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For my personal preference, I would pair Rozsa scores together by genre. But for sales potential, I wonder if it might be better to mix genres. The people always clamoring for The Jungle Book might not buy a noir twofer, for example, and the people clamoring for more representation of Rozsa's noir scores might have less interest in The Jungle Book. But pair that with a shorter noir score and both groups of fans might be in...
The Goldsmith pairing of Black Patch and The Man no doubt attracted both those interested in westerns as well as those interested in patriotic Americana writing (which is really quite different)... I've seen many comments from people who were more interested in one score or the other, and by having the diversity presented together, there was something for everyone.
Besides, as much as I want BOTH The Four Feathers and The Jungle Book (and I'm optimistic we will one day get them), the two certainly wouldn't fit on one disc together. And as soon as you've gone to that second disc, you may as well have them be separate projects IMO.
Yavar
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For my personal preference, I would pair Rozsa scores together by genre. But for sales potential, I wonder if it might be better to mix genres. The people always clamoring for The Jungle Book might not buy a noir twofer, for example, and the people clamoring for more representation of Rozsa's noir scores might have less interest in The Jungle Book. But pair that with a shorter noir score and both groups of fans might be in...
The Goldsmith pairing of Black Patch and The Man no doubt attracted both those interested in westerns as well as those interested in patriotic Americana writing (which is really quite different)... I've seen many comments from people who were more interested in one score or the other, and by having the diversity presented together, there was something for everyone.
Besides, as much as I want BOTH The Four Feathers and The Jungle Book (and I'm optimistic we will one day get them), the two certainly wouldn't fit on one disc together. And as soon as you've gone to that second disc, you may as well have them be separate projects IMO.
Yavar
Since it was the other Rózsa score in the poll, how much music is there in Brute Force (it’s been awhile since I last saw the film)? Using the potential idea of mixing genres, I suppose they could pair that and Jungle Book if there isn’t too much music. Then again, it’s quite possible that Jungle Book may require two discs anyway, which would therefore render that possibility null and void.
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I’d have to rewatch the film Brute Force to know better the length of the score (of course there could also be unused cues as with Herrmann’s The Man Who Knew Too Much!)
But for what it’s worth the original recording program that Tony Thomas released years ago ran under 22 minutes.
Yavar
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7/14/2022
I thank all of you that helped us reach not only our Kickstarter goal for recording Bernard Herrmann’s On Dangerous Ground but also the additional stretch goal to record Alfred Hitchcock’s The Man Who Knew Too Much, also scored by Herrmann. This one will probably be the headline score due to the Alfred Hitchcock name. That director has his own followers, and deservedly so. I think he might be the most influential director there was in Hollywood, and likely the only director who’s name was literally the key selling point, no matter who the famous stars were that appeared within. Currently we have engaged our friend Mike Ross to be our man in the booth. Mike’s work for us on Herrmann’s Jason And The Argonauts remains my favorite of all the many projects we have done together with him. Herrmann’s music, typically written with orchestral color being vital, is probably best presented when recorded with that classic “Phase 4” sound that London utilized on all those Herrmann collections back in the day. That’s the sound we got with Jason, and we’re chasing that sound again for the above recordings. Anyone not quite sure what this is can be satisfied knowing primarily it means crisp, detailed, close mic recordings with an emphasis on the left and right channels over the center channel… and with mics placed everywhere you’ll hear just where the clarinets are seated, exactly where muted trumpets are sitting, where an oboe solo is coming from, that haunting viola d’amore, so on and so forth.
