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Posted: |
Oct 4, 2013 - 9:19 PM
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By: |
koolman
(Member)
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I m wondering if there is any significant difference in these releases other than the the particular tracks included. Sound quality? I am certainly not opposed to buying a second version of a score especially one I love.
Thoughts, opinions? Thanks as always.
Yes. The 2011 version is made from the original 1976 film scoring master tapes conducted by John Williams himself instead of the 1998 version, which is re-conducted by Rick Wentworth and performed by the Royal Scottish Orchestra. I think the 2011 version, with the exception of Track 17, which combines tracks, chops some tracks short and is out-of-sequence compared to how those tracks appear in the film, is definitely the way to go.
It's not so much a matter of sound quality. The 1998 Wentworth re-conducted version uses newer recording technology, but was recorded in a much larger space than the 2011 Williams-conducted Hollywood scoring stage version from 1976, thus the 1998 Wentworth re-conducted version sounds comparatively thin, distant and echoey compared to the 2011 Williams-conducted scoring stage version from 1976, which has a closer acoustical presence despite the age of its tapes and microphones. Sound quality, comparing both versions, is thus a trade-off, like comparing apples to oranges.
It's more a matter of PERFORMANCE. Williams' conducting and the orchestra's playing is way more fast and furious in the 2011 version! I especially enjoy the opening credits Doolittle raid music way better in the 2011 Williams version--it's exciting! Wentworth's re-conducted 1998 version is too soft in level in that huge orchestra space and the conducting and performance is too leisurely, boringly slow.
With regard to Midway not being much of a score (under 40 mins.), that's because the film was meant to be a pseudo-documentary, making you feel you are there in the actual battle. The images of real-life WWII footage blown up from 16mm to 35mm wide-screen Panavision and sound-FX, enhanced by Sensurround .1 bass effects, are the real stars. Williams' music is meant only to appear in strategic points, when underscore is needed to create warmth (as in the tender scene between Haruko and Tom) suspense and drama (as in the scenes with the Japanese commanders) and certain action scenes (like the opening Doolittle raid and the attack on Midway Island itself). I think it succeeds brilliantly!
If you're feeling really ambitious and have the sound editing software, like me, you can always piece together a definitive version of the score, listening to the movie itself for reference on track order, using mostly the Williams-conducted version but, where necessary, inserting the missing bars from the Wentworth-conducted version to fill in the holes and provide appropriate fade-outs at the end of tracks, then re-sequencing the tracks in their correct film order and burning yourself a new CD-R.
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