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Posted: |
Dec 12, 2013 - 9:42 AM
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By: |
Morricone
(Member)
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Even though Golden Age scores were not my favorites when I started collecting, so a part of me relates to some of these nubies, I soon learned a couple things. As many a composer has said many a time, these are the giants of film music on whose shoulders newer ones stand. This isn't just lip service, any one with half an ear can find the lineage of a sound or technique starting with those pioneers. Second, and the most important thing I learned, is that when an 80s score is not released one year it is most likely they might get to it the next year or the next one after that. When a Golden Age score isn't released there is a higher chance it is slowly disintegrating somewhere. So when a Golden Age score is released by Kritzerland, LaLaLand, Intrada, Varese, SAE, MMM or anyone, it isn't just a release, it is being saved and I practically get down on my knees to thank them. There are scores that have been lost to the ages and a few of those are probably unheralded classics. So when I hear what amounts to "let them rot!" my blood boils and I side with many a prejudiced Golden Age fan. If only because if I suddenly change my mind about a composer whose works have been lost, it will be too late.
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Posted: |
Dec 12, 2013 - 1:43 PM
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By: |
PFK
(Member)
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Even though Golden Age scores were not my favorites when I started collecting, so a part of me relates to some of these nubies, I soon learned a couple things. As many a composer has said many a time, these are the giants of film music on whose shoulders newer ones stand. This isn't just lip service, any one with half an ear can find the lineage of a sound or technique starting with those pioneers. Second, and the most important thing I learned, is that when an 80s score is not released one year it is most likely they might get to it the next year or the next one after that. When a Golden Age score isn't released there is a higher chance it is slowly disintegrating somewhere. So when a Golden Age score is released by Kritzerland, LaLaLand, Intrada, Varese, SAE, MMM or anyone, it isn't just a release, it is being saved and I practically get down on my knees to thank them. There are scores that have been lost to the ages and a few of those are probably unheralded classics. So when I hear what amounts to "let them rot!" my blood boils and I side with many a prejudiced Golden Age fan. If only because if I suddenly change my mind about a composer whose works have been lost, it will be too late. "Golden Age scores released by Kritzerland, LaLaLand, Intrada, Varese, SAE, MMM or anyone" VARESE? Hmmmm ........
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Posted: |
Dec 12, 2013 - 3:44 PM
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By: |
Morricone
(Member)
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Even though Golden Age scores were not my favorites when I started collecting, so a part of me relates to some of these nubies, I soon learned a couple things. As many a composer has said many a time, these are the giants of film music on whose shoulders newer ones stand. This isn't just lip service, any one with half an ear can find the lineage of a sound or technique starting with those pioneers. Second, and the most important thing I learned, is that when an 80s score is not released one year it is most likely they might get to it the next year or the next one after that. When a Golden Age score isn't released there is a higher chance it is slowly disintegrating somewhere. So when a Golden Age score is released by Kritzerland, LaLaLand, Intrada, Varese, SAE, MMM or anyone, it isn't just a release, it is being saved and I practically get down on my knees to thank them. There are scores that have been lost to the ages and a few of those are probably unheralded classics. So when I hear what amounts to "let them rot!" my blood boils and I side with many a prejudiced Golden Age fan. If only because if I suddenly change my mind about a composer whose works have been lost, it will be too late. "Golden Age scores released by Kritzerland, LaLaLand, Intrada, Varese, SAE, MMM or anyone" VARESE? Hmmmm ........ Well...the last time I looked Varese still holds the record for the largest number of score releases by Alfred Newman, Franz Waxman and Alex North. This after stiff competition from the likes of FSM, SAE, Intrada and, lately Kritzerland. I know it is fashionable to cop the attitude of "what have you done for me lately?" (and on the internet that can mean within the last week or two) but as far as I am concerned it's the other labels that have to play catch-up.
