Barry Gray's JOURNEY TO THE FAR SIDE OF THE SUN, UFO, and I believe he used it on SPACE 1999.
I would agree with you Charles,all great use of the instrument. I can't recall hearing it in Space 1999 though,I'm sure Stephen W will correct me if I'm wrong!
I always felt that Elmer rather over-used the Ondes eventually ... featuring it more as a solo instrument rather than, as Jarre more often or not did, as an extra orchestral texture doubling the high violin and flute lines.
I feel that Jarre's use of the ondes to create these additional "beyond this world" textures was particular well used in his scores for THE MESSAGE and JESUS OF NAZARETH ... giving both a more spiritual element. And of course his use of 3 ondes in both LAWRENCE and MAD MAX BEYOND THUNDERDOME is a model of restraint compared to some of Elmer's scoring.
By the way James, never thought about releasing JESUS OF NAZARETH ? the last LEGEND release is horrid.
As discussed elsewhere ....I have been searching for the tapes of JESUS from Anvil Studios for 12 years....they are missing but still have a few more places to try....
I love the Ondes -- when used well. But sometimes it can sound like a slide-whistle!
I share with Charles Thaxton a love for Barry Gray's Journey to the Far Side of the Sun -- and in particular Sylvette Allart's performance; she had an almost "singing" quality to her work, in a way few other players have.
I can't say Elmer Bernstein's use of the instrument ever really bothered me, but sometimes he used it better than at others. I thought it was beautifully-integrated into Heavy Metal and Slipstream, and was the perfect "voice" for the spooky shenanigans of Ghostbusters, but it was perhaps overused in Legal Eagles.
I agree with James Fitzpatrick that Maurice Jarre integrated it into the orchestra effectively, particularly in Jesus of Nazareth's "Three Kings" cue (where it had almost the character of an ancient middle-eastern instrument) and Lawrence of Arabia, where it lent overwhelming atmosphere (but in an almost subliminal way).
Another score where I thought it was very well-used was Takemitsu's Rising Sun. James Horner actually wanted to use an Ondes in the "Spock" cue in Star Trek II, but one could not be procured.
Here are some clips of the Ondes in action...
And in Olivier Messiaen's Turangalîla Symphonie...
I feel that Jarre's use of the ondes to create these additional "beyond this world" textures was particular well used in his scores for THE MESSAGE and JESUS OF NAZARETH ... giving both a more spiritual element. And of course his use of 3 ondes in both LAWRENCE and MAD MAX BEYOND THUNDERDOME is a model of restraint compared to some of Elmer's scoring.
James got his recent 'Lawrence' just right, and the electronics there didn't seem gooey as they sort of did on the Silva.
But then, James is one of those men who only has to look at a women's chorus and they'll start ululating. He has that effect.
I never liked the sound of the damn thing and I wish Elmer Bernstein had never gotten himself involved with it. Sure, it was fine in HEAVY METAL but thereafter it became tedious - most notably in a romantic/drama type film like THE GOOD MOTHER; the music was lovely, yes, but shoulda been consigned to the violins instead of this wailing machine.
As discussed elsewhere ....I have been searching for the tapes of JESUS from Anvil Studios for 12 years....they are missing but still have a few more places to try....
Could someone point me in the direction of the thread in which this is discussed. I guess Jesus of Nazareth is one of my 'Holy Grails' that got me into film scores, so I'd be very interested in know more about James' (so far unsuccessful) efforts to track this down - presumably in the hope of an expanded release one day... (one can live in hope).
Barry Gray's original Ondes Martenot, an early electronic instrument used by Barry on many of his Gerry Anderson scores; including Supercar, Fireball XL5 and UFO had a high profile outing this month, playing on a brand new recording of Maurice Jarre's score for the film Lawrence of Arabia.
The Ondes Martenot was one of the additional items rescued by Ralph Titterton when he, and long term partner Cathy Ford, took on the Barry Gray tape archive back in the early 1990s which subsequently led to the various soundtrack CDs produced for both the fan and commercial market's over the last ten years.
Composer and doctor of electronic music, Francois Evans, and Ralph's later partner for the Barry Gray Concert, took on the Ondes Martenot and had it completely restored back to full working order. It has already played some of Barry's themes for the 1997 Silva Screen release The Cult Themes: Re-Opened, and on some small low budget films, however this is the first big title the instrument has been used on.
This superb new rendition of "Lawrence of Arabia" was recorded by The City of Prague Orchestra in Prague, with the many Martenot lines being laid down by Francois in a studio in North London earlier this month. The CD will be released by Silva Screen Records later this year.
Pretty much anytime Elmer Bernstein used it in one of his scores. Probably Marie Ward would be my all time fav or Heavy Metal. Funny enough, I tried to pronounce the name of this thing in my soundtrack podcast and I am pretty sure I slaughtered it. LOL
In a sci-fi/fantasy/horror context, as in Heavy Metal, Ghostbusters, Slipstream, or Mars Attacks, it can be pretty good. But in a dramatic score, it's the kiss of death.
Same here. My left foot's h.m. is unbearable. Slipstream's or Mars Attacks' h.m. sounds just perfect. So thumbs half way.
I am surprised at Lorenz for his conditional appreciation. Lorenz is the only other board member here besides myself (to my knowledge) who knows and loves the music of Giacinto Scelsi. Scelsi used the Ondes Martenot, by my viewpoint, to communicate a specific spiritual essence - so stating that this instrument is suited better to sci-fi (because it is electronic) does not do full justice to the Martenot's dramatic/spiritual qualities.
Thanks much for the YouTube videos. The 1st & 2nd clips help illustrate how versatile this instrument can be. It can sound like an organ, like radio frequencies and radiophonic sound effects, like morse code ... or the human voice.
