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So, finally got the new Varese club CD of The Fury (although I also ordered The Sand Pebbles, but didn't get it yet  ), and was wondering how everyone enjoyed the original tracks for the film? I was quite surprised myself. The score is all but buried in the muddy sound mix on the DVD (they should have sprung for a 5.1 remix of the soundtrack, like the discs of De Palma's Obsession, Carrie and Dressed To Kill), but, finally allowed to breathe on disc unfettered by dialogue and sound effects, the score really sounds glorious. True, the original cues lack the room-shaking power and concertized flourishes of the LSO recording, but it's quite the listen. What do you think, everybody?
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The OST is nice to have, but the LSO recording simply beats it (and pretty much anything else) by far - simply flawless! Still, nice to have the original tracks, and there's some nice additional stuff there. Plus the LSO disc is remastered, and that was the major reason for me to get the disc anyway. 
Now I just have to watch the DVD soon (finally got it yesterday).
NP: Zorba the Greek (Mikis Theodorakis)
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I totally disagree with the LSO fans.
It's a great recording! No doubt about it.
But the performance there is nowhere near as good as the original tracks -- the nuances and the orchestrations are much more vivid and intense.
The rerecording is more "lushly" orchestrated, but it's the understatement of the original tracks that give them greater power, IMO!
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I totally disagree with the LSO fans.
It's a great recording! No doubt about it.
But the performance there is nowhere near as good as the original tracks -- the nuances and the orchestrations are much more vivid and intense.>>>
Ron,
The LSO recording uses the EXACT SAME SCORE and PARTS there were used for the soundtrack sessions.
The LA recording is a wonderful SOUNDTRACK recording, if you forgive the mikes beging shoved down the horns throats...
The LSO recording is a vastly superior ALBUM Recording with Performances to match.
Also, it just sounds like it's being performed by an orchestra twice the size of the OST.
Ford A. Thaxton
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Wouldn't it have been great if Jerry Goldsmith had recorded Rambo III with the National Philharmonic instead of the Hungarian State Opera Orchestra?
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Wouldn't it have been great if they'd counted the votes right in Florida in 2000?
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they should have sprung for a 5.1 remix of the soundtrack, like the discs of De Palma's Obsession, Carrie and Dressed To Kill
The DVD does have a re-mixed soundtrack. The film was originally mono, whil the DVD has a 4.1 track and a 2.0 track.
My laserdisc (sadly not widescreen) is in the original mono.
Neil
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Everyone seems to be missing the point of this 2-CD release. John Williams gave Brian De Palma what he wanted for the actual soundtrack: a Bernard Herrmann-style soundtrack (the horns are pure Herrmann). But when he recorded the official soundtrack album he did it his way, with lots of lush strings. As someone who's had the official album on vinyl since it came out - and I've never seen the film - I must say the original soundtrack knocked me out. I played it first, then the Williams' Williams version. It is really too lush for the film's subject and I was disappointed that he resorted to a hurdy-gurdy tune for the merry-go-round track when he avoided such obviousness on the soundtrack. Great listening certainly, but it's definitely the concert version - literally, the re-recording.
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There's a croc, to be sure...
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I had the opportunity to listen to this set while on the road yesterday. Gotta say I like the LSO version better. It's bigger, more spacious. And the performance is terrific. It plays wonderfully on CD as well.
As for the score itself, you know what? Until yesterday, I never fully appreciated it. Oh, I always loved For Gillian but aside from that and the opening credits, I never bothered much with this score. To my surprise, I was floored yesterday but the other tracks. "Gillian's Escape" is an amazing essay in contrast. There's the bouncy theme introduced in For Gillian but juxtaposed with those searing violins that sound so astringent. Also love Searching For Robin. This is an amazing score. And the harmonic language Williams was using in this- GORGEOUS! I'll say it out loud- no one writing for mainstream film scores these days has this kind of command over harmony. No one.
It's wonderful to discover gems like this isn't it?
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FYI, the Varese 2CD reissue of the album version is one of the worst "remasters" ever released (to my ears). The original film tracks sound fine, but go to the original Varese issue of the Arista album (with the bonus track) and compare. Brickwalling should never be an issue with film music, but Varese seemed hellbent on it even as early as this Deluxe Edition. Sounds so bad it almost comes across like the early Duophonic (aka "fake stereo") Beatles albums.
Anyone?
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Do the liner notes say why Williams chose to/was asked to re-orchestrate for the re-recording?
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Posted: |
Aug 17, 2011 - 12:54 PM
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By: |
crwdfwtx197
(Member)
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I had the opportunity to listen to this set while on the road yesterday. Gotta say I like the LSO version better. It's bigger, more spacious. And the performance is terrific. It plays wonderfully on CD as well.
As for the score itself, you know what? Until yesterday, I never fully appreciated it. Oh, I always loved For Gillian but aside from that and the opening credits, I never bothered much with this score. To my surprise, I was floored yesterday but the other tracks. "Gillian's Escape" is an amazing essay in contrast. There's the bouncy theme introduced in For Gillian but juxtaposed with those searing violins that sound so astringent. Also love Searching For Robin. This is an amazing score. And the harmonic language Williams was using in this- GORGEOUS! I'll say it out loud- no one writing for mainstream film scores these days has this kind of command over harmony. No one.
It's wonderful to discover gems like this isn't it?
Regarding the harmonic "sound world" of The Fury, I absolutely 100% agree. In fact, I believe that it surpasses Bernard Herrmann himself in this regard, even though I consider this score a very sincere homage to Benny (as the film is to Hitchcock). Even further, I think there is an overall tonal landscape here that is worthy of Rachmaninoff at his best.
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