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Posted: |
Dec 12, 2013 - 4:27 PM
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By: |
pp312
(Member)
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Even though Golden Age scores were not my favorites when I started collecting, so a part of me relates to some of these nubies, I soon learned a couple things. As many a composer has said many a time, these are the giants of film music on whose shoulders newer ones stand. This isn't just lip service, any one with half an ear can find the lineage of a sound or technique starting with those pioneers. Second, and the most important thing I learned, is that when an 80s score is not released one year it is most likely they might get to it the next year or the next one after that. When a Golden Age score isn't released there is a higher chance it is slowly disintegrating somewhere. So when a Golden Age score is released by Kritzerland, LaLaLand, Intrada, Varese, SAE, MMM or anyone, it isn't just a release, it is being saved and I practically get down on my knees to thank them. There are scores that have been lost to the ages and a few of those are probably unheralded classics. So when I hear what amounts to "let them rot!" my blood boils and I side with many a prejudiced Golden Age fan. If only because if I suddenly change my mind about a composer whose works have been lost, it will be too late. Further to all that, and it's well put, many of the Golden Age composers composed for the concert hall (Rozsa, Korngold, Herrmann etc), and many of their concert works are being re-discovered by classical labels. Rozsa, for instance, even as his star has dimmed slightly on the filmmusic front, has been hailed by several critics as the third most important Hungarian composer after Bartok and Kodaly. And even many composers who never wrote a note for the concert hall clearly had the talent to do so had they wished, and just as clearly often wrote filmmusic at least as good as what was being written for the concert hall. (Anyone with half an ear can hear that, say, Newman's The Robe score is of too extraordinary a quality to risk being lost). I'm not saying every note of every Golden Age composer is gold, just that we need to preserve as much of it as possible until posterity decides what's gold and what's dross. And as Morricone rightly points out, releasing these scores is the most practical way of preserving them.
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Posted: |
Dec 12, 2013 - 10:00 PM
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By: |
PFK
(Member)
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Even though Golden Age scores were not my favorites when I started collecting, so a part of me relates to some of these nubies, I soon learned a couple things. As many a composer has said many a time, these are the giants of film music on whose shoulders newer ones stand. This isn't just lip service, any one with half an ear can find the lineage of a sound or technique starting with those pioneers. Second, and the most important thing I learned, is that when an 80s score is not released one year it is most likely they might get to it the next year or the next one after that. When a Golden Age score isn't released there is a higher chance it is slowly disintegrating somewhere. So when a Golden Age score is released by Kritzerland, LaLaLand, Intrada, Varese, SAE, MMM or anyone, it isn't just a release, it is being saved and I practically get down on my knees to thank them. There are scores that have been lost to the ages and a few of those are probably unheralded classics. So when I hear what amounts to "let them rot!" my blood boils and I side with many a prejudiced Golden Age fan. If only because if I suddenly change my mind about a composer whose works have been lost, it will be too late. "Golden Age scores released by Kritzerland, LaLaLand, Intrada, Varese, SAE, MMM or anyone" VARESE? Hmmmm ........ Well...the last time I looked Varese still holds the record for the largest number of score releases by Alfred Newman, Franz Waxman and Alex North. This after stiff competition from the likes of FSM, SAE, Intrada and, lately Kritzerland. I know it is fashionable to cop the attitude of "what have you done for me lately?" (and on the internet that can mean within the last week or two) but as far as I am concerned it's the other labels that have to play catch-up. I was referring to the lack of golden age cds from Varese for the past half dozen years or longer, not the last week or two. Sure, since the late 1970s when Varese started they have given us a great amount of golden age cds to be sure, and some great ones from the 70s, 80s etc. too. Luckily we now have Kritzerland, Intrada, LLL etc. to carry on. I agree with your post, you make many good points.
