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Posted: |
Sep 7, 2015 - 11:43 PM
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By: |
Jim Doherty
(Member)
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I own the original recording, the Conlon and the McNeely. However, I'd buy a Tadlow recording in a heartbeat...
PLEASE, there are already three recordings out there of the complete score or something close to it (Conlon, McNeely, the Varese Muir Mathieson tracks), plus a PLETHORA of recordings of excerpts on other labels by other conductors. There is no reason for Tadlow to record another VERTIGO. The score is out there EN MASSE. And please don't bring up that "Well, there are 20 new recordings a year of Beethoven's Fifth per year." That's really not the point. This is film music, which has a lower amount of followers than classical music.
Be gald you get what you get. When some release of a re-recorded or expanded title doesn't quite meet your standards, don't ask for yet ANOTHER recording; instead focus your eyes on some much more useful suggestions about something that REALLY needs revising, or something that's NEVER been out there
If I had my way, I'd rather see unreleased scores whose masters were lost, receive new recordings.
For instance, in the case of Herrmann, instead of yet another VERTIGO, I'd rather see a complete ENDLESS NIGHT recording (original ((if it exists)) or re-recording), which has never had even one track released from this fine score. It is a totally unreleased score, yet would it sell? I don't know. I'm sure that is the question that Kritzerland, La-La-Land, Intrada, etc. are up against every day.
My main plea is... get this unreleased stuff out there before doing ANOTHER recording of something we already have.
Great labels like Tadlow have only so much money (which I suspect is extremely tight, and running lower every day), so why should they do something that's already out in so many versions? Do something no one has already done!
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Posted: |
Mar 6, 2016 - 4:18 PM
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By: |
Howard L
(Member)
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JAMES CONLON conducts
Recorded in the Studios of
Radio France, Paris 1998
This is the reference recording IMO. Very much worth having. The cue entitled "Scene d'amour" is quite possibly the most passionate bit of scoring I've ever heard.
***
The cue entitled "Scene d'amour" is quite possibly the most passionate bit of scoring I've ever heard.
Too bad Conlon plays it faster than just about anyone.
Excepting, of course, Bernard Herrmann in the original scoring sessions...
***
I also have, and treasure, the Conlon recording. The sound isn't as clean as the McNeely recording, but it is still quite good, but Conlon's performance is very Herrmannesque, even if he does use some of Mathieson's changes. The single-tarck presentation on disc is annoying, but I used a guide similar to the one above to cut the single track into the individual cues. Of course, the Feature Film book (which is a pretty lame approximation of the original exhibit) can get expensive nowadays, making this recording hard to find. It would be nice to have a decent, properly indexed release of this recording.
Most of the time, it's the Conlon recording I'm listening to, but I think they're all worthwhile.
Well gentlemen, on your sayso (with that of others) the Conlon will be my purchase. Key word for me has always been performance. That trumps most other considerations. But we do seem to have an embarrassment of riches to choose from. And threads. Should always be this way.
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