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That's a pretty broad statement, not just pertaining to Varese. Are you basing this on sales alone, or some dire news like an impending asteroid impact?
Well, if it is an asteroid, then I won't waisting any time worrying about the rest.
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All based on a hunch...
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I saw this coming quite some time ago. There are fewer customers, fewer scores they really want to buy—yet costs go up. I honestly don't know what will happen. I'm glad I released as many crazy titles as I did when there was still enough of a market to recover costs...Eye of the Devil, anyone?
Lukas
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This just mirrors what i said about italian western fans and italian music collectors.
We are a dying breed and thats a fact. Same as collectors of "golden and silver age"
You can see that in the threads about 50s 60s 70s scores.
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I think there will always be a market (however small) for movie soundtracks. But if you're talking about the "Golden Age" composers and scores I agree. Everyone seems gaga over 1980s scores and John Williams and Jerry Goldsmith are musical "gods". No one seems interested in Alfred Newman, Franz Waxman, Dimitri Tiomkin, Bronislau Kaper, Hugo Friedhofer etc. anymore. Hell, even at the present time, a great Golden age composer like Herbert Stothart can't get arrested in the soundtrack market.
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Posted: |
Apr 8, 2017 - 2:45 AM
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By: |
MusicMad
(Member)
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I think there will always be a market (however small) for movie soundtracks. But if you're talking about the "Golden Age" composers and scores I agree. Everyone seems gaga over 1980s scores and John Williams and Jerry Goldsmith are musical "gods". No one seems interested in Alfred Newman, Franz Waxman, Dimitri Tiomkin, Bronislau Kaper, Hugo Friedhofer etc. anymore. Hell, even at the present time, a great Golden age composer like Herbert Stothart can't get arrested in the soundtrack market.
I'm inclined to agree with driving ... and Lukas ... and others ... that this market must come to an end. But my view is far more simplistic ... all (at least, a good proportion) of the great scores have been released, some several times, and whilst the odd one or two will surface, none of the labels can sustain a business on such limited releases.
This week we see the announcement of the release of Elmer Bernstein's The Sons of Katie Elder (1965) ... score as opposed to album rerecording. Wonderful news and yet the source is not the master tapes but the mono music stem ... whatever that is ... which on releases from several years ago was the fall-back for the odd bit of music not available due to deterioration of soundtrack tapes.
As I've stated numerous times, I've been a film score fan for most of my life, having started collecting in the early 1970s. I still buy the odd score (I've recently purchased the FSM Bronislau Kaper collection and William Stromberg's recordings of Victor Young's and Alfred Deutsch's scores, etc.) but new stuff: almost nothing. I bought Thomas Newman's two JB007 scores because they are just that ... not because they're any good. Quite the opposite, they've increased the urge for me to move away from film scores.
As for the musical "gods" mentioned above, I still play the odd score by each of these Masters ... but I often wonder why I've bothered. Last evening I played Indiana Jones and the Temple of Doom for the first time in over two years ... what a bore, I longed for it to end. Yes, I know I can/could stop the play but I do try to play out all chosen recordings (but that's another topic).
For years I spent large sums of available funds on buying soundtrack music (often replacing earlier releases) but the last few years this has all but ceased. Sorry, but yes, I do agree this genre of music has a limited future.
On a positive note: I did think the genre had died in the late 1970s when the only scores available were pop-song albums. Happily we've witnessed a fantastic revival but since a large part of that has been due to the specialist labels releasing older scores this may not be feasible this time.
Mitch
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Since most new scores today are available as downloads, it's the restoration work and locating of/dealing with disinterested studios that must be a real pain and problem in trying to capture or release the more worthy stuff from yesteryear.
Only to be met with low sales, meh attitudes or gripes about 2 seconds of distortion near the lower back end.
I will continue to enjoy whatever is still left to come from the likes of La La, Intrada, Quartet and Kritzer while the lights are still on.
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