I’m also particularly excited about our brass requirements which will include eight French horns yelping their way through that virtuoso “Death Hunt” cue, supported by six trumpets, a battery of trombones… even two tubas! This should also make the “Prelude” for The Man Who Knew Too Much a sonic spectacular, especially when balanced with all that ferocious tympani. And speaking of percussion, getting that steel brake drum (or anvil) for On Dangerous Ground will surely add to the excitement. Okay, with all that power lined up, I am going to admit the single piece of music I am most excited about finally recording is that brief piece in The Man Who Knew Too Much, following the phone call James Stewart receives about his son being kidnapped. It’s a deceptively simple cue scored just for two vibraphones and violins. I’ve had it as an “ear worm” in my head for years. Now it’ll finally come out of my speakers! Anyway, we’ll keep everyone posted as these two scores are prepared for release.
http://www.intrada.net/phpBB2/viewtopic.php?f=2&t=8945
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....I am going to admit the single piece of music I am most excited about finally recording is that brief piece in The Man Who Knew Too Much, following the phone call James Stewart receives about his son being kidnapped. It’s a deceptively simple cue scored just for two vibraphones and violins. I’ve had it as an “ear worm” in my head for years. Now it’ll finally come out of my speakers!
Doug Fake described it better than I could -- but that cue is one of the main reasons why I boosted my initial pledge down the home stretch, to help make sure it would get recorded!
By the way, I'm also glad to read that the premiering Hitchcock score will open the disc, meaning the Herrmann showcase will properly conclude it. There ARE still great album producers working!
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With apologies if asked previously, but are they including "Que Sera Sera" which is as integral to the movie as the Storm Cantata -- even if not composed by Herrmann? If so, who will sing it? I realize many of you view "songs" as anathema to score releases, but this song as used in this movie is just as powerful as some of the music only cues thanks to the genius of Hitchcock. Just a humble question!
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With apologies if asked previously, but are they including "Que Sera Sera" which is as integral to the movie as the Storm Cantata -- even if not composed by Herrmann? If so, who will sing it? I realize many of you view "songs" as anathema to score releases, but this song as used in this movie is just as powerful as some of the music only ques thanks to the genius of Hitchcock. Just a humble question!
I think it’s been confirmed elsewhere that the album will be Herrmann-only, probably for space reasons. Rewatching the film again a few weeks ago, there was apparently another song in the film called “We’ll Love Again” which I forgotten about (though it honestly is kinda buried in the mix when it is performed, which is probably why I forgot about it). That said, I do sort of wish the cantata was going to be included since it’s a vital part of the film.
Doug’s mention of Jason and the Argonauts in that Corner blurb does have me wondering if that’s going to be receiving a reissue at some point as it’s currently listed as out of stock, and has been for quite some time.
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Thanks for the information! This is in no way dampening my enthusiasm for this project. Both scores are so wonderful. Herrmann is my favorite composer (altho still tied with Bruckner), so this release will make my year when released. Thanks again to Intrada and the team involved for the hard work behind this recording. (I can always find a Doris Day version and create my own playlist if need be!)
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Update on the recording from Doug’s Corner:
9/20/2022
We invite you to take advantage of the nice sale prices attached to a number of our releases, specially discounted from now through October 2, 2022. We don’t run sales like this often. Hopefully you will find some titles of interest, priced to own.
As happens from time to time, we are in a holding pattern on final packaging approvals for several new releases all ready for manufacturing… with some really cool ones in the bunch, too! We’re also amidst some major new upgrades and additions to the Intrada studio while we wait, with quite a few new curves to learn. Fun!
William Stromberg and Anna Bonn are finalizing the complete scores and parts for the two upcoming Bernard Herrmann recordings we are readying. The Man Who Knew Too Much and On Dangerous Ground are the two masterpieces on the docket. The Royal Scottish National Orchestra is again our performing group of choice. Setting the actual session dates has taken a bit longer than what we have encountered in the past for a couple of reasons, one being the growing popularity of the musicians and their magnificent hall. We like to think Intrada has been a factor in their increased profile, even if just in a minuscule way. The other reason is our musician requirements are significantly larger than our previous sessions, with the addition of a larger brass section than we typically utilize. Six trombones, six trumpets, eight French horns, two tubas… and a sizable string and percussion section to balance with all those horn players… as well as a key soloist on the viola d’amore parts for On Dangerous Ground. We're even planning on recording Nathan Van Cleave's fabulous VistaVision logo that appears in front of The Man Who Knew Too Much and so many other Paramount films from the era. Yep. It’s all going to be impressive for sure.
http://www.intrada.net/phpBB2/viewtopic.php?f=2&t=8973
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Glad to hear that the VistaVision logo music is being included!
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