 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
And speaking of ELIZABETH AND ESSEX, the complete recording of this score by conductor Carl Davis has many critics on this board, but I happen to think it's a magnificent performance, and the score itself is simply wonderful and worthy of the composer's oft-quoted assertion that his film scores were like "operas without singing."
Yes, the Gerhardt 'Deception' concerto is sublime, unequalled.
And I agree about Davis's 'Private Lives', it's a great presentation. I'd hate to think that people were swayed by the mystifying currents round here. The effects of the vitriol against Gamba's Sea Hawk release can be seen clearly in that no-one here seems to own it! What a shame.
There hasn't been much talk of 'Captain Blood' on this thread, a charming score. It has all been released if you count the 'grey area' CD, although that had a mistake: one cue is repeated twice, whilst another is absent! Richard Kaufman released a good John Morgan suite, (there's a good name for a pirate...) and Andre Previn and the LSO did too, his containing the only release of the cue for Blood leaving Port Royal. Somewhere amongst that lot is the whole score. Franz Liszt's Prometheus formed about 5% of the score, and for that sole reason Korngold refused composer credit, and called himself musical director.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I know a lot of people will vehemently disagree with me, which is okay of course, but I prefer the old Varèse recording of "The Adventures of Robin Hood," conducted by Varujan Kojian, to the Morgan/Stromberg one, even though (or perhaps because) it's about a half-hour shorter. Where the latter slavishly recreates the complete score (as is generally demanded around here), the Kojian recording lets a few pieces play out without interruptions that are cinematically, but not musically, required.
No I totally agree with you. I've heard several recordings but none are as crisp, detailed and vibrant as the Varese Robin Hood and Sea Hawk under Kojian. Those were my first forays into Korngold and I still love them to this day.
|
|
|
|
|
|
I know a lot of people will vehemently disagree with me, which is okay of course, but I prefer the old Varèse recording of "The Adventures of Robin Hood," conducted by Varujan Kojian, to the Morgan/Stromberg one, even though (or perhaps because) it's about a half-hour shorter. Where the latter slavishly recreates the complete score (as is generally demanded around here), the Kojian recording lets a few pieces play out without interruptions that are cinematically, but not musically, required.
No I totally agree with you. I've heard several recordings but none are as crisp, detailed and vibrant as the Varese Robin Hood and Sea Hawk under Kojian. Those were my first forays into Korngold and I still love them to this day.
Gerhardt is even crisper.
|
|
|
|
|
|
|
 |
Posted: |
Jan 16, 2018 - 4:50 AM
|
|
|
|
By: |
Expat@22
(Member)
|
I know a lot of people will vehemently disagree with me, which is okay of course, but I prefer the old Varèse recording of "The Adventures of Robin Hood," conducted by Varujan Kojian, to the Morgan/Stromberg one, even though (or perhaps because) it's about a half-hour shorter. Where the latter slavishly recreates the complete score (as is generally demanded around here), the Kojian recording lets a few pieces play out without interruptions that are cinematically, but not musically, required.
No I totally agree with you. I've heard several recordings but none are as crisp, detailed and vibrant as the Varese Robin Hood and Sea Hawk under Kojian. Those were my first forays into Korngold and I still love them to this day.
Gerhardt is even crisper.
I like crispy. Having said that, I have, once again, learnt something from this board. I have all the Gerhardts (Dolby and non Dolby) and now have been made aware here of the two Varèse rerecordings(Hawk and Hood) - so I have picked them up off Discogs for a nice price. Very much looking forward to hearing those when they arrive.
|
|
|
|
|
|
|
You won't be disappointed. Kojian was himself a Golden Age session player and knew the techniques, and George Korngold was present. They play perfectly.
The selections try to avoid repetition.
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
