got mine today, own all previous versions of this magnificant work
but am i missing something ? nothing in the new booklet mentioned about cd 4 except one sentence about "the slaves" track and the cue info on the backcover? thought this album was a rerecording or only "The slaves" track ? no mention about where recorded/track info technical details
If I recall correctly, there were no notes or track details in the Varese release of the album either. The album was recorded at Abbey Road Studios in London, in 1981.
The MCA album was also weird in that it had no conducting credit. The back of the sleeve says "Music Composed, Produced and Arranged by Jerry Goldsmith". No mention of a conductor.
Apart from the conductor non-credit, the "arranger" credit was also unusual, since Goldsmith never took an arranger credit on any of his other work. My guess it he did the album arrangements on his own, sans Arthur Morton's secretarial assistance.
The other thing I've always found curious is that the Masada album was recorded in London by Eric Tomlinson, but edited in Rome by Federico Savina. Why go all the way to Rome to edit an album?
Either I'm the last person around here to notice this (above), or we don't like to talk about stuff like this - when it's JG - at Goldsmith Score Monthly
What are you expecting? There is definite similarity but nothing I'd call an absolute lift as the total piece really goes somewhere different than what Goldsmith wrote. Things like this can be heard all over filmusic. Heck, in music in general. The first 4 or 5 notes from the Star Wars theme are pretty much the same as the first notes of Rozsa's King's Row main title. Kind of a big "so what?" if you ask me. There are probably several mannerisms and characteristics in Jewish music that Goldsmith incorporated into Masada. Are you expecting us to all jump on this for some reason?
Sure have. In his earlier years Horner was known, not for just replicating a few notes, but entire passages of music. A different beast. I myself was irritated by some of his "borrowings" but he seemed to grow out of that habit as he matured. I still dearly miss his presence on the film music scene.
Either I'm the last person around here to notice this (above), or we don't like to talk about it - when it's JG - at Goldsmith Score Monthly
I’ve known the Bloch piece for longer than I’ve known Goldsmith’s Masada and I think it’s just a (first four Jewish-sounding notes) coincidence as happens in music sometimes. The full melodies are not the same, and even the moods are quite different (the Bloch is, well, prayerful sounding… whereas I don’t get that sense from the Goldsmith at all… for me the latter more communicates the inevitable trudge of history for the Jewish people or something).
Horner has carbon-copied whole sections/pieces of music at times, imitating the structure, mood and everything (I’m thinking of Troy as the worst offender for my taste here, with its absolutely shameless Britten and Shostakovich rips). And sure his frequent danger motif was just four notes in common with Rachmaninov’s first symphony… but those four notes constitute the *whole* of Horner’s motif AND Rachmaninov’s motif…and *everything* — the tempo, instrumentation, and mood — is copied pretty much identically.
What are you expecting? There is definite similarity but nothing I'd call an absolute lift as the total piece really goes somewhere different than what Goldsmith wrote. Things like this can be heard all over filmusic. Heck, in music in general. The first 4 or 5 notes from the Star Wars theme are pretty much the same as the first notes of Rozsa's King's Row main title. Kind of a big "so what?" if you ask me. There are probably several mannerisms and characteristics in Jewish music that Goldsmith incorporated into Masada. Are you expecting us to all jump on this for some reason?
I see no one has mentioned the big glaring error, above. Shame on you , no ball tonight.
What are you expecting? There is definite similarity but nothing I'd call an absolute lift as the total piece really goes somewhere different than what Goldsmith wrote. Things like this can be heard all over filmusic. Heck, in music in general. The first 4 or 5 notes from the Star Wars theme are pretty much the same as the first notes of Rozsa's King's Row main title. Kind of a big "so what?" if you ask me. There are probably several mannerisms and characteristics in Jewish music that Goldsmith incorporated into Masada. Are you expecting us to all jump on this for some reason?
I see no one has mentioned the big glaring error, above. Shame on you , no ball tonight.
Depends on whether this thread is about Korngoldsmith or Goldsmith's wholesale melodic theft of the band Korn (who can forget the opening chords of "Blind" that Jerry gently lifted for Lonely Are the Brave...).
[startquote The other thing I've always found curious is that the Masada album was recorded in London by Eric Tomlinson, but edited in Rome by Federico Savina. Why go all the way to Rome to edit an album?
Best Guess on my part.
Jerry recorded the album in London (And more then likely) Conducted the album, but took n o credit for some reason (It could have been a AFM issue or something along those lines) and he then flew onto Rome for another project and did the mixing and editing while he was there (I would guess it would be around the time he was working on THE SALAMANDER).
Who wrote the MCA logo that closes disc 1 and 2? The liner notes mention that Morton Stevens conducted them but no mention of authorship. Probably Stanley Wilson and Juan Esquivel.
From Wikipedia (Stanley Wilson) - "For the second and third seasons, (of M SQUAD), he entrusted Basie to compose a new theme. Wilson, along with Esquivel, composed the now famous Revue Studios/Universal Television fanfare, which lasted for nearly three decades."
