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 Posted:   Dec 16, 2018 - 11:13 PM   
 By:   Jim Cleveland   (Member)

Now I kind of wish I WAS on farcebook! I would LOVE to know what you said to that twerp! big grinbig grinbig grin

 
 
 Posted:   Dec 17, 2018 - 12:30 AM   
 By:   haineshisway   (Member)

It was cherce and I responded to several of his ignorant posts smile

 
 Posted:   Dec 17, 2018 - 1:02 AM   
 By:   Jerome Piroue   (Member)

I asked to join the group just now. big grin

It is "Bernard Herrmann film score lovers", right? I couldn't find any Goldberg on it...

 
 Posted:   Dec 17, 2018 - 1:05 AM   
 By:   Jerome Piroue   (Member)

There are so many BH groups! :O

 
 
 Posted:   Dec 17, 2018 - 1:19 AM   
 By:   haineshisway   (Member)

It's this group: https://www.facebook.com/groups/HerrmannSociety/

 
 Posted:   Dec 17, 2018 - 1:51 AM   
 By:   Guenther K   (Member)

Dear Jose,

thanks for your great post! To clear up a thing or two


– Someone wondered why our track titles differed from those on file at UCSB ... After a thorough search, the publisher couldn’t find any registered cue titles for this score beyond M1, M2, M3 ... so we had their permission to include our own titles as long as in the mechanical license agreement these were in parentheses after the official film titles. That wasn't necessary in the album, only in the agreement (you can check it on our website), so we decided to create titles that better reflected what is happening in the film. After all, Herrmann's manuscript has no titles other than M1, M2, M3 ...


Correct Herrmann used no titles, but unless I am mistaken the ones listed by the UCSB came from the films cue sheet, David Seubert should know for sure. I not all surprised that the publisher did not have them. It might have been better to go with the UCSB titles, to avoid confusion.


No one could be sure that another version could happen. Do I have to apologize for producing this?


No! Absolutely not.


Herrmann conducted some parts but later ceded the work to Andre Girard.


Do you have further information? I was under the impression that the only things Herrmann conducted were those filmed by the BBC. And they might not even have been the cues used in the final mix.
Herrmann spoke no French, unlikely that many French musicians back then would have been able to understand English.


Are any of the major companies recording complete classic film scores with a symphony orchestra?


Not for 20 years or so...


Whoever buys the CD and reads the liner notes will discover on page 21 that we are working (also with Fernando) on “Endless Night” for 2019.


You might want to pair it with The Man Who Knew Too Much, but might be a tight fit too.


“The Four Feathers,”
John Addison with “Guns for Batasi” and “Start the Revolution Without Me.”


Yes please!

 
 Posted:   Dec 17, 2018 - 2:14 AM   
 By:   Jerome Piroue   (Member)

It's this group: https://www.facebook.com/groups/HerrmannSociety/

Louis Goldberg: "So much so that this new junky version of Bride means we won’t get his version and that’s probably a serious loss."

Oooooookay, this guy has serious problems. eek

 
 
 Posted:   Dec 17, 2018 - 2:24 AM   
 By:   Quartet Records   (Member)

Just read Jose's long post above. Who are these morons on the Herrmann board and Facebook? Seriously, who are they - names, or do they post anonymously? They should be ashamed of themselves.

And the ignorance is breathtaking, in terms of not knowing what instruments this score required. Jose is a mench, Bill is and always has been a mench, and these idiots should be flogged by raw bacon. Yes, it's a shame that Bill was thinking about doing this, and yes the Intrada timing that caused the press release not to go out is unfortunate, but now we know the why of it.

I have no doubt that this will be a really excellent CD and I'm looking forward to getting mine. And let me tell you something, Facebook and Herrmann board twits: Quartet got the financing for this all by themselves - that feat should be commended, applauded, and, in this day and age and in this market, it's amazing that they could do it. Believe me, EVERY label has been thinking about doing original recordings. I spoke to Bill and John Morgan about one two years ago, one I'd still love to do, but it's such a crazy project and it would simply cost too much to ever justify the cost. I was ready to do an Indiegogo for it, but what I thought would be the cost almost tripled and I knew that was just silly. But Jose got it done. And if anyone, ANYONE, counts him/herself a film music fan and a Herrmann fan, they should support this release because if they don't, there's no way in hell it will ever break even and breaking even is the only way there will be more.

