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No trouble with getting enough percussionists....I used 11 on Lawrence and 12 on Villa Rides. Having already recorded Conquest for Silva I would love to record more...but that will not happen in my lifetime as I would think Quo Vadis will be my last..... as these recordings just do not sell enough anymore to warrant the huge expense ! If I had saved all the money I had spent on these CDs I could have been quite well off......
Hi James -- So it turned out Taras Bulba was your last on the Tadlow label, and Quo Vadis went to Prometheus. Any chance that Luc might be a fan of Captain from Castile? The score would be AMAZING in a complete new recording. Probably make a ton of Newman converts...
Not that I'm complaining about the concentration on Goldsmith recordings, mind you.
Yavar
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Thanks, TerraEpon, that's it exactly. Plus there is at least one missing cue. Similar situation existed for The Adventures of Don Juan from just a year earlier, and I remember people were pretty happy when Tribute put that out!
All that said, I would usually prefer something that's otherwise lost to get a recording instead. I mean, at least Captain from Castile has something out there (in a great package). How about The Mark of Zorro then?
Yavar
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Film music is a sub genre of classical music, and is thus open to interpretation. I do not understand those who think that only the OST, no matter how drab and crappy it sounds, is the "real thing". These people have a limited understanding of living and breathing music IMO.
I wonder why no company has tried crowd funding as a means of financing new recordings yet. Maybe because there is no crowd for that.
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Posted: |
Jul 19, 2013 - 9:20 AM
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By: |
Dana Wilcox
(Member)
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Film music is a sub genre of classical music, and is thus open to interpretation. I do not understand those who think that only the OST, no matter how drab and crappy it sounds, is the "real thing". These people have a limited understanding of living and breathing music IMO...
Some of us like the way the music sounds and is used in the films for which they were written, and like to have recordings as close to what we heard in the theater as possible. The fact that some stores clump film music in with their classical stuff does not make it a "sub genre of classical music." It is its own genre. Some, like Alex North have called it "functional music," and as such it is very different from classical music in that it is created for a very specific and limited use. (Film music may utilize or borrow from the classics, or may be more like jazz, blues, rock, or atonal music rather than in any obvious way classical.)
We all like music to sound great, but when push comes to shove the quality of the music trumps the quality of the sound, if you catch my drift. Or so it is for me.
You said you don't understand, so I'm attempting here to explain it to you. I hope this helps.
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Posted: |
Jul 19, 2013 - 11:28 AM
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By: |
Dana Wilcox
(Member)
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I think the writer meant to say that traditional symphonic film scoring, of which CAPTAIN FROM CASTILE, is a good example, is a subgenre of classical music. That is certainly correct. The fact that the composer works to dramatic rather than strictly musical specifications is no disqualifier. Think of opera and ballet. In those media, of course, the composer was usually calling the shots. But not always. Read about Tchaikovsky's dealings with Petipa. The composer went through exactly the kind of nipping and tucking that most film composers had to deal with. Yet nobody would deny the status of SLEEPING BEAUTY as classical music.
As for preferring soundtrack versions, it's an understandable desire. But, insofar as it limits one's appreciation for the music's potential, it's more of a nostalgia or souvenir phenomenon than a truly musical approach. Any composer will tell you that he would do things differently outside the movie scene context.
I am less interested in debating whether film music is a "sub genre" of classical music (and you're certainly entitled to your opinion on that one) than I am in responding to the previous writer's assertion that he could not understand why anyone would be more interested in a less-than-fully dynamic original recording when a technically state-of-the-art "interpretation" of that same music could be had. I appreciate your point of view on that, and will accept your viewpoint that I am "limited" in my appreciation of film music's "potential." You're right. While I love and own a wide variety of music recordings, I like film music precisely because it is film music. The interpretation I am after is the composer's, for the purpose and in the context for which it was written, capturing the drama and emotions of the film's characters and events. Especially for those scores which for me accomplish those purposes most perfectly and appeal to me most directly, I really don't have a lot of interest in how others, or even the composer himself, might wish to reconfigure the music based on technical or performance considerations. There is more to it, but that's the essence of it. It is wholly subjective, and I'm just talking for me.
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