Be advised that Lydia is not primarily a piano score. There is a blind piano teacher who idealises Lydia without ever seeing her. He plays improvs on the piano, though Rozsa's pieces for him are not impros of course.
The score is very fine. You should pick up the extended New England Concerto for four hands, with Elmer Bernstein in Utah and Dorothy Jonas and Joshua Pearce on pfs.
And of course you need Rozsa's own piano concerto.
It's a good film too, a sort of Rashomon or Laura about one woman seen through the fantasies of her lovers.
This is so lovely thanks so much! As for Lydia, what kind of astonished me is how engaging it was: piano isn't exactly my favorite instrument, but I was completely won over by Rozsa's writing. As much as I enjoyed the Private Files, the Lydia suite might be my favorite from the album.
In fact, this CD has already been played several times today
Waiting on a bunch more Rozsa stuff from the mailman now (I know I know, I need to save for the Treasury!).
Wow! I don't believe I've ever heard this suite before. It's the best overall representation of the music that I know. From a concert performance? Perhaps something that Christopher Palmer prepared but never made it into the Polydor series? Anyway, thanks for pointing us to this unidentified YouTube posting by "Niqbal."
Wow! I don't believe I've ever heard this suite before. It's the best overall representation of the music that I know. From a concert performance? Perhaps something that Christopher Palmer prepared but never made it into the Polydor series? Anyway, thanks for pointing us to this unidentified YouTube posting by "Niqbal."
It's in the Polydor series John. LP 3, 'Rozsa Conducts Rozsa' side 1, track 4a. 4b is five of the piano pieces with Eric Parkin. It's the RPO. You must've forgotten it!?
I missed this query. There aren't eight more tracks on the Rhino, just three. Many segue cues are listed as separate tracks, and the CD tracks don't correspond to those on the booklet because one cue got out of phase in the listing. It's very good though. I think FSM would have used a little more reverb to polish down the harsh hi-end.
The OST is very fine, so don't ignore it just because it's mono. Intrada did a great job with their London reperformance, and added the odd bit of percussion underlining here and there. This was not sacrilege, since Rozsa's OST did not emphasise the banging and crashing already in the SFX, just as the Ben-Hur OST did not emphasise the rowers' drum in the orchestration so tympani were needed on the suite (and Tadlow) versions.
It's a perfect score, very internally consistent, but with quite a few authentic period source melodies to lift it beyond Hollywood into something real.
FSM included lots of extra stuff which Rhino ignored (there was room) in the Rozsa Treasury. Rozsa had some daemonic Pied Piper way with fanfares. They always come from some primeval place and awaken something.
I don't know if you have 'Moonfleet' yet, an exquisite score. The FSM CD had no room for Gomez's guitar suite, but Lukas included it as bonus on the 'Diane' 2CD.
I missed this query. There aren't eight more tracks on the Rhino, just three. Many segue cues are listed as separate tracks, and the CD tracks don't correspond to those on the booklet because one cue got out of phase in the listing. It's very good though. I think FSM would have used a little more bass to polish down the harsh hi-end.
The OST is very fine, so don't ignore it just because it's mono. Intrada did a great job with their London reperformance, and added the odd bit of percussion underlining here and there. This was not sacrilege, since Rozsa's OST did not emphasise the banging and crashing already in the SFX, just as the Ben-Hur OST did not emphasise the rowers' drum in the orchestration so tympani were needed on the suite (and Tadlow) versions.
It's a perfect score, very internally consistent, but with quite a few authentic period source melodies to lift it beyond Hollywood into something real.
FSM included lots of extra stuff which Rhino ignored (there was room) in the Rozsa Treasury. Rozsa had some daemonic Pied Piper way with fanfares. They always come from some primeval place and awaken something.
I don't know if you have 'Moonfleet' yet, an exquisite score. The FSM CD had no room for Gomez's guitar suite, but Lukas included it as bonus on the 'Diane' 2CD.
I adore the Intrada...that is such a wonderful score.
Ivanhoe is such a wondrous score, the gorgeous themes , the nobility, the melancholia sometimes, the heroic feeling of it all, just perfect. Little odd trivia: last summer I went back after quite a few years to the Orlando theme parks, and at the Disney Studios park, in the morning when you get into the fray with the crowds......they BLASTED the Ivanhoe theme through the PA....quite a grand way to start the day!
Ivanhoe is such a wondrous score, the gorgeous themes , the nobility, the melancholia sometimes, the heroic feeling of it all, just perfect. Little odd trivia: last summer I went back after quite a few years to the Orlando theme parks, and at the Disney Studios park, in the morning when you get into the fray with the crowds......they BLASTED the Ivanhoe theme through the PA....quite a grand way to start the day!
