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 Posted:   Apr 29, 2023 - 5:11 AM   
 By:   TerraEpon   (Member)

Listening to the CD now - this is just glorious. Wonderful recordings of some marvellous music. The later reuse of some motifs from ODG is explained in the booklet. A real treat to play through my fairly high-end system (my wife is at the other end of the house...)

Though interesting that it didn't mention the full on reuse of Death Hunt in Battle of Neretva.

 
 Posted:   Apr 29, 2023 - 7:26 AM   
 By:   Joe Sikoryak   (Member)

I’ll be playing records with my good friend Robert Emmett on his show The Norman Bates Memorial Soundtrack Show, Saturday April 29. Among other things I’ll be premiering the ODG/TMWKTM album and talking about the recording sessions in Scotland.

(If I can have only one happy place, this might be it.)

We’ll be broadcasting at 9am PST on KFJC-89.7FM. But it’s easier to listen to it streaming here

https://kfjc.org (look for the Listen Live! button)

or anytime afterwards for the next two weeks in the archives, here.

https://kfjc.org/listen/archives (Look for Robert Emmett)

I hope you can tune in!

 
 Posted:   May 1, 2023 - 2:24 AM   
 By:   Ny   (Member)

So the dropbox link with the download seems to be deleted now. Anyone know how I can download it again?
I'm travelling, trying to get it onto my phone.

 
 Posted:   May 1, 2023 - 7:41 AM   
 By:   Sean Nethery   (Member)

It's on Spotify, so I imagine it's on all digital sites.

Not that it would make sense to buy it again, probably! wink

But since I'm a Spotify subscriber, easy to download.....

 
 Posted:   May 1, 2023 - 7:58 AM   
 By:   jkruppa   (Member)


I don't know what $17,000 equates to in today's money?


$197,354.31 for 1951.
$188,647.50 for 1956.

*shrug*


Not so sure about $17,000 being the fee in 1951 or 56. John Barry's fee for Diamonds Are Forever was $25,000 in 1971, and Paul McCartney and George Martin were paid $15,000 and $10,000 respectively for their work on Live and Let Die in 1972/73.

 
 
 Posted:   May 1, 2023 - 11:44 AM   
 By:   stravinsky   (Member)

I remember reading the details of Herrmann's usual fee in either A Heart at Fires Centre or some of the loner notes in one of FSMs old Herrmann CDs...

 
 
 Posted:   May 1, 2023 - 12:07 PM   
 By:   Chris Avis   (Member)

Folks who Kickstarted this project: did you receive a shipping notice for your CD? Eagerly awaiting mine...

Chris

 
 
 Posted:   May 1, 2023 - 12:18 PM   
 By:   chriscoyle   (Member)

Folks who Kickstarted this project: did you receive a shipping notice for your CD? Eagerly awaiting mine...

Chris


No notice, it just arrived.

 
 
 Posted:   May 1, 2023 - 12:42 PM   
 By:   TacktheCobbler   (Member)

Folks who Kickstarted this project: did you receive a shipping notice for your CD? Eagerly awaiting mine...

Chris


No notice, it just arrived.


Same.

 
 
 Posted:   May 1, 2023 - 5:04 PM   
 By:   TerraEpon   (Member)

Also same.

 
 Posted:   May 2, 2023 - 1:51 AM   
 By:   Nicolai P. Zwar   (Member)

My CD has not arrived yet, though I did get the high-res download already.

 
 Posted:   May 2, 2023 - 2:16 AM   
 By:   Nicolai P. Zwar   (Member)

Dave Hurwitz' take on this new Intrada recording:

 
 
 Posted:   May 7, 2023 - 7:32 AM   
 By:   haineshisway   (Member)

I'm curious why Storm Clouds Cantata would be placed between Arrival Embassy and Embassy Hall. The cantata happens NOT at the Embassy but at the Royal Albert Hall PRIOR to the Embassy. I don't get why anyone would say it belongs between those two tracks. Should it not come after The Fight? I'd probably place Que Sera after Nocturne and before the three trio cues. I believe that's where it occurs for the first time? I'll pull out the film and check it out. As to We'll Love Again, that would be the one to go between Arrival Embassy and Embassy Hall.

 
 
 Posted:   May 7, 2023 - 9:25 AM   
 By:   TacktheCobbler   (Member)

I'm curious why Storm Clouds Cantata would be placed between Arrival Embassy and Embassy Hall. The cantata happens NOT at the Embassy but at the Royal Albert Hall PRIOR to the Embassy. I don't get why anyone would say it belongs between those two tracks. Should it not come after The Fight? I'd probably place Que Sera after Nocturne and before the three trio cues. I believe that's where it occurs for the first time? I'll pull out the film and check it out. As to We'll Love Again, that would be the one to go between Arrival Embassy and Embassy Hall.

