 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Can I be invited, too?
I'd like to see your parents' collection.
What cheese does your family like?
We've got 365 different types of cheese, so if you can provide a 366th one it should be great.
|
|
|
|
|
|
Anabel, I don't think anyone who "knows little about Golden Age music" would be able to identify that some sections sound like David Raksin! Elmer Bernstein maybe, but anyone making comparisons to David Raksin must be a full on Golden Age fan! 
Yavar
|
|
|
|
|
|
Anabel, I don't think anyone who "knows little about Golden Age music" would be able to identify that some sections sound like David Raksin!
It's very brief and has to do with harmony -- i clearly remember hearing it in his music. When i say i know little about Golden Age music i mean i'm unable to refer to a specific cue composed by Raksin that would fit this personal feeling.
|
|
|
|
|
|
|
|
|
|
I just saw his name a week ago. I was adding missing compsoer credits to a Cousteau series and found out he scored and episode (I submitted it to IMDb and it was taken):
https://www.youtube.com/watch?v=vYo-j3fpkLo
Good catch! I just love that show and didn't know Rod Serling was the narrator of the english version : lucky you because this is bound to enhance the mystery of some of the episodes. Can't wait to watch it this weekend when back home. Thank you Justin!
|
|
|
|
|
|
|
|
|
|
"Ethan" has some gorgeous music in it, and I've listened to it a couple of times (and it makes a good companion to Glass's sublime "Overlord" - also available from Kritzerland), but for me it's "George Grosz's Interregnum" that's worth the price of the CD and then some. It's endlessly fascinating music, wonderfully self-contained, playing out like a concert piece. I love the interaction between the players, the engrossing solo and duet passages, and Glass's own peculiar lyricism blends effortlessly with dodecaphony and other advanced techniques. If I remember correctly, I think "Interregnum" gets quite a bit of coverage in Irwin Bazelon's "Knowing the Score", and deservedly so. There are shades of Rosenman/Sessions (some great tone pyramids throughout), and you can also sort of hear some of the influence Glass would have on David Shire - whom he mentored at one point - here, too.
Anyway, it's a great CD, and if I remember the liner notes correctly, I'm so glad it happened when it did - didn't the tapes fall apart shortly after being transferred?
Great sound on both scores, too. Wonderful music, and it's exactly the kind of stuff that I love seeing Kritzerland release - those things you've never heard of, or wouldn't think of, the stuff just off-center that's like opening up a treasure chest you didn't even know about, and discovering all sorts of untold riches. This album is wonderful music, and should appeal to a wide cross-section of listeners - the melodiousness of "Ethan", and the harsh, acerbic quality of "Interregnum" - it's the best of both worlds!
|
|
|
|
|
|
|
"Ethan" has some gorgeous music in it, and I've listened to it a couple of times (and it makes a good companion to Glass's sublime "Overlord" - also available from Kritzerland), but for me it's "George Grosz's Interregnum" that's worth the price of the CD and then some. It's endlessly fascinating music, wonderfully self-contained, playing out like a concert piece. I love the interaction between the players, the engrossing solo and duet passages, and Glass's own peculiar lyricism blends effortlessly with dodecaphony and other advanced techniques. If I remember correctly, I think "Interregnum" gets quite a bit of coverage in Irwin Bazelon's "Knowing the Score", and deservedly so. There are shades of Rosenman/Sessions (some great tone pyramids throughout), and you can also sort of hear some of the influence Glass would have on David Shire - whom he mentored at one point - here, too.
Anyway, it's a great CD, and if I remember the liner notes correctly, I'm so glad it happened when it did - didn't the tapes fall apart shortly after being transferred?
Great sound on both scores, too. Wonderful music, and it's exactly the kind of stuff that I love seeing Kritzerland release - those things you've never heard of, or wouldn't think of, the stuff just off-center that's like opening up a treasure chest you didn't even know about, and discovering all sorts of untold riches. This album is wonderful music, and should appeal to a wide cross-section of listeners - the melodiousness of "Ethan", and the harsh, acerbic quality of "Interregnum" - it's the best of both worlds!