That is super cool! If anyone here loves Ivanhoe than allow me to recommend, if you haven't heard it yet, the Knights of the Round Table/King's Thief FSM cd. Though essentially different, that whole swashbuckling-yet-dramatic side to Rozsa's writing is so well represented on those discs.
They are also just plain, vastly entertaining pieces in general.
Ivanhoe is such a wondrous score, the gorgeous themes , the nobility, the melancholia sometimes, the heroic feeling of it all, just perfect. Little odd trivia: last summer I went back after quite a few years to the Orlando theme parks, and at the Disney Studios park, in the morning when you get into the fray with the crowds......they BLASTED the Ivanhoe theme through the PA....quite a grand way to start the day!
I know the feeling, as I pretty much had the same experience when I went to the MGM section of Disney Orlando about five years ago with my high school marching band. But then again, it was just so exhilarating hearing so many great film score excerpts in that area of the park to the point that my assigned group made it a bit of a game to see if I could recognize the cue playing (I got most of them by the way, and there was quite a bit of Herrmann).
WA, I note you've never mentioned Korngold. There are some stunning CD reperformance of his swash scores. He fits the Teutonic mould of most of your fave classical idols.
WA, I note you've never mentioned Korngold. There are some stunning CD reperformance of his swash scores. He fits the Teutonic mould of most of your fave classical idols.
Thoughts?
I do need to dive into that music. Hmmm...might be time for another thread
I mean, I've been showing a lot of restraint by not bringing up my #1 favorite film composer (Rozsa's onetime student, Jerry Goldsmith) or the fact that Tadlow has done three amazing rerecordings of his work for Prometheus (QB VII, The Salamander, and Hour of the Gun/The Red Pony)...because those will stay in print at a reasonable price for some time, essential as they are. But someone who holds Rozsa as one of their favorite composers of all time NEEDS the Treasury set.
I mean, I've been showing a lot of restraint by not bringing up my #1 favorite film composer (Rozsa's onetime student, Jerry Goldsmith) or the fact that Tadlow has done three amazing rerecordings of his work for Prometheus (QB VII, The Salamander, and Hour of the Gun/The Red Pony)...because those will stay in print at a reasonable price for some time, essential as they are. But someone who holds Rozsa as one of their favorite composers of all time NEEDS the Treasury set.
Yavar
My favorites for film (and in my top five overall composers) are Rozsa and Herrmann (already have a nice collection of the latter and working on the former), and most recently Alfred Newman. They were three composers who were really different in very important ways imo.
Jerry Goldsmith is one of the reasons I fell in love with music in the first place. Back in the day I had Boys From Brazil, Planet of the Apes, and (and not long after) The Omen. Plus it's hard to overestimate the influence Capricorn One had on movies after. He's one of the elite best imo.
Hey, I give all props to Williams too (though I hate Star Wars). Jaws, Close Encounters, Jurassic Park, Indy...it's so easy to keep going.
My favorites for film (and in my top five overall composers) are Rozsa and Herrmann (already have a nice collection of the latter and working on the former), and most recently Alfred Newman. They were three composers who were really different in very important ways imo.
Jerry Goldsmith is one of the reasons I fell in love with music in the first place. Back in the day I had Boys From Brazil, Planet of the Apes, and (and not long after) The Omen. Plus it's hard to overestimate the influence Capricorn One had on movies after. He's one of the elite best imo.
Hey, I give all props to Williams too (though I hate Star Wars). Jaws, Close Encounters, Jurassic Park, Indy...it's so easy to keep going.
I just like Miklos and Bernard better
Ah, but now as you've gotten to know Alfred Newman's music better it seems like you rate him among Miklos and Bernard...perhaps you just need to explore the breadth of Goldsmith's output more (no one had more breadth and variety while still keeping true to a clear style). At the very least as a Tadlow fan you should buy QBVII and The Salamander, both just amazing.
Yavar, you're not going to hear any opposition when it comes to the amazingness of Jerry Goldsmith. You already know we all have our favorites, doesn't make one composer better than the other, at least not that way.
I just happen to like Rozsa and Herrmann better because I love their unique musical voices. Jerry had his own though granted he was probably more eclectic than either of the above from an overall perspective. Bernard and Miklos each had a certain harmonic range that they liked to write in, granted it became part of their personalities, but Goldsmith was simply an all arounder, his art was relentlessly triumphant in innumerable contexts.
Jerry even delved into serial composition when most film composers were dead set against it. And that's just one amazing thing about him.
Stop distracting her! She's supposed to save up for the Treasury while it's still remotely affordable!
I thought the Treasury was out of print and never to be in print again? I only mention this because I might be interested in picking it up in the future...
