|
|
|
|
|
|
|
|
|
For this world premiere presentation of the Maurice Jarre score we were given access to all of scoring session masters, all preserved in pristine condition in the Universal vaults. Does it mean Mr. Jarre didn't own his rejected music? And if he didn't, why in some cases a composer owns his rejected scores -- like Elmer Bernstein with NATTY GANN, SCARLET LETTER & GANGS OF NEW YORk -- and in some cases he doesn't? Is it contractual stuff? Bernstein doesn't own those rejected recordings. They're all with Disney.
|
|
|
|
|
|
|
|
Indeed, Mutant! I've been playing the hell out of it, and it made me revisit the film on blu which was great!
|
|
|
|
|
|
|
|
|
|
|
Did you ever notice that whenever Kevin Bacon would play a villain, which was pretty much only once every six years between 1988-2000, Goldsmith would score that film? 1988 Criminal Law 1994 The River Wild 2000 The Hollow Man It was like their little anniversary. And, because I have too much time on my hands, I noticed that Bacon did not reprise his villainiversary in 2006 and 2012. Presumably he was mourning Goldsmith's passing and wanted to work those years villain-free. Careful, there's already one LeBlanc on this board.
|
|
|
|
|
Sadly, the question of ownership has two issues: The ownership of Jarre and Goldsmith's recordings whether used or rejected still rests with Universal...since they paid for it, it's their property. Second, ownership of the physical music depends on whether or not the composer was employed on "Work for Hire" (which Goldsmith always did) or if the composer negotiated retention of music rights (as Elmer Bernstein and Alex North often did). A good example is the Varese recording of Alex North's 2001 score. When Kubrick rejected the score, ownership of the music (not the recording) returned to Alex North. Thank you very much for your comprehensive and informative answer since i didn't know clearly so far about the difference between ownership of the recording VS ownership of the physical music. Bernstein doesn't own those rejected recordings. They're all with Disney. Thanks to Chromaparadise i now understand why i erroneously assumed he'd own those rejected recordings.
|
|
|
|
|
|
|
|
About to go OOP. Finally got around to ordering it.
|
|
|
|
|
|
|
|
|
|
|
Absolutely love this set - my top two guys, working against each other! The RCA album was, in retrospect, a tight listening experience, but the full score works even better in this case.
|
|
|
|
|
Again for this mediocrity!?
|
|
|
|
|
Did you ever notice that whenever Kevin Bacon would play a villain, which was pretty much only once every six years between 1988-2000, Goldsmith would score that film? 1988 Criminal Law 1994 The River Wild 2000 The Hollow Man It was like their little anniversary. And, because I have too much time on my hands, I noticed that Bacon did not reprise his villainiversary in 2006 and 2012. Presumably he was mourning Goldsmith's passing and wanted to work those years villain-free. Careful, there's already one LeBlanc on this board. The Rutherford Discovery
|
|
|
|
|
|
|
|
|
|
|
|
|