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Posted: |
Feb 10, 2016 - 11:14 AM
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By: |
PFK
(Member)
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If you want the most amount amount of music, you have to go for the Rhino 2-CD set.
What I don't think anyone mentioned is that the Gerhardt recording is nothing more than a slightly expanded version of the suite that Steiner put together in 1954 or '56, or so. All the changes mentioned (like the finale, etc.) were done by Steiner with the intention of making the suite a more well-rounded listening experience. The suite was recorded by Steiner for RCA (later reissued as as an RCA Camden LP and then a poorly advertised RCA CD (which also included Steiner's 1950s recordings of themes from THE SEARCHERS, THE CHARGE OF THE LIGHT BRIGADE, and more). It also received several more recordings by Cyril Ornadel, Walter Stott (later known as Angela Morley), and Muir Mathieson.
My favorite recording of this suite (probably because it was the first I heard, and therefore became ingrained in my mind), was the one on the Warner Brothers LP, conducted by Muir Mathieson. It was later reissued on a Stanyon LP and as a CD on both Sonic Images and Laserlight.
I agree Jim. The Rhino 2 CD set is the one I play. I too bought the Mathieson WB LP in the 1960s and always enjoyed it. I have ALL the LPs and CDs of Max's magnificent score!
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With the dozens of soundtrack producers with bags of time on their hands and money running out of their pockets, surely one or two of them should pursue a re-recording that will satisfy every single one of the opinions posted here. 
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It's not definitive by any means, but I rather enjoy the lesser-known Muir Mathieson version with the Sinfonia of London:
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Of course the Gerhardt recording is not definitive if you define definitive as a complete recording of the music as it appeared in the film. But it is the best version of GWTW, by far, because of the conducting, the performance, the sound, the album production, and every conceivable parameter. In fact, it is a rather remarkable and totally coherent arrangement of a score that would be too long to play on a repeated basis, even if it existed on a complete recording.
Quite true... I don't really ascribe to the notion that there can be any "definitive" recording of a piece of orchestral music, as that would indicate the "definitive" state would be a rigid and fixed one.
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I don't really ascribe to the notion that there can be any "definitive" recording of a piece of orchestral music, as that would indicate the "definitive" state would be a rigid and fixed one.
Exactly. That's what many film music fans don't understand: LIVING music is alive only because it is subject to different interpretations.
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As original, complete, and definitive as the RHINO 2-CD GWTW is, it still omits the music heard when Scarlett returns to Tara and learns that her mother has died. Not even a re-recording of this music exists. Can we hear this short, dramatic, suspenseful music only in the film itself?
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Posted: |
Feb 11, 2016 - 3:45 PM
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By: |
Dadid L
(Member)
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I don't really ascribe to the notion that there can be any "definitive" recording of a piece of orchestral music, as that would indicate the "definitive" state would be a rigid and fixed one.
Exactly. That's what many film music fans don't understand: LIVING music is alive only because it is subject to different interpretations.
Alive, ok, and the Gerhardt recordings are generally glorious, but... In the field of classical music, we have various performances of a score. It's "writen music", as orchestral film music, not "performed music" as pop or jazz. But, and it is a negative point for me, Gerhardt's GWTW is partially rewriten - in a pointless search of spectacular most of the time. Why ? Because in these times, the "Hi-Fi spectacular" factor was very important, probably, to sell a film music recording... But the music itself? Who would seriously dare to rewrite the 9th of Malher or other great classical pieces? Nobody (Stokowsky excepted), and I do not see why film music should be treated differently. It's "rigid" or "fixed" if you want, but the score is what Steiner wrote, it's HIS music (with some help from others as we know). Of course, some little modifications can be necessary to compile the music as a "suite" for concert or recording, but the core of the pieces should be respected as far as possible. Even when fidelity to the OST is a priority, Tadlow, Varère or Tribute productions are new performances with different sound, feeling, instrumental balance... THAT is alive, but it remains the original music. A new recording do not have to be definitive, I'm ok with that, but respectful of the text... yes, I prefer that ! Of course, if the original composer is the author or supervisor of a rewriten score (like Williams or Rozsa or Goldsmith), I respect their choice... but it is not the case with this GWTW.
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With the dozens of soundtrack producers with bags of time on their hands and money running out of their pockets, surely one or two of them should pursue a re-recording that will satisfy every single one of the opinions posted here.
I'm working on a synthesizer version. Hang tight...
Good one, Onya-cita!
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