I want names! smile


Thanks Bruce!! That's very KIND from you and I highly appreciate it.

 
 
 Posted:   Dec 17, 2018 - 2:26 AM   
 By:   Quartet Records   (Member)

Thanks Guenther K.!


– Someone wondered why our track titles differed from those on file at UCSB ... After a thorough search, the publisher couldn’t find any registered cue titles for this score beyond M1, M2, M3 ... so we had their permission to include our own titles as long as in the mechanical license agreement these were in parentheses after the official film titles. That wasn't necessary in the album, only in the agreement (you can check it on our website), so we decided to create titles that better reflected what is happening in the film. After all, Herrmann's manuscript has no titles other than M1, M2, M3 ...


Both French and US cue-sheet, provided by MGM, doesn't include any track titles, just long descriptions.



Herrmann conducted some parts but later ceded the work to Andre Girard.

Do you have further information? I was under the impression that the only things Herrmann conducted were those filmed by the BBC. And they might not even have been the cues used in the final mix. Herrmann spoke no French, unlikely that many French musicians back then would have been able to understand English.

This information comes from a couple of musicians who were in the Paris sessions. Herrmann started the recording, helped by Girard, but after a few hours he declined to conduct it, precisely because he didn't speak French, and also due to the pressure he was suffering with Truffaut, who was also in the studio.

Jose

 
 
 Posted:   Dec 17, 2018 - 2:27 AM   
 By:   Quartet Records   (Member)

DP. Sorry!


Jose

 
 Posted:   Dec 17, 2018 - 2:32 AM   
 By:   Guenther K   (Member)


Both French and US cue-sheet, provided by MGM, doesn't include any track titles, just long descriptions.


OK, thanks. So the source of the UCSB ones is a mystery. Intriguing. Maybe they were made up by someone a long time ago.


This information comes from a couple of musicians who were in the Paris sessions. Herrmann started the recording, helped by Girard, but after a few hours he declined to conduct it, precisely because he didn't speak French, and also due to the pressure he was suffering with Truffaut, who was also in the studio.
Jose


Thanks, that makes a lot of sense.

 
 Posted:   Dec 17, 2018 - 8:02 AM   
 By:   Michal Turkowski   (Member)

DP. Sorry!


Jose


Dear Jose.

Your "Bride wore Black" is great, bravo!

For the future recordings, please consider new recording of "Samson and Delilah" composed by Victor Young.

It will be great to have this wonderful score newly recorded.

 
 
 Posted:   Dec 17, 2018 - 8:12 AM   
 By:   GoblinScore   (Member)

Goldberg? Wow, legendary douche , making the film music community poisonous since time immemorial....the old rec.music.movie & Filmus-L days! Good to know age hasn't slowed down the old boy....

Jose, as hoped, glad you are seeing more applause here, and really...of all people to 'sweat'. He was probably banned here decades ago...

 
 
 Posted:   Dec 17, 2018 - 11:21 AM   
 By:   haineshisway   (Member)

Kids, it's two people: Goldberg and the other legendary idiot from rec.arts.moviemusic or whatever it was called - Thomas Muething. That's it - everyone else who's actually gotten and heard the CD has enjoyed it from what I can tell. Several people have asked Muething if he's actually heard the CD - me included - and he never answers that but just spews more of his BS. So, I think it's safe to assume he did not hear the CD itself, but bases everything on samples, which is a fool's game if you ask me.

And one, Goldberg, intimated that some of us were coming to Jose's defense because we're colleagues. I disabused him of that notion quickly because anyone who's been around FSM knows I speak my mind, oh, yes, I speak my mind smile

 
 
 Posted:   Dec 17, 2018 - 12:23 PM   
 By:   crocodile   (Member)

I am listening to the CD right now. I only knew the Bernstein suite beforehand so it's quite interesting to hear the rest of it. Herrmann was truly a master of colour. It's interesting how it has all the passion of the scores like Obsession but by removing trumpets and violins he achieves his bleak noir (but of course!) and coarse sound. Wonderful.

