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James...
I posted the same link over at the Herrmann messageboard about two weeks ago....Didin't you see it?
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Awesome. I can't wait to order it.
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Thanks for the update, James!
Yavar
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I had raised a question in an old thread about this score. Near the very end of the film, when Court is in the airport corridor, he sees Sandra being escorted out of the plane. There is a musical sequence that I find extraordinary. Court starts rushing down the corridor -- Sandra rises out of her wheelchair -- the cinematography makes the ceiling lights strobe -- and the music goes all haywire -- a chaotic sound that always takes my breath away. It always sounds aleatoric to me -- but may have been carefully orchestrated for all I know -- or the chaotic sound may have been created by edited overlays.
Since Mr. Fitzpatrick has intimate knowledge of the score, I would ask him if that section is indeed aleatoric? I've always been curious about this.
Thank you. I am so eager to get this recording that it is honestly hard to express my enthusiasm!
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Posted: |
Mar 25, 2016 - 6:37 AM
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By: |
Jim Doherty
(Member)
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O.K., I've held my tongue for a long time, but just can't anymore. As much as I love this score, and wanted a complete release of it, and REALLY looked forward to a new recording of it, the Tadlow version was really a lost opportunity. The details are in the orchestration, dynamics, and the nuances in tempi. Herrmann's music in general, and this score in particular, needs a conductor who can see "inside" the music to make it speak to its fullest emotionally. Nic Raine was simply not that conductor. On almost every cut, it sounds like he was just following a metronome and "beating time," instead of bringing out the best in the music. I have seen the videos that were posted of the recording sessions, and I see that the chorus, organ and orchestral sections were recorded separately (sometimes even PARTS of the orchestra were recorded separately), so I can understand the need for some kind of conformity to keep all those parts in sync, but it really came at a loss to music as a whole.
Honestly, look to the William Stromberg-conducted performances of THE SNOWS OF KILIMANJARO, MYSTERIOUS ISLAND, or especially BATTLE OF NERETVA/NAKED AND THE DEAD, and notice how much compassion and identification with the composer the conductor brings to the new recording. Those recordings just spring from your speakers and grab you, sometimes leaving you breathless and speechless at the end of a cue. Even Bruce Broughton, who apparently was not a huge fan of Herrmann, apparently listened to the original recordings of JASON AND THE ARGONAUTS, and went ahead and conducted a SUPERB re-recording for Intrada. So, it CAN be done, but the Tadlow recording of OBSESSION is really not in that category. Listen, for instance to "Sandra." On the original recording, it is simply drenched in atmosphere, mystery and longing. On Raine's recording, it is just another cue that had to be recorded.
I'm glad Tadlow did it. I'm just sorry it was not one of its best efforts.
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