 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Thanks to a poster over at the Rozsa Society's site, (Ben Williams), we have news of this French release. A lot of people here have wondered if they could pick this up in its old Varese Sarabande form. It also includes the old Frankenland album of concert pieces, including the longer, unrevised Concert Overture:
http://www.disquescinemusique.com/english/DCM_141_E.html
|
|
|
|
|
|
|
|
|
|
I have another recording (on LP) of the the three concert works,
with Rozsa conducting the RCA Italiana Orchestra. It's dated
as a 1976 release with liner notes by Christopher Palmer.
I wasn't aware of the Frankenland recording.
Den
There are download realeases of that album too somewhere. You'll be interested in the 'Overture to a Symphony Concert' on the Frankenland, because Rozsa edited it for later performances, and chopped a very taught and virile bit near the end, for God knows what reason. So this is the only full recording.
|
|
|
|
|
|
And oh, how I've missed and longed for that "taught and virile bit"! Best news I've heard in a long time -- Thanks!!!
Now, if only somebody would release that choral album featuring "To Everything There is a Season"!
|
|
|
|
|
|
|
 |
Posted: |
Sep 21, 2012 - 12:40 PM
|
|
|
|
By: |
.
(Member)
|
A lot of people here have wondered if they could pick this up in its old Varese Sarabande form.
I doubt we'll ever see a legitimate CD release, now that Disques Cinemusique have got hold of a copy of the LP they had nothing to do with creating and swamped it in their customary wash of fake reverb.
What a pity wonderful works by Rozsa, Skinner, Young and others have fallen into their hands. I blame the so-called "specialist" labels for not giving us proper re-releases of these LPs on CD before now, therefore opening the doors to the likes of DC to step in, and giving them a thousand or two of hungry buyers to feed off.
For the cost of this crummy release, and their next one (whichever label's old LP they decide to grab and release as their own), I've this morning bought a membership for the Film Music Society. From now on my money is going to labels or organizations that deserve it, rather than encouraging second-rate outfits to use the names of Rozsa, Skinner and Young to give their shoddy products an aura of false respectability.
|
|
|
|
|
|
|
|
|
|
Posted: |
Sep 21, 2012 - 1:57 PM
|
|
|
|
By: |
quiller007
(Member)
|
A lot of people here have wondered if they could pick this up in its old Varese Sarabande form.
I doubt we'll ever see a legitimate CD release, now that Disques Cinemusique have got hold of a copy of the LP they had nothing to do with creating and swamped it in their customary wash of fake reverb.
What a pity wonderful works by Rozsa, Skinner, Young and others have fallen into their hands. I blame the so-called "specialist" labels for not giving us proper re-releases of these LPs on CD before now, therefore opening the doors to the likes of DC to step in, and giving them a thousand or two of hungry buyers to feed off.
For the cost of this crummy release, and their next one (whichever label's old LP they decide to grab and release as their own), I've this morning bought a membership for the Film Music Society. From now on my money is going to labels or organizations that deserve it, rather than encouraging second-rate outfits to use the names of Rozsa, Skinner and Young to give their shoddy products an aura of false respectability.
Gosh....don't hold back now. Tell us how you really feel! 
Seriously, why the grudge against Disques Cinemusique?
Are you claiming they're a boot outfit or something along those lines?
Den
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Sep 21, 2012 - 2:07 PM
|
|
|
|
By: |
TJ
(Member)
|
A lot of people here have wondered if they could pick this up in its old Varese Sarabande form.
I doubt we'll ever see a legitimate CD release, now that Disques Cinemusique have got hold of a copy of the LP they had nothing to do with creating and swamped it in their customary wash of fake reverb.
What a pity wonderful works by Rozsa, Skinner, Young and others have fallen into their hands. I blame the so-called "specialist" labels for not giving us proper re-releases of these LPs on CD before now, therefore opening the doors to the likes of DC to step in, and giving them a thousand or two of hungry buyers to feed off.
For the cost of this crummy release, and their next one (whichever label's old LP they decide to grab and release as their own), I've this morning bought a membership for the Film Music Society. From now on my money is going to labels or organizations that deserve it, rather than encouraging second-rate outfits to use the names of Rozsa, Skinner and Young to give their shoddy products an aura of false respectability.
Gosh....don't hold back now. Tell us how you really feel!
Seriously, why the grudge against Disques Cinemusique?
Are you claiming they're a boot outfit or something along those lines?
Den
Some people are against public domain releases.
|
|
|
|
|
|
|
Cool down Basil. A bit of fact checking before spouting out your rants wouldn't hurt.
It almost seems, although I'm not pointing a finger at you, that you have some kind of agenda. If so, please be more transparent about it.
|
|
|
|
|
|
A more appropriate companion piece would've been Rozsa's "Tripartita" which was composed in his crime film style, and of I which I know was recorded only once.
