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From Gerhardt's Wikipedia hit:
One particularly successful set Gerhardt conducted with the National Philharmonic Orchestra included the 14 LPs of the Classic Film Scores series for RCA, issued 1972-1978. This started with the 1972 release “The Sea Hawk: The Classic Film Scores of Erich Wolfgang Korngold. The whole series was notable especially for Gerhardt's own, extremely careful, preparation of the scores. Recordings were made in the acoustically outstanding Kingsway Hall and engineered by Kenneth Wilkinson. The producer of the series was George Korngold, the composer’s son. The series continued with albums devoted to Max Steiner, Miklós Rózsa, Franz Waxman, Alfred Newman, Dimitri Tiomkin, Bernard Hermann and John Williams as well as albums devoted to music in the films of Bette Davis, Humphrey Bogart, and Errol Flynn. A number of additional pieces were recorded but remain in the vaults.
The last sentence is very interesting! More Gerhardt recordings in storage??
Somebody needs to dig this up, and put together a multi disc BLUE BOX of all his recordings, which are the best re-recordings I've ever heard.
SCOTT
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Why blue?
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Why blue?
Somehow it just has sort of a ring to it....
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My personal dream box project: the entire series, with any surviving unreleased material all remastered sans Dubly.. .
...and with a black cover
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Quoting Ed: "My personal dream box project: the entire series, with any surviving unreleased material all remastered sans Dubly. It would be a nightmare to license, but worth the effort. Of course the trend these days is to go after original tracks, but these performances stand on their own as essential performances."
Well said! This would be a dream project for me, too, if extra material is unearthed and it could be re-arranged into just a Classic Film Scores Conducted by Gerhardt box set.
In Gerhardt Blue, of course.
SCOTT
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A "black box" for FSM?
Featuring famous scores from air disaster films, no doubt.
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"Why blue?"
BLUE BOX is now a general noun referring to any highly anticipated multi-disc box set, according to Webster's FSM revised. The color does not matter.
A "box" for something as film-musically significant and important as this project would be is almost anti-climatic. Marketing people much smarter than me could come up with something really cool (like the donut packaging for THE SIMPSONS or the brief case for the BLADE RUNNER DVDs).
As one somewhat ignorant on the processes of licensing, what all difficulties present themselves for releasing such a set?
SCOTT
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Posted: |
Jan 31, 2008 - 2:58 PM
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By: |
shicorp
(Member)
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I think RCA's decision to exclude any bonus material after the first two releases supervised by Charles Gerhardt himself was simply a cost-cutting measure. Even if AFM restrictions were stricter back then, the situation can hardly be compared to FSM or Intrada releases. First of all, the series was conceived for worldwide retatil distribution, whereas the current products from speciality labels are only available through limited sources - and the general public may therefor be unaware of the great work Lukas & co do. Furthermore, the albums were relatively new then (the CD re-issues appeared about 15 years after the first album in the series had been recorded) and the series had an outstanding reputation among film music collectors and audiophiles. Together with the fact, that innovations like home video and cable television, brought many classic movies back to the public during the 1980s, I'd assume that the target audience for these releases was bigger back then than it is now.
The question is, however, if the recent DVD re-issues have lead to a similar increase in popularity of classic movies - and the scores of them...
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Posted: |
Jan 31, 2008 - 3:09 PM
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By: |
CinemaScope
(Member)
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I think RCA's decision to exclude any bonus material after the first two releases supervised by Charles Gerhardt himself was simply a cost-cutting measure. Even if AFM restrictions were stricter back then, the situation can hardly be compared to FSM or Intrada releases. First of all, the series was conceived for worldwide retatil distribution, whereas the current products from speciality labels are only available through limited sources - and the general public may therefor be unaware of the great work Lukas & co do. Furthermore, the albums were relatively new then (the CD re-issues appeared about 15 years after the first album in the series had been recorded) and the series had an outstanding reputation among film music collectors and audiophiles. Together with the fact, that innovations like home video and cable television, brought many classic movies back to the public during the 1980s, I'd assume that the target audience for these releases was bigger back then than it is now.
The question is, however, if the recent DVD re-issues have lead to a similar increase in popularity of classic movies - and the scores of them...
Nothing at all to do with the AFM, the series was recorded in London.
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...and with a black cover
A "black box" for FSM?
"How much more black could this be? And the answer is none. None more black."
Blondie-wan understands. 
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