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How about the fact that Endless Night and The Bride Wore Black are the most significantly unreleased Herrmann scores yet remaining, aside from Companions in Nightmare which apparently has surviving tapes unlike the other two? Seems a good enough reason to record them. I certainly don’t think Endless Night would be done for it’s commercial prospects — it’s pretty obscure. Maybe Bride being Truffaut has a bit more name recognition.
And TerraEpon is right that the cost of restoration is certainly a factor for older scores. Right there with you in hoping we get more early Rozsa rescued, however...
Yavar
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…and, given how many are chiming in with how happy they are with the release — I know I am — it seems clear that there are plenty of people who were interested in a complete The Bride Wore Black.
You're basically saying, “Why did they record this score a lot of other people are clearly interested in, and not the one I wanted them to do?” Not a good look.
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...so many "primary" remaining unreleased and long expected. Such kind of reunion must be a creative moment and not a simple commercial meeting. Herrman must be the "more commercial", if they think to release ENDLESS NIGHT as the next.
People have different definitions of "primary." And the idea that a new recording of Endless Night is next up only to be some commercial success seems a bit silly. Clearly these are labors of love and come from a passion for the music and art, not for filling coffers with money.
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Bride Wore Black? Endless Night? I cannot understand this Herrmann fever, when remains unreleased a score like SAHARA by Rozsa. Listen to the Kunzel's suite on youtube.
This answer gets the Thomas Muething award of the day!
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Posted: |
Dec 26, 2018 - 5:44 AM
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By: |
finder4545
(Member)
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Ok, I see well represented here all the reasons and opinions "against". And being a rather "trained" film music follower, I have to say to be aware of the years of discussions indicating perfectly what can be "behind" a choice, including (first of all, and rather detestable in an international context) the reason that "one decides what he wants with his own money"( … and in fact we got things as IS PARIS BURNING and, lately, VIKINGS!). That said, I think there are tons of followers that would cheered at a sudden SAHARA (or another "primary") release, instead of insisting on Herrmann. In the case of SAHARA (no doubt not a personal will but a true Holy Grail), I think sketches, orchestration, cost of a studio orchestra should not be insurmountable obstacles, and the material for the Kunzel's extensive suite (better that Wilson's or Gamba's sleeping concert versions, for its cinematic quality), can be a good starting point.
Finally, I also would like to say that is a pity the decision of Intrada or Kritzerland to dismiss the release of original materials from the vaults of Paramount or Fox, as these were a true joy and happiness, as well as a cultural rescue. I STILL HOPE.
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Ok, I see well represented here all the reasons and opinions "against". And being a rather "trained" film music follower, I have to say to be aware of the years of discussions indicating perfectly what can be "behind" a choice, including (first of all, and rather detestable in an international context) the reason that "one decides what he wants with his own money"( … and in fact we got things as IS PARIS BURNING and, lately, VIKINGS!). That said, I think there are tons of followers that would cheered at a sudden SAHARA (or another "primary") release, instead of insisting on Herrmann. In the case of SAHARA (no doubt not a personal will but a true Holy Grail), I think sketches, orchestration, cost of a studio orchestra should not be insurmountable obstacles, and the material for the Kunzel's extensive suite (better that Wilson's or Gamba's sleeping concert versions, for its cinematic quality), can be a good starting point.
Finally, I also would like to say that is a pity the decision of Intrada or Kritzerland to dismiss the release of original materials from the vaults of Paramount or Fox, as these were a true joy and happiness, as well as a cultural rescue. I STILL HOPE.
I guess the two Fox titles and the Paramount title we just released in the past couple of months don’t count. Some people are impossible to please.
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Don't know how I missed that, love the artwork! And many thanks for pointing it out!
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I received my copy on Friday and was finally able to listen to it yesterday. I can only add to the chorus of acclaim: a gorgeous recording in every way. A complete surprise when announced, this has become an integral part of my Herrmann library and is sure to go into rotation as one of my favorites. It is a dream come true to have this score, recorded in complete form, in such a beautiful and idiomatic performance. And I'm still in shock that "Endless Night" is on the horizon. Wow just wow.
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I received my copy on Friday and was finally able to listen to it yesterday. I can only add to the chorus of acclaim: a gorgeous recording in every way. A complete surprise when announced, this has become an integral part of my Herrmann library and is sure to go into rotation as one of my favorites. It is a dream come true to have this score, recorded in complete form, in such a beautiful and idiomatic performance. And I'm still in shock that "Endless Night" is on the horizon. Wow just wow.
True! After TBWB I can't wait for 'Endless Night'. I'm very curious how they recreate the synth elements,but I won't blame them if they will not sound 100 percent original... it's gonna be a long time to suffer for it!
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LOVING this, to now put my money where my mouth is - my kudo given to Quartet previous is fully justified. Great reading, great playing (great aggressive open!), great art, notes, great packaging - just 5 star. Elated to have 'new' Herrmann, bravo & thank you Quartet.
Any Herrmann-phile who poo poo's this record is a moron or tone deaf. Go buy, people....
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With some many stupendous releases over the past month or two, I only got around to listening to The Bride Wore Black today. I would have to agree with all those praising this superb release. I have to admit that I am utterly taken aback by the direction of some of this thread, but delighted to see that most people are as thrilled with it as I am. The recording and performance all sound teriffic to me; I wasn't familiar with the score in any way previously but it's certainly another Herrmann gem. I guess the only minor issue (which is a fairly common Herrmann one) are the numerous short tracks, but that's how he wrote and so that's how it's presented. Here's looking forware to Quartet's other potential projects as mentioned, I'll be first in line.
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Posted: |
Jan 10, 2019 - 11:05 PM
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By: |
Jim Doherty
(Member)
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Bride Wore Black? Endless Night? I cannot understand this Herrmann fever, when remains unreleased a score like SAHARA by Rozsa. Listen to the Kunzel's suite on youtube.
For those who understand, no explanation is necessary. For those who don’t, none it possible.
I am sorry if I suggested a so unhappy opinion of me, Roger, as I have all of Herrmann and buy and listen to them from decades. The fact is that I cannot think to Quartet's minds reunited around a table to get a decision... and while I can understand they go to reissue a good seller as BIG COUNTRY...I cannot understand they go to select a "secondary" title as BRIDE in the panorama that lists works as SAHARA, BRUTE FORCE, NIGHT OF THE HUNTER and so many "primary" remaining unreleased and long expected. Such kind of reunion must be a creative moment and not a simple commercial meeting. Herrman must be the "more commercial", if they think to release ENDLESS NIGHT as the next.
To answer: I didn't see a lot of people insisting on having THE BRIDE WORE BLACK re-recorded. The decision by Quartet was because they thought it needed to be heard. Personally, I wanted this score in its complete form for a long time, and was very happy with Quartet's recording.. I'm sorry if you wanted SAHARA instead. Sure, I, too, would like a recording of SAHARA, and, God knows, I would also like new recordings of my Holy Grails, like Walter Schumann's NIGHT OF THE HUNTER or David Buttolph's HOUSE OF WAX, but I think you shouldn't rip down a label because they did an excellent job on a score YOU didn't want.
Jim
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