I've really been getting into Alfred Newman's scores, especially since receiving The Egyptian (La La Land) in the mail a few days ago. I'm also a huge fan of the Robe and have both the old and Varese cds.
I'm interested in the Rykodisc because it's less expensive plus I believe that there is both a re-recording and the original score in its 3 discs. But I've almost always had terrific experiences with what Varese has done over the years.
Being a collector I'll probably end up getting both, but which is your preferred?
I only have the Varese. From what I've heard, it has a slightly better mastered sound. I could never quite work out why it remains at 'periscope' height when compared with, say, Rozsa? After all, it is a Biblical Newman score, and from the time my dad took me to see it, the theme once heard, can never be forgotten. Maybe the score is overall too 'static' in some eyes?
Don't forget Kritzerland's David And Bathsheba. It might be more soapy from the dramatic viewpoint, but its no less a classic from Newman.
WA, definitely get the Varese. The sound has greater clarity. (The Ryko, on the other hand has more substantial notes and packaging.)
The Ryko version apparently applied a slightly heavier dose of noise reduction. Varese supposedly went back to Ray Faiola's earlier stage of assembly/editing and tweaked it appropriately.
I'm interested in the Rykodisc because it's less expensive plus I believe that there is both a re-recording and the original score in its 3 discs. But I've almost always had terrific experiences with what Varese has done over the years. .
Content of the Ryko and Varese is exactly the same, with the original music tracks on disc 1 and 2 and the soundtrack re-recording, released concurrent with the film in 1965, on disc 3.
It's a wonderful score - maybe Newman's best. I'm sorry to say that when I first saw the film in Cinerama, I thought the music as dull as the film. In mitigation - I was a callow youth and Newman is now second only to Rozsa in my admiration of his music.
Newman's best? Not while Captain from Castile is around!
But yeah, I love and cherish my Varese edition of this.
I also second the recommendation for the incredible Kritzerland David and Bathsheba (which has far better sound and more music than the Intrada, which I keep only for the superior liner notes).
I also second the recommendation for the incredible Kritzerland David and Bathsheba (which has far better sound and more music than the Intrada, which I keep only for the superior liner notes).
Yavar
Agreed. On all points! It’s a sad reflection on film music tastes today that after 5 years D&B still hasn’t sold out of those 1500 copies.
It's not a well known film. It's very contemplative and reflective and talky (or rather thinky), with an oddly unconvincing (almost cartoonish) David v. Goliath fight scene. I don't recall the music much, but I can't imagine it being wildly exciting (which is not in itself a criticism. Newman can be at his best in contemplative religious scenes). No surprise then that a few copies are still awaiting an owner.
It'd be glorious if the complete score could be found, with all the dances, keens, and missing sections restored. I'm wondering how easy it is to get Prague choirs to keen?
I'd love the Israeli Inbal Dance Theatre cues used in the Herodian scenes with Jose Ferrer to be found. They were magic:
The above is a Yemenite dance, which unbroken tradition is closer to biblical dance and music than other Jewish traditions. They're wonderful and still around. Would an approach to them yield any fruit?
I've heard it said that Newman composed the dances, but they don't sound like him, whereas the above 1967 clip DOES. For those parts of the score, I think people may be looking in the wrong place.
It's a funny old world! I think the clip above is the tune Luis Bacalov used in Pasolini's Matthew Gospel film for Salome's Dance! Now there's a thing!
I have the Varese and The Ryko. For my ears there is no difference in the sound, and both albums have the same tracks. Ryko has the best artwork - I think.
I have the Varese and The Ryko. For my ears there is no difference in the sound, and both albums have the same tracks. Ryko has the best artwork - I think.
Yes I have both as well and don't think there is a massive difference in the sound. The Ryko certainly has the best presentation.
I would love to hear the newman score, redubbed at a higher level in the film, and with Newmans original music put back in.
That would be the Lazarus moment, Joe? I can hear Von Sydow saying the words ever so softly the first time, followed by a second helping with a bit more reverb than the first - that one woke everyone up!
D & B is, to me, a pure musical translation of the story in C&C fashion that just plain works. I can see Peck walking the battlefield, (having taken off on an outdoor excursion with his lady friend) in familiar territory, lamenting the death of Saul at the military disaster of Gilboa. As he walks on there is still leftover baggage from the event, such as overturned chariots and other discarded weapons of war. We don't see the battle itself - just King David hearing what it must have sounded like in his imagination.
The story is kind of overlooked, but it is about a king in deep trouble because he has lost his way and needs to find the inspiration to clear his deck and start anew. Obviously D & B is the more animated of the two scores - other than the love theme, nothing stays the same with it - quite remarkable really even if it is studio fodder.
TGSET is something else entirely. There's nothing but thematic respect from the first to the last.
I have become absolutely maniacal over this score through the Rykodisc. What astonishes me is learning how cut up and generally messed with maestro Newman's score was.
I'm wondering if either of the GSET discs are a truly full representation of all that Newman intended. According to what I've read (I'm dreaming of buying the Darby book), they likely aren't.
But what there IS, I love even better than the Robe and Egyptian.
I've got Song of Bernadette (Tsunami, unfortunately) and Diary of Anne Frank coming in.
I produced the original soundtrack score for Rykodisc (I refused credit because MGM and I had serious disagreements on NR). I worked from Ken Darby's tapes which were on deposit at BYU. They were several generations away from the master tracks and there were several small pieces not included - dance cues, I believe. My memory dims but I Fred Steiner told me that he worked on the score and Hugo Friedhofer as well. I'm sure there are other Newmanphiles who can give chapter and verse on the farm-outs. I have Darby's book Hollywood Holyland somewhere but haven't been through it in years.
