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Posted: |
Mar 24, 2005 - 11:09 PM
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By: |
Dana Wilcox
(Member)
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***On the one hand you seem to be saying that the rerecording of film music should follow the composer's original score sheets, while on the other it seems that you're suggesting that whatever the producer and orchestrator (and/or composer) for a rerecording of music having its origin in film decide to do with the music is dandy, as long as it is pleasant to listen to and is recorded in digital sound!***
And I still don't see the inconsistency there. It is perfectly possible to remain faithful to the composer's score sheets (orchestration, rhythm etc.), yet abbreviate certain passages here and make certain thematic transitions there. There's a difference between reading the music as "sound" and re-organizing that music into a slightly different structure. The one doesn't have to come at the cost of the other.
***You seem often to support rerecordings in which the orchestration, tempi, ambience and order of the music have been altered to suit a "general public" kind of consumer.***
Not necessarily a "general public" consumer. I don't want to water out the music, you know. I'm just open to various interpretations. A lot of things happen inbetween the musical idea and the final performance. In that mammoth thread, I outlined a three-part process that the musical idea goes through. It went like this:
1) In composer's head: MUSICAL IDEA (A)
2) On paper: transformation of MUSICAL IDEA (A) into MUSICAL IDEA (B)
3) In recording studio: Transformation of MUSICAL IDEA (B) into MUSICAL IDEA (C)
So there are several levels of "disturbances" that the music goes through, which again means that there are several ways to interpret the music without it losing its integrity.
NP: BACK TO THE FUTURE suite (Silvestri)
Okay, I get it. For me, the less "disturbance" the better, in most (though not all) cases. I've heard a lot more sow's ears made from silk purses than the other way around in rerecordings. (Example: I just received a copy of the Varese rerecording of BODY HEAT. That BODY barely has a pulse! Original tracks: steamy and sensual and incredibly on-target, Varese interp: tepid and washed out -- should be called POST-MORTEM instead of BODY HEAT. What a toothless rendering! Have you heard it?)
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Posted: |
Mar 25, 2005 - 5:30 PM
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By: |
Dana Wilcox
(Member)
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No, not being a Barry fan, I haven't heard BODY HEAT (I only have the theme on a compilation somewhere) - neither original nor rerecording. I have the complete opposite experience, though. For me, rerecordings usually beat original recordings (especially if we're talking pre-1960 scores).
If we're talking David Schechter's MMM rerecordings or most of the Morgan/Stromberg releases for Marco Polo, I would, in general, agree. If we're talking Joel McNeely et. al. and the RNSO, I would, in general, not agree. (I've already gotten into all the arguments I care to regarding the Prague organization.) But I respect your POV, and I'm not looking for an argument. Our respective tastes in film music recordings might best be represented by a Venn diagram I should think, with about a 1/3 overlap...
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The Silva CD arrived this morning and I didn't waste any time. Man, I couldn't believe how FAST they played that title track! If this is the Philharmonia version you can't tell me that it's not fast enough.
I have the CD that contains the Prague recording of the Main Title (orange cover) and it's faster than the OST, especially in the opening brass fanfare. I like it better than what I've heard of the slower Philharmonia version.
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What are you talking about? The orange cover version has Tony Bremner and the Philharmonia, NOT Prague Philharmonic.
Sometime ago they replaced the Philharmonia verison of the Main Title with a version done in Prague.
As I recall, that version was a bit closer to the OST then the first version.
Ford A. Thaxton
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The orange version is the latest release and does contain the new performance of the main title track recorded in Prague by Nic Raine in 2000. The rest of the disc is the 1988 Philharmonia perfomance conducted by Bremner, though it has been "remastered" for this release.
As you can kind of see in the shot below of the back cover, there's an asterisk after the "Main Title" track and it's resolved at the bottom of the art with "The City of Prague Philharmonic conducted by Nic Raine."
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I take it that the 2-disc "Essential Jerome Moross" released by Silva contains the re-recorded Main Title, so that those who have both that and the 1988 BIG COUNTRY CD have the equivalent of the newer Western disc.
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, but I'm happily not in any hurry. Right now this rerecording does just splendidly. 