Thank you to everyone involved. I was actually hoping for some Herrmann before this year ends. His music always sounds the best just before Christmas for some strange reason.

Karol

 
 
 Posted:   Dec 17, 2018 - 12:28 PM   
 By:   couvee   (Member)

Oh boy, The Bride wore black arrived in The Netherlands and it’s everything I hoped for, and more! No doubt the release of the year for me. The sound is absolutely crystal clear, the music is almost tangible. I had no idea this was such a rich Herrmann score. It’s an absolute joy to listen to. Performance wise I can’t find any flaws, this sounds really, really genuine Herrmann to me.

The packaging looks marvellous (as ever), with the same carton slip-case over the jewel-case as ‘The Orphanage’ by Velázquez had, but this time with a different design from the CD booklet. The text by Frank K. DeWald is very detailed and there is a track by track analysis. The organ was recorded in the very same church where Truffaut shot the film 50 years ago! This truly must have been a project that all people involved put their heart and soul into as you can hear it in the result.

Surely hearing this CD will put an end to any stupid criticism and crappy remarks. I sure hope (and I am very confident) that this will recover it’s cost. I can’t imagine any Herrmann fan out there not wanting to hear this great recording. A lost Herrmann score resurrected, it’s a rare thing these days. And we can already look forward to another one, Endless Night. If there is anywhere where I can make a donation for that recording just let me know, I will gladly pay for more recordings like this one.

 
 Posted:   Dec 17, 2018 - 12:29 PM   
 By:   Lokutus   (Member)

I certainly love it and will give it a few more spins over the holidays.
Congrats to all involved as it sounds and looks amazing and I hope this series will keep going for many years to come and if Kickstarter is needed to give it an extra boost I am most definitely in.

 
 
 Posted:   Dec 17, 2018 - 12:55 PM   
 By:   Jim Cleveland   (Member)

VERY nice touch about them using the organ in that church!!!!

 
 
 Posted:   Dec 17, 2018 - 12:57 PM   
 By:   Jim Cleveland   (Member)

I am listening to the CD right now. I only knew the Bernstein suite beforehand so it's quite interesting to hear the rest of it. Herrmann was truly a master of colour. It's interesting how it has all the passion of the scores like Obsession but by removing trumpets and violins he achieves his bleak noir (but of course!) and coarse sound. Wonderful.

Thank you to everyone involved. I was actually hoping for some Herrmann before this year ends. His music always sounds the best just before Christmas for some strange reason.

Karol

I think that's because he died on Christmas Eve. I can usually ONLY listen to Taxi Driver ON Christmas eve!

 
 Posted:   Dec 17, 2018 - 1:20 PM   
 By:   Stephen Woolston   (Member)

Well, I contributed on that Facebook thread because those two folks were putting everybody else off buying it.

They seemed to think that if they could stop everybody else buying it, that Bill Stromberg would change his mind and do his own recording.

Anyway, I see everything I contributed has been deleted. Seems like it's not so much a discussion board as a place for people to say what they think without reply.

What I said is, sure, you'll hear some interpretive differences, but then I can hear interpretive differences in other Herrmann re-recordings I love too.

I made that point that this recording of BRIDE is closer to the original than Elmer Bernstein's GHOST AND MRS MUIR is, and I love Elmer Bernstein's GHOST and so do they.

However, Thomas M claimed it's not about interpretive differences, he claims the orchestra and conductor are simply terrible and turned in a terrible, unrehearsed performance. He and Louis both seem to think there was no read through or rehearsal. They seem to think both orchestra and conductor turned up one day to scores they'd never seen before and didn't care about for an easy pay day and just recorded it without care.

That's definitely not how I hear it. I think it's fabulous. Okay, you can nitpick, but you can nitpick anything. I've been playing it endlessly and I push the volume up a little bit more with each listen because I'm digging it so much.

Anyway, I protested, but everything I said is all gone now.

Hey ho.

 
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