Interregnum is really great - that kind of thing is usually not for me, but he does it so expertly it's just an incredible piece and it works brilliantly in the short film from whence it comes. And yes, the tapes were literally falling apart right after we got them through the machine successfully - talk about a save. I wish there were a few more adventurous people on this board or in film music collecting in general - as I've said many times, when I was younger I bought everything - I wanted to know it all, and while there were some scores that weren't to my liking all of it was a learning and listening experience and just deepened my appreciation and love of film music - but it also goes for classical and jazz - had I not been adventurous and willing to take chances I would never have discovered Bill Evans or Brubeck or Claus Ogermann or Gerard Finzi or Rachmaninov or Mahler or Milhaud. I mean one day I happened on Suite Provencal in the Munch recording and I fell head over heels in love with Milhaud. That's how it happens. So, to those who only seem to crave the fourteen issue of something they already have or those endless 80s and 90s releases, take a chance on this other stuff (not just Paul Glass, but a lot of composers who don't seem to sell and that includes Mr. Shire).
|
|
|
|
|
|
|
All right, all right already, Bruce! You've convinced me.
Tell a story that exactly mirrors how I learned to love so much different music over the years, and then remind me that I'm not doing that so much any more. (For good reason, I've got stacks and stacks of CDs that I never listen to, so I'm more cautious than I used to be.)
Plus, Bruce has a great deal with Ethan to also pick up Overlord. And for anyone complaining about the state of film music these days (even I do it from time to time), the clips demonstrate that this is real, bona fide music, even if unknown to many of us.
And yes, alright already, I got Parenthood and Falling in Love, so a little love for Shire and Grusin too.
In the immortal words of that famous actor Barry Levinson (who I hear directed a couple of films too):
There's your paper! Happy now?! Happy??!! HAPPY NOW???!!!
|
|
|
|
|
|
All right, all right already, Bruce! You've convinced me.
Tell a story that exactly mirrors how I learned to love so much different music over the years, and then remind me that I'm not doing that so much any more. (For good reason, I've got stacks and stacks of CDs that I never listen to, so I'm more cautious than I used to be.)
Plus, Bruce has a great deal with Ethan to also pick up Overlord. And for anyone complaining about the state of film music these days (even I do it from time to time), the clips demonstrate that this is real, bona fide music, even if unknown to many of us.
And yes, alright already, I got Parenthood and Falling in Love, so a little love for Shire and Grusin too.
In the immortal words of that famous actor Barry Levinson (who I hear directed a couple of films too):
There's your paper! Happy now?! Happy??!! HAPPY NOW???!!!
I know what you mean by stacks and stacks of CDs - there of course was never this kind of glut when I was growing up - and I have to say it was somehow better that way. But I still take chances on things, especially with classical music and jazz.
|
|
|
|
|
|
|
Back home during the long past weekend i've listened to this score several times. ETHAN is a truly warm & beautiful gem. As a blind test i'd have answered "composed by Elmer Bernstein" : it's really amazing how many cues in ETHAN share that very same spirit with some introspective and delicate Elmer Bernstein's compositions -- while some more agressive bits briefly recall sort of Alex North's touch. And i don't mean by that Paul Glass has no musical personality :
i merely say this score should be a thrill for many people maybe unaware of its musical style.
Thank you, Bruce.
I received this Ethan / Interregnum album days ago and both scores are superb.
Unadulterated compositions uninterrupted by any diegetic source music or pop music impositions.
In a way, I'm glad this music wasn't issued onto LPs during the 1960s because record producers would have no doubt inserted obligatory marches, waltzes, carnival calliopes, songs, etc. onto the LP program.
Can't agree about getting any of the Elmer B. vibe, though, as Anabel B. described last year (although both Bernstein & Glass studied under Roger Sessions).
When listening to Ethan, my mind conjures associations with David Amram's early '60s scores such as The Manchurian Candidate or The Young Savages.
Interregnum is pure Paul Glass and I hear in it similarities with Lady in a Cage and portions of Bunny Lake.
The past few years have been a great time for Paul Glass' music and its reappraisals.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