My placement was based on my last viewing of the film. The “Arrival & Embassy” basically occurs as the antagonists are making preparations for the assassination attempt at Albert Hall after “The Fight” at Ambrose Chapel and “Embassy Hall” occurs after the assassination fails. As for “We’ll Love Again,” that is sung during the scene where Jimmy Stewart retrieves his son (though it’s at a rather low volume in the sound mix).

 
 Posted:   May 7, 2023 - 2:47 PM   
 By:   jkruppa   (Member)

I missed the Kickstarter for this but I grabbed the hi rez download last week and am blown away by how good On Dangerous Ground is. An absolutely perfect recording and performance. Feels 100% authentic. Thank you so much for doing this!

 
 
 Posted:   May 8, 2023 - 9:37 AM   
 By:   TacktheCobbler   (Member)

For those who don’t have the album yet, Craig Lysy of MovieMusicUK has posted a review of the On Dangerous Ground portion of the album:

https://moviemusicuk.us/2023/05/08/on-dangerous-ground-bernard-herrmann/

 
 
 Posted:   May 8, 2023 - 5:49 PM   
 By:   eriknelson   (Member)

For those who don’t have the album yet, Craig Lysy of MovieMusicUK has posted a review of the On Dangerous Ground portion of the album:

https://moviemusicuk.us/2023/05/08/on-dangerous-ground-bernard-herrmann/


It's wonderful to read the glowing reviews. This is truly a very special film score release—one for the ages.

 
 
 Posted:   May 14, 2023 - 3:01 AM   
 By:   JB Berg   (Member)

I have always had great admiration and respect for the production staff of Intrada. After all, I have been on board at their side - so to speak - since their very first beginnings, since the first edition of Red Dawn, and since then there are no more than 3 or 4 titles that I have not purchased. This is just to say how much it pains me, at this moment, to write what follows.

As an admirer and supporter of their initiatives, I gladly entered the new project dedicated to Herrmann and I looked forward to the passage of the time necessary to finally be able to listen both scores, and ON DANGEROUS GROUND returned to its magnificence.

In front of the amazing beauty of the score, its reconstruction is detailed and accurate to the point of maniacality, the performance of the orchestra is powerful and vibrant, Stromberg's conducting is faithful, energetic, passionate, and the sound grip has all the credentials to finally perform the miracle of making us listen again to this jewel as it deserves to be heard.

That said, I was literally stunned to discover that not everything worked properly in the operation. And it also amazes me that no one talks about it, as if there is a deliberate desire not to mention the proverbial elephant in the room.

I refer to that handful of cues in the part dedicated to ODG, which unfortunately also include wonderful moments such as "Pastorale" and especially "Hunt Scherzo", in which the sound appears crushed, muffled, muted. Probably something went wrong in the mixing phase. Who can say?
I do not have the technical skills to say what may have led to this disappointing result, but I cannot pretend not to hear it. The sound defect is evident both when I listen to headphones and when I let the music come out of my first class HI-Fi system. You can hear it listening to the CD, as well as Spotify mp3s and HIRES samples from other providers.

I tried to come to terms with it, I told myself to try to ignore it, but there is nothing to do. Of course, it's still better than hearing the poor and torn sound of the previous Film Score Monthly edition. However, we are far from the perfection that was legitimate to expect from this long-awaited new production. Such a shame.

 
 
 Posted:   May 14, 2023 - 3:52 PM   
 By:   haineshisway   (Member)

Just listened to those two particular tracks and I have pretty good ears and I'm not hearing anything like you're hearing and they sound just like the tracks that precede and follow. My caveat here is that I have not heard the CD nor have I heard "samples" from anywhere. Bill Stromberg posted the entire CD on YouTube and I grabbed it from there and it all sounds fine to me. I can quibble with this or that, but again the sound part is fine to my ears. Now, maybe what Bill posted was pre-mastering - I don't know about that. I will get the CD and listen to that soon. In the meantime, I invite you to go to YouTube and listen to what Bill posted and see how that sounds to your ears.

 
 
 Posted:   May 14, 2023 - 5:10 PM   
 By:   TerraEpon   (Member)

So I tested a few tracks in CD quality. For reference I use a pair of Sennheisser HD-500 Heaphones. I did in fact notice a very slight difference in the tracks people have noted as bad but it's like REALLY subtle. Enough that multiple previous listens didn't make be think anything was wrong at all. At worst some of it sounds a bit 'pinched'.

 
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