restraint compared to some of Elmer's scoring.    Posted:   May 2, 2011 - 6:22 AM     By:   Loren   (Member) I always felt that Elmer rather over-used the Ondes eventually ... featuring it more as a solo instrument rather than, as Jarre more often or not did, as an extra orchestral texture doubling the high violin and flute lines. I feel that Jarre's use of the ondes to create these additional "beyond this world" textures was particular well used in his scores for THE MESSAGE and JESUS OF NAZARETH ... giving both a more spiritual element. And of course his use of 3 ondes in both LAWRENCE and MAD MAX BEYOND THUNDERDOME is a model of restraint compared to some of Elmer's scoring. By the way James, never thought about releasing JESUS OF NAZARETH ? the last LEGEND release is horrid.     General Discussion: Name your favorite scores using the Ondes Martenot    < 1 2 3  > >>  Go to page:  1 2 3   First Post    General Discussion • Trading Post • Non-Film Score Discussion  Profile • Preferences • Community Rules • Help/Contact • Search Board You must log in or register to post.   Go to page:  1 2 3

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