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Just received my copy -- can't wait to listen to the CD tonight! Thank you to everyone who supported and created the CD.
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A digital version of this release has now appeared on Amazon, so I assume that it is available at most digital stores. It's also available on Spotify.
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I know it's sacrilegious of me to listen to this new album on Spotify without actually buying the Disc but over the past 35 years I've easily spent about £50,000 on CDs that are now mostly worthless. Plus it's so much easier just to create playlists on Spotify and simply cast the music from my phone through to my new smart amplifier. It's marvellous to hear On Dangerous Ground in modern sound.
Spotify is only compressed sound though, other streaming services like Qobuz and Tidal offer better fidelity. :-)
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Posted: |
Apr 25, 2023 - 11:09 AM
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By: |
stravinsky
(Member)
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I know it's sacrilegious of me to listen to this new album on Spotify without actually buying the Disc but over the past 35 years I've easily spent about £50,000 on CDs that are now mostly worthless. Plus it's so much easier just to create playlists on Spotify and simply cast the music from my phone through to my new smart amplifier. It's marvellous to hear On Dangerous Ground in modern sound. The recording is so good you'd think it's just a lost Stereo version of what the old RKO Orchestra recorded in 1951. Still the old FSM archive recording remains one of my all time favourite Herrmann releases warts and all. It's weird that Herrmann had the ability to write music which sounded original and new like On Dangerous Ground & North by Northwest, at the same time as writing score after score which sounded like retreads of music written for previous movies. The Man who knew too much falls into this category from what I can hear. It's just a shame Herrmann didn't utilise more of the propulsive (minimalist) Main Title within the main body of the score. The thing is since Herrmann orchestrated all of his scores himself then he possibly just cut corners by endlessly repeating similar musical tropes from previous scores. Some dismiss Herrmann's music as being "Samey" in this way. In a way I can almost see what they mean. Never the less this is a superb and completely perfect re-recording.
I know what you mean about purchasing another CD especially when I just disposed of my collection.
Re: You’re Herrmann critique
When you start making your living composing music for films with all the challenges of budgeting and scheduling with time limitations you can criticize Herrmann and every other film composer for reusing motifs. They all did it, some more than others, and I’m glad they did. Rozsa was even worse with many scores sounding identical with a new new theme plugged in. So what, it still works and it’s still enjoyable. Furthermore the vast majority of the audience doesn’t even know.
Don't get me wrong I'm not criticising Herrmann in any way. He was a genius and I love him even when as you say he followed other Composers by reusing ideas. Composing to order and specific time lines must be exhausting esp when the task of orchestration is not farmed out to legions of assistants. I know Herrmann in those days was paid $15,000 per score with an additional $2000 for orchestration. I don't know what $17,000 equates to in today's money?
I love everything Herrmann wrote from Jane Eyre, Anna & The King of Siam through to The Day the Earth Stood Still, White Witch Doctor and Vertigo, Blue Denim then Obsession and Taxi Driver. A true Minimalist decades before the style was even invented.
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Posted: |
Apr 25, 2023 - 1:49 PM
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By: |
Rozsaphile
(Member)
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The so-so Allan Wilson-conducted Spellbound was released in 2007! I’m pretty sure it’s been a decade since Intrada worked with him.
Thanks once again for reminding me of the terrifying passage of time, Yavar!
I agree, Spellbound wasn't everything I had hoped for, but I am a much bigger fan of the Wilson-conducted The Red House, which I enjoyed again just a few weeks ago.
Let's not overlook that Wilson had a much better orchestra under his baton for THE RED HOUSE than he did for SPELLBOUND.
The key thing about Wilson's SPELLBOUND is that it is the only recording of the very extensive music omitted from the film, major sequences of which were essentially recomposed by Audrey Granville cutting and pasting music by Waxman, Webb, and others. One might even argue that she should have shared the Academy Award! The mind-boggling story of miscommunication between Selznick, Hitchcock, and Rozsa is entertainingly told in Nathan Platte's essential Making Music in Selznick's Hollywood.
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I know it's sacrilegious of me to listen to this new album on Spotify without actually buying the Disc but over the past 35 years I've easily spent about £50,000 on CDs that are now mostly worthless. Plus it's so much easier just to create playlists on Spotify and simply cast the music from my phone through to my new smart amplifier. It's marvellous to hear On Dangerous Ground in modern sound.
Spotify is only compressed sound though, other streaming services like Qobuz and Tidal offer better fidelity. :-)[/endquote
I get what you are saying but honestly my ears aren't that finely tuned. I probably couldn't hear the difference... ]
That may of course well be, but I would not give them my money for that very reason nevertheless.
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