Mine arrived today. I was (and am) satisfied with the FSM release of a few years ago but this is a really great score. I just heard the first 2-1/2 tracks on my stereo system at a "realistic" volume, sounds great!
The 2cd is a great enjoyable listen in modern sound. We are all 'married' to the original recordings as well as to the Decca album but this is one of the great literary classics that truly deserved a new complete recording. I really wish that this album is a great retail success for Tadlow!
The 'Haroun al Rozsad' track, which I love is far faster on the Tadlow than on the FSM, no doubt as Rozsa originally indicated . . .
How's that? You must be thinking of the synthesizer mockup that somebody created a few years back. For of course the piece with the jokey title has never (so far as we know) been performed before. I think Tadlow's re-creation from sketch is entirely credible. I do wonder, however, why it is placed after the Balthazar dialogue. If, as everybody seems to agree, the music was intended for Ilderim's tent, it surely would have accompanied the initial pleasantries rather than the tense conversation that ensues.
Is the recording featuring the FSM release -- Disc 5 Track 40 -- a synthesizer mockup? The liner notes state it's a pre-recording made on May 25th 1959, though...
I placed Haroun where it is for totally musical rather than chronological reasons....my production...my decision.... I think I can be allowed a few "artistic" decisions?
I am on my 12th listen of this release. The particular track above is a delight. Can you explain the musical reasons for your placement of the cue?
The 'Haroun al Rozsad' track, which I love is far faster on the Tadlow than on the FSM, no doubt as Rozsa originally indicated . . .
How's that? You must be thinking of the synthesizer mockup that somebody created a few years back. For of course the piece with the jokey title has never (so far as we know) been performed before. I think Tadlow's re-creation from sketch is entirely credible. I do wonder, however, why it is placed after the Balthazar dialogue. If, as everybody seems to agree, the music was intended for Ilderim's tent, it surely would have accompanied the initial pleasantries rather than the tense conversation that ensues.
Is the recording featuring the FSM release -- Disc 5 Track 40 -- a synthesizer mockup? The liner notes state it's a pre-recording made on May 25th 1959, though...
I placed Haroun where it is for totally musical rather than chronological reasons....my production...my decision.... I think I can be allowed a few "artistic" decisions?
I am on my 12th listen of this release. The particular track above is a delight. Can you explain the musical reasons for your placement of the cue?
Because it was simply the best place to put that track ....
The 'Haroun al Rozsad' track, which I love is far faster on the Tadlow than on the FSM, no doubt as Rozsa originally indicated . . .
How's that? You must be thinking of the synthesizer mockup that somebody created a few years back. For of course the piece with the jokey title has never (so far as we know) been performed before. I think Tadlow's re-creation from sketch is entirely credible. I do wonder, however, why it is placed after the Balthazar dialogue. If, as everybody seems to agree, the music was intended for Ilderim's tent, it surely would have accompanied the initial pleasantries rather than the tense conversation that ensues.
Is the recording featuring the FSM release -- Disc 5 Track 40 -- a synthesizer mockup? The liner notes state it's a pre-recording made on May 25th 1959, though...
I placed Haroun where it is for totally musical rather than chronological reasons....my production...my decision.... I think I can be allowed a few "artistic" decisions?
I am on my 12th listen of this release. The particular track above is a delight. Can you explain the musical reasons for your placement of the cue?
Because it was simply the best place to put that track ....
?? I was just wondering what the musical reason was.