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Posted: |
Dec 13, 2013 - 1:26 PM
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By: |
Morricone
(Member)
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Even though Golden Age scores were not my favorites when I started collecting, so a part of me relates to some of these nubies, I soon learned a couple things. As many a composer has said many a time, these are the giants of film music on whose shoulders newer ones stand. This isn't just lip service, any one with half an ear can find the lineage of a sound or technique starting with those pioneers. Second, and the most important thing I learned, is that when an 80s score is not released one year it is most likely they might get to it the next year or the next one after that. When a Golden Age score isn't released there is a higher chance it is slowly disintegrating somewhere. So when a Golden Age score is released by Kritzerland, LaLaLand, Intrada, Varese, SAE, MMM or anyone, it isn't just a release, it is being saved and I practically get down on my knees to thank them. There are scores that have been lost to the ages and a few of those are probably unheralded classics. So when I hear what amounts to "let them rot!" my blood boils and I side with many a prejudiced Golden Age fan. If only because if I suddenly change my mind about a composer whose works have been lost, it will be too late. "Golden Age scores released by Kritzerland, LaLaLand, Intrada, Varese, SAE, MMM or anyone" VARESE? Hmmmm ........ Well...the last time I looked Varese still holds the record for the largest number of score releases by Alfred Newman, Franz Waxman and Alex North. This after stiff competition from the likes of FSM, SAE, Intrada and, lately Kritzerland. I know it is fashionable to cop the attitude of "what have you done for me lately?" (and on the internet that can mean within the last week or two) but as far as I am concerned it's the other labels that have to play catch-up. I was referring to the lack of golden age cds from Varese for the past half dozen years or longer, not the last week or two. Sure, since the late 1970s when Varese started they have given us a great amount of golden age cds to be sure, and some great ones from the 70s, 80s etc. too. Luckily we now have Kritzerland, Intrada, LLL etc. to carry on. I agree with your post, you make many good points. Thank you, sometimes I am surprised people don't immediately equate Golden age release with a score "saved" for posterity. To be fair there are even scores from later decades that could be disintegrating. But most aren't in the unsalvageable category that most Golden Age scores are. As for Varese I guess I have a pretty liberal view of what is Golden age since anything by a Golden Age composer kind of qualifies for me so the Hitchcock Hour CDs (2011-2012), the Herrmann Box (2011), THE SNAKE PIT (2010), CRIME IN THE STREETS (2009), THE PRESIDENT'S LADY (2008), NORTH BY NORTHWEST (2007) and RETURN TO PEYTON PLACE (2006) all qualify in a continuing salute and respect to Golden Agers.
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Posted: |
Dec 13, 2013 - 8:31 PM
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By: |
PFK
(Member)
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Even though Golden Age scores were not my favorites when I started collecting, so a part of me relates to some of these nubies, I soon learned a couple things. As many a composer has said many a time, these are the giants of film music on whose shoulders newer ones stand. This isn't just lip service, any one with half an ear can find the lineage of a sound or technique starting with those pioneers. Second, and the most important thing I learned, is that when an 80s score is not released one year it is most likely they might get to it the next year or the next one after that. When a Golden Age score isn't released there is a higher chance it is slowly disintegrating somewhere. So when a Golden Age score is released by Kritzerland, LaLaLand, Intrada, Varese, SAE, MMM or anyone, it isn't just a release, it is being saved and I practically get down on my knees to thank them. There are scores that have been lost to the ages and a few of those are probably unheralded classics. So when I hear what amounts to "let them rot!" my blood boils and I side with many a prejudiced Golden Age fan. If only because if I suddenly change my mind about a composer whose works have been lost, it will be too late. "Golden Age scores released by Kritzerland, LaLaLand, Intrada, Varese, SAE, MMM or anyone" VARESE? Hmmmm ........ Well...the last time I looked Varese still holds the record for the largest number of score releases by Alfred Newman, Franz Waxman and Alex North. This after stiff competition from the likes of FSM, SAE, Intrada and, lately Kritzerland. I know it is fashionable to cop the attitude of "what have you done for me lately?" (and on the internet that can mean within the last week or two) but as far as I am concerned it's the other labels that have to play catch-up. I was referring to the lack of golden age cds from Varese for the past half dozen years or longer, not the last week or two. Sure, since the late 1970s when Varese started they have given us a great amount of golden age cds to be sure, and some great ones from the 70s, 80s etc. too. Luckily we now have Kritzerland, Intrada, LLL etc. to carry on. I agree with your post, you make many good points. Thank you, sometimes I am surprised people don't immediately equate Golden age release with a score "saved" for posterity. To be fair there are even scores from later decades that could be disintegrating. But most aren't in the unsalvageable category that most Golden Age scores are. As for Varese I guess I have a pretty liberal view of what is Golden age since anything by a Golden Age composer kind of qualifies for me so the Hitchcock Hour CDs (2011-2012), the Herrmann Box (2011), THE SNAKE PIT (2010), CRIME IN THE STREETS (2009), THE PRESIDENT'S LADY (2008), NORTH BY NORTHWEST (2007) and RETURN TO PEYTON PLACE (2006) all qualify in a continuing salute and respect to Golden Agers. Maybe some of us are being too hard on Varese? The 7 or so items you listed, that is it for 7 years? About one golden age a year? Of course I am still appreciative for ANY golden age cds, and the Herrmann Box makes up for all!
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