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The Phase 4 Fantasy Film Worlds album remains my favorite Herrmann album, despite the criticisms you usually hear.
JOURNEY TO THE CENTER OF THE EARTH is the highlight of that one. And FAHRENHEIT 451.
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Fantastic album. Would give my molars to have a release of the original recording to White Witch Doctor!
As would I. It must not exist any more or surely it would have been included on the Herrmann at Fox series.
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I've come to really like the "Snows of Kilimanjaro + Five Fingers" double rerecording, since the originals aren't available.
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And to my ears, they sound just as good as the original tracks- maybe better. A spectacularly fine recording.
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I did just get the Charles Gerhardt-conducted RCA recording, CITIZEN KANE: CLASSIC FILM SCORES OF BERNARD HERRMANN and have been enjoying thoroughly, great stuff from start to finish. I was surprised the KANE polka was not included, though, since it seems to show up on other Herrmann compilations? 12-MILE REEF is gorgeous and that HANGOVER SQUARE concerto is wonderfully brutal.
Wow! Follow this advice. Forget the source music Herrmann did for CITIZEN KANEe Polka, ETC- and listen to:
A. Either the Varese recording (which makes more consequential sense)
B. BENEATH THE 12 MILE REEF- get the original tracks, once available from FSM
C. Keep on hanging on for HANGOVER SQUARE original tracks.
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One of the worst suggestions I've heard here in a while. Those recordings are very, well, bad.
-Joshua
You are very, well, right. Great sound, lousy performances. Herrmann revisiting his own work was always disapointing.
I haven't heard those recordings yet, but have been told his conducting method became more and more lazy and harder to follow as he became older. To me that's especially sad because Bernard really wanted to be a world class conductor.
I just found the Varese Citizen Kane for a decent price (I already have the Chandos and Gephardt and like specific things about each). I'm really interested in hearing McNeely's take on it, as I admire his Vertigo and Psycho (not as wild about his Torn Curtain...I think most casual fans would be better off with the Salonen suite for that).
To me the only Ghost and Mrs. Muir (as far as complete) is the Bernstein recording I love it.
The Stromberg Mysterious Island and Fahrenheit are top of the line imo. I like the Five Fingers/Snows combo, but kind of bum out over the flat production. Really good performances there...I probably need to hear the original recording of Snows to make a firmer judgement.
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Tadlow's OBSESSION is pretty decent ?
I adore that recording, and am pretty stunned it didn't sell that well. The score is at times like a self-homage, but the re-recording helps delineate so much of the subtleties inherent...it's an essential purchase.
Would love to hear more Bernard/Fitz, but I guess it won't happen too soon because of the baffling sales.
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Tadlow's OBSESSION is pretty decent ?
I adore that recording, and am pretty stunned it didn't sell that well. The score is at times like a self-homage, but the re-recording helps delineate so much of the subtleties inherent...it's an essential purchase.
Would love to hear more Bernard/Fitz, but I guess it won't happen too soon because of the baffling sales.
James, don't fret over your Obsession re-recording. It is magnificent to say the least. And gets VERY regular plays from me. I think it's an absolute must for anyone who loves Herrmann.
It's really a crime that it did not sell well for you, especially considering how sales are doing on other titles of yours. There are some composers who should be no-brainer purchases and Herrmann should be one of them. I know that low sales for Obsession will most likely deter you from other great scores by him -- after all, it is a business -- but I hope you reconsider visiting another score.
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Posted: |
Feb 5, 2018 - 6:32 AM
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By: |
OnyaBirri
(Member)
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I've written this elsewhere, but for me, the McNeely recordings are all marred by the interminable decays on the final notes/chords of each cue. You get a CD with a million individually indexed one-minute cues, each of which ends with a ridiculously long decay. It breaks up the momentum.
The dynamic range on some of those McNeely recordings is likewise too extreme. For example, "Solar Diamonds," a solo vibraphone cue from "The Day the Earth Stood Still," is barely audible on the McNeely version. It sounds like it is miked from the back of the hall.
I had long wondered about the degree to which these features got in the way of enjoying what might be otherwise excellent recordings. So, I took the McNeely "Day the Earth Stood Still," loaded it into protools, tightened up the transitions and, in a few cases, cross-faded them when they were in the same key, evened out the dynamic range, and got rid of the two mood-busting patriotic numbers. I own every release of "The Day the Earth Stood Still," and my produced version of the McNeely is my go-to version.
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