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Jeff: Re: "But the album's a wonderful listening experience even on my lousy computer speakers--looking forward to hearing it on a good stereo system."
Horrors! You, of ALL people, deserve to hear your soundtracks with a fantastic speaker system! I'm looking forward to playing Tadlow's "QB-VII" on my chest-high Klipsch towers and subwoofer! Look out, neighbors!
And to edwzoomom Re:
It's not even a film score, it's a television score, which make it even more remarkable!
Maybe the crappy productions you've seen on television have poor scores, but there's a bunch of TV movies/documentaries/and some TV series that have big, film quality scores.
You've just scratched the surface! Let's not forget "Masada" and "War And Remembrance" and "Centennial" and "Downton Abbey" and "Dexter" and sooooooooo many other memorable scores created solely for TV productions!
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Posted: |
Jan 1, 2014 - 2:07 PM
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By: |
Tall Guy
(Member)
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Jeff: Re: "But the album's a wonderful listening experience even on my lousy computer speakers--looking forward to hearing it on a good stereo system."
Horrors! You, of ALL people, deserve to hear your soundtracks with a fantastic speaker system! I'm looking forward to playing Tadlow's "QB-VII" on my chest-high Klipsch towers and subwoofer! Look out, neighbors!
And to edwzoomom Re:
It's not even a film score, it's a television score, which make it even more remarkable!
Maybe the crappy productions you've seen on television have poor scores, but there's a bunch of TV movies/documentaries/and some TV series that have big, film quality scores.
You've just scratched the surface! Let's not forget "Masada" and "War And Remembrance" and "Centennial" and "Downton Abbey" and "Dexter" and sooooooooo many other memorable scores created solely for TV productions!
Not to mention Morricone's Marco Polo, Musashi, Nostromo, Moses, Drammi Gotici and dozens of others.
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Jeff: Well, that's a relief! Some of us who live alone forget that most people have others to consider when they put on a movie or a soundtrack! And I'm looking forward to this recording!
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Posted: |
Jan 1, 2014 - 10:54 PM
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By: |
RM Eastman
(Member)
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It's not even a film score, it's a television score, which make it even more remarkable!
Maybe the crappy productions you've seen on television have poor scores, but there's a bunch of TV movies/documentaries/and some TV series that have big, film quality scores.
Some examples (I'll skip Goldsmith):
"In Search of Peace" (Lee Holdridge; Intrada, OOP)
http://www.youtube.com/watch?v=X_yh-EC8u9I
http://www.youtube.com/watch?v=ORZnXJ-h1tU
"Fresno" (John Morris; unreleased)
http://www.youtube.com/watch?v=DPiHEspAJt8
"Backstairs at the White House" (unreleased)
http://www.youtube.com/watch?v=oHAQ7pfaxJA
Okay, I'm cheating a little; it's Morton Stevens, one of his main orchestrators during his career.
"Salem's Lot" (Harry Sukman; Intrada)
http://www.youtube.com/watch?v=QT41_sCgaDs
http://www.youtube.com/watch?v=4BLfXeib3IA
"The Face On the Milk Carton" (Rosenman; unreleased, sadly; recorded in Seattle, so it's cost effective to look into for an obscure TV movie score [hint, hint, labels])
http://www.youtube.com/watch?v=NdiI7jiYkas
"Snowbeast" (Robert Prince; unreleased)
http://www.youtube.com/watch?v=3_mDioMdT84
I also loved Morton Gould's "WORD WAR 1", a superb achievement.
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RM: Intriguing!!!!
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Got it! So where to start? Well, when CD 1 ended I shouted "Glorious!," and that's pretty much how I felt about the whole recording. It's over 94 minutes of music, and I played it for nearly 3 hours with my very large speakers, and words like lyrical, poignant, thrilling, captivating, and exhilarating all came to mind. The 33 cues average just under 3 minutes, with only 4 exceeding 4 minutes. And while I have a decided preference for longer cues and even suites, never once did I feel that it was fragmented, as I have with some soundtracks that seem to be constantly re-starting, which, of course, can be very frustrating. No, there's a unity here, and I found it hard to pull myself away from it. Indeed, even now as I type this in my dining room/office, the music continues to serenade me from the next room. I've bought and enjoyed Tadlow's "True Grit" and "Lawrence of Arabia" and "Exodus," and while I love all 3 scores, I find this one far more satisfying and know that I'll be playing it a lot. Incidentally, we learn from the very informative notes that as happened with many Goldsmith scores originally recorded in Europe, little of the score remained for this one, so, well, let's hear it from producer James Fitzpatrick's notes:
"As often happened with Goldsmith scores recorded outside the USA (the original TV score was recorded in Rome), virtually all of the original sketches and scores had been lost over the course of time. No material survived at the Goldsmith archive at JoAnne Kane Music Service either, except for a lengthy concert suite -- reconstructed a few years ago -- which I had previously recorded in Prague for Silva Screen Records. This became the basis for a full reconstruction undertaken by the very talented young composer-orchestrator Aaron Purvis, who had been recommended to me by my composer friend Christopher Tin. Aaron, like many of the group of orchestrators I work with, was superb in the painstaking and arduous process of reconstructing the score 'by ear' during the summer of 2012, listening to the current DVD edition of the miniseries … with the added distraction of having much of the music covered by dialogue and sound effects!"
Despite all those challenges, Tadlow and Prometheus Records have done a remarkable job in rescuing this magical and magnificent score for us and I look forward to hearing it again and again!
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This is a beautiful recording. Hearing all of the music that was dropped off to fit onto an LP in modern sound and with an exquisite performance is a revelation.
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Mark: Re: "I can't wait to listen to disc 2!" As well you should, because I've now played disc 2 three times (as opposed to only once for disc 1) and the music gets better and better! And I know what you mean about conductors sometimes not showing quite the urgency we want -- I felt the same about Rafael Kubelick's original recording of the Dvorak 8th -- have enjoyed performances by other conductors, most notably Szell and Von Dohnanyi (interestingly, both with Cleveland), but you become accustomed to certain nuances that, when they're not there, you miss. But, unfamiliar with the original, I don't have that problem with this new recording of "QB-VII," so can love it unconditionally!
Incidentally, I've also been listening to "Masada," which makes a nice companion piece to "QB-VII" with its many similarities. I remember when I first discovered "Masada" and felt a connection to the end of, believe it or not, Tchaikovsky's "Capriccio Italien," and with my very versatile Nakamichi deck was able to create this cue that began with "Masada" then went fairly seamlessly to Erich Kunzel's final minutes of "Capriccio Italien." Wonder what happened to that tape?
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Mark: I KNEW you were going to love disc 2! Frankly, while I do love disc 1, if I had to choose one over the other, I'd pick 2 as the more interesting one. But luckily we don't have to choose just one.
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I just read the liner notes about the reproduction of the echoplex effects. It really is tremendous to have this score--it's funny, I rarely ever played the LP sequence. Like a lot of Goldsmith scores, you really need to have the complete score because it creates a whole world of its own and does not reduce well to a handful of highlights. 