It was recorded three times, by Amos, Bamert and Gamba. If you go to the Rozsa Society site, there are downloadable full discographies of all Rozsa's recordings, in Excel or PDF form. I'm always foxed as to why Rozsa fans don't go there for their info rather than elsewhere.
But this album isn't about recording, rather re-issuing. The three recordings of the Tripartita are good full digital recordings, there was no recording made before the Amos/LSO release. There is therefore no recording of the Tripartita that is compatible in terms of audio with the older Frankenland acoustic.
It was a 1970 work, and I'm not sure one could really say it's in 'Film Noir' style, certainly not contextually, anyhow.
|
|
|
|
|
|
|
|
|
Posted: |
Sep 21, 2012 - 3:23 PM
|
|
|
|
By: |
.
(Member)
|
Some people are against public domain releases.
Not necessarily. I've bought ALL Disques Cinemusique's releases by Skinner, Young, Rozsa etc, and I've also several of the original recordings they've lifted from. So I've directly compared plenty of them. Now I've drawn the line and said "enough". Almost invariably, they turn the sound into an inconsistent mush, with erratic application of a stereo reverb that comes and goes, varies in intensity during tracks and between channels. It is nothing like the excellent improvements that are to be found in more competent releases by our better labels. In my opinion, buying further DC manglings of fine recordings is like poking a finger in the eye of those who go to the trouble of doing a good restoration job.
I doubt there are many here who regularly ask for our main labels to give us more from Skinner and Young (and others) than me, but to hear what DC is serving up is worse than not having the music at all because it effectively cancels out any chance of a proper, high quality release anytime soon. Imagine if these people had released all FSM's titles in place of LK and his engineers and craftsmen. We would have a pile of porridge-coated music from third-rate sources by great composers sitting on our shelves. I'm no longer going to pay money for such stuff. I rate DC as beneath even Harkit-level and it's sad that their releases might be the last word on recordings by such magnificent composers.
At first I was excited to see the titles they were putting out and even praised one or two of them. But now I like to think I know better.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Sep 22, 2012 - 5:18 AM
|
|
|
|
By: |
chriss
(Member)
|
Some people are against public domain releases.
Not necessarily. I've bought ALL Disques Cinemusique's releases by Skinner, Young, Rozsa etc, and I've also several of the original recordings they've lifted from. So I've directly compared plenty of them. Now I've drawn the line and said "enough". Almost invariably, they turn the sound into an inconsistent mush, with erratic application of a stereo reverb that comes and goes, varies in intensity during tracks and between channels. It is nothing like the excellent improvements that are to be found in more competent releases by our better labels. In my opinion, buying further DC manglings of fine recordings is like poking a finger in the eye of those who go to the trouble of doing a good restoration job.
I doubt there are many here who regularly ask for our main labels to give us more from Skinner and Young (and others) than me, but to hear what DC is serving up is worse than not having the music at all because it effectively cancels out any chance of a proper, high quality release anytime soon. Imagine if these people had released all FSM's titles in place of LK and his engineers and craftsmen. We would have a pile of porridge-coated music from third-rate sources by great composers sitting on our shelves. I'm no longer going to pay money for such stuff. I rate DC as beneath even Harkit-level and it's sad that their releases might be the last word on recordings by such magnificent composers.
At first I was excited to see the titles they were putting out and even praised one or two of them. But now I like to think I know better.
I agree with everything you wrote here, Basil! And I do believe this kind of CDs prevent legitimate and professional (!) mastered releases.
I just don't understand why SAE sells this. I mean there was this kind of "crusade" against bootlegs and those lousy public domain releases (like the recent "Bunny Lake is Missing"). I don't get it.
|
|
|
|
|
|
|
I just don't understand why SAE sells this. I mean there was this kind of "crusade" against bootlegs and those lousy public domain releases (like the recent "Bunny Lake is Missing"). I don't get it.
Do you know of any mainstream companies that are willing to release any of these suites?
A CD of this type has to have, aesthetically, a consistency of acoustic across all the tracks, unless it's one of those historical compilation list releases. You can't have stunning digital tracks next to 1950s material. So they need released together, or on a comparable platform. That's why they wouldn't get onto the centennial 3CD.
Varese used to have these titles, they released an excellent CD, and the concert works were on an earlier LP. If you're a record producer, are you going to starve because you feel that other companies have access to better elements? Will you obligingly wait for them to move? Would you feel you owed them the money!? A greengrocer doesn't say, 'I couldn't possibly sell my carrots because there's another company down the street who can sell better GM carrots'. He makes a living selling what he can, maybe at a cheaper price, or for a specialised organic market. Is record-producing any different?
This is, after all the first CD release of those concert performances, and in the case the OtaSC, it's the only release that is the complete original.
A cold reality that needs to dawn is that Lukas, though a consummate producer and a bloke with commitment and integrity, is soon to be no longer in the producing business. He doesn't have to care (unless he chooses) about rival companies' material. SAE will follow suit, because they need to sell in a tight time. So all our spoilt myths will blow away as dross until the cred. crunch ends.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
