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Yes. See last part of:
http://www.filmscoremonthly.com/board/posts.cfm?forumID=1&pageID=2&threadID=73015&archive=0
I think these remasterings were rushed, and could have been better. They is a slight improvement sonically on the RCA Dolby Surround releases on RCA, but the new releases contain tape glitches (audible from time to time) that are not found on the old remasterings. It's a matter of attention to detail and rectifying simple defects in the 35 year old tapes. The Alfred Newman suite of "The Robe" fades out with audible tape grunge, which could have easily been fixed. As I say, I think these remasterings were rushed. Intrada or FSM or Kritzerland would have done the mastering correctly.
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But the album does include music from Rozsa, Waxman and Young as well.
And Hollander, but that cue never moved me. A great album overall.
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Posted: |
Jan 25, 2011 - 2:52 AM
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By: |
Thor
(Member)
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Not too keen on it, to be honest (as I don't really like Steiner in the first place), and I've been trying to sell my CD's for a measly $5....but to no avail.
Well, if you don't like the way Gerhardt conducts Steiner, then I guess you really DON'T like Steiner. But the album does include music from Rozsa, Waxman and Young as well. In fact, my favorite cue on it has always been "The Left Hand Of God" by Victor Young.
I know, and they ain't too shabby, but it's still too much Steiner on it, so I never play it.
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Posted: |
Jan 25, 2011 - 12:28 PM
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By: |
CinemaScope
(Member)
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I've just listened to (most) of this, it sounds great, but...there's a dirty great mag-wow right at the start of The Treasure Of The Sierra Madre. It's not on the old CD, has anyone else heard this?
I don't have the CDs of the series only the LPs, but it is definitely on the original release of the LP and it's jarring to say the least!
I'm confused (not for the first time!). I've just listened to the old & new CD...& it's not on the old one. There's nothing subtle about it, it's a big mag-wow.
It's starting to sound like it was part of the original tapes which went uncorrected for the LP (perhaps it couldn't be satisfactorily fixed technically then?), was corrected on the re-master for the old CD, but not corrected for the new one. Very mysterious without more facts.
I can see that. When I listen to the old CD, there's something there, the slightest flutter, something you just wouldn't notice, so maybe that's the fix. It makes sense.
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Posted: |
Jan 25, 2011 - 5:29 PM
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By: |
Bill Finn
(Member)
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if you don't like the way Gerhardt conducts Steiner, then I guess you really DON'T like Steiner.
Not sure I agree. Gerhardt and his oversize orchestra (compared with a studio ensemble) sometimes seem to be trying to make Steiner's music sound "bigger" than it really is. The approach is more suited to Korngold than Steiner. That said, I have fond memories of BIG SLEEP, KEY LARGO, DON JUAN, and THE FOUNTAINHEAD from this series.
I sort of see what you are saying and agree with you to an extent. But what I think is that Gerhardt himself really loved the music he performed. His love of Steiner's music was no exception. He brought a certain passion for it. Perhaps that passion was not always in the original soundtracks, but it mostly came across on Gerhardt's recordings. But, true, the National Philharmonic could make Steiner's music sound bigger at times. Still, it was very nimble as well. Like in their recording of THE ADVENTURES OF DON JUAN. But I loved that certain passion that Gerhardt brought to these albums. He was a remarkable conductor.
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Planning to replace those cues (or at least those short sections of cues), for a definitive digital album? Good idea.
Yavar
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I watched the flick last week on TCM and then re-watched it On Demand over the next few evenings and kept m'ear tuned to the score because I wanted to identify every standard Dooley & Co. performed. Is it possible to tire of the production after 500 times including a viewing in NY upon its restoration? Hell no. I would love some kind of new score release.
I would love a rerecording too, if that's what you were suggesting. I mentioned it here a few years ago. It might be somewhat short, and could maybe be paired with another Bogart like Sahara (???), but I'd love the entire work in modern sound. There is a magic about even the material not featured in the concert suites - especially the full Paris sequence including the few bars of Perfidia - that I'm sure could be performed today with much of the same charm intact.
It really deserves it.
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