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Sorry, Jostein, but I have to disagree.
Anyone who knows me, knows also that Elmer
Bernstein was and will always be my favourite
composer. But I wish he had never become
involved with this abominable instrument.
Best example - Elmer wrote a lovely score for a
film called THE GOOD MOTHER (1988).
Unfortunately, it is ruined by overuse of this
wailing thing -- had he used, say, even a solo
violin instead, it would surely have sounded
better.
I just don't like the sound of it at all, and
I could never understand EB's fascination with
it.
Tom, Niall, Rednose Rudy, kindly back me up
on this...
-James.
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Posted: |
Sep 19, 2004 - 10:17 PM
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By: |
Heath
(Member)
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Looks like bluenose is battle-hardened against this great French creation. Ah well.
Jostein, if you're interested, here's a quick selection of really fine Ondes scores
By Richard Rodney Bennett - Billion Dollar Brain and Secret Ceremony. The former might still be available as an LP somewhere. The latter, a very dark, impressionistic score, has never been released.
By Barry Gray - Journey To The Far Side Of The Sun. No album, but a very generous helping of the score is available from here
http://www.crc.paragould.ar.us/~adam/fab/JTTFSOTS/jttfsotssounds.htm
By David Fanshawe - Flambards. A UK TV series from the 70s. I think the composer was going to release a CD privately, but the original LP might still be knocking around.
There are a lot more, but for me the best Ondes piece was written by Roger Roger for the Chappell library. It's called Lunar Landscape, and the Ondes part of it is only about 40 seconds long, but it's absolutely gorgeous. I've been listening to it since I was a child and it still enchants me. It's on Silva Screen's The Prisoner Volume Two CD and is re-titled "The President's Speech".
Lunar Landscape was also used as the theme to "Out of the Unknown" a BBC TV show. The title sequence with the music can be viewed here: http://www.tv-ark.org.uk/cult/cultl-z-new.html There are three title sequences, but the Ondes theme is on the third one with the white background. Try it. Nice site too.
Plus there are all the concert works for the Ondes by Messiaen, Jolivet, Koechlin, etc. Well worth checking out.
I swear I'll own an Ondes one day. They cost around 10 grand. I'm still saving. 
Cheers
Heath
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I think the Ondes Martinot is a beautiful, mysterious instrument.
But I just don't care for the way that Cynthia Millar -- Bernstein's regular O.M. player -- performs it.
The great Jeanne Loriod (wife of Oliver Messiaen), or Barry Gray (who often performed it himself on his and others' scores) or Sylvette Allart (who performed it on Gray's Doppelganger) wrought wonderful, ethereal sonorities out of the Martinot.
But with all due respect to Cynthia Millar, I feel the O.M. sounds like a glorified slide whistle in her hands. Kinda cheesy and rinky-dink.
I thus don't feel that many of Bernstein's soundtracks due the instrument justice, except Heavy Metal - which was performed by Loriod (I think she also played on Takemitsu's Rising Sun, which is also a nice example of the instrument).
Paul
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Posted: |
Sep 20, 2004 - 9:06 AM
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By: |
Heath
(Member)
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The great Jeanne Loriod (wife of Oliver Messiaen), or Barry Gray (who often performed it himself on his and others' scores) or Sylvette Allart (who performed it on Gray's Doppelganger) wrought wonderful, ethereal sonorities out of the Martinot.
I think there's a generational difference in playing styles. Before the 80s the Ondes tended to be played with a deeper and faster vibrato which gave the instrument a more violinistic character. There was also a greater use of the Ondes' "gong resonator" which imparts a very mysterious, silvery reverb to the instrument.
Recently, the more intense tones of the Ondes seem to have been replaced with a softer style. Some might say weaker. Even Loriod's performances took on this characteristic to a degree. It's a matter of taste. Bernstein obviously liked this style, so who are we to complain?
Personally, as a composer myself, I prefer the more intense playing style. Much more emotional.
BTW, another very good Ondes film composer was Marc Wilkinson who used it to great and intense effect on Triple Echo, Blood On Satan's Claw (dodgy film, good score), plus various shorts and doculmentaries. Interesting composer, Wilkinson, and perhaps not given his full due.
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Andy has put his finger on it, of course; if Elmer had just used the instrument once or twice- starting with HEAVY METAL, then fine. But he didn't, he employed Ms Millar again, and again, and again,- almost ad infinitum.
Rozsa had the good sense to employ that other peculiarly wailing-almost other-worldly-monstrosity (the theremin) just three times in the '40s; then that was it. He had a yearning desire to try it and see if it could work, and didn't it just! But he did not want it to become his "trademark" (thank God) and so he sensibly discarded it.
E.B. would have done himself a big favour if he had similarly realised that it was really not helping his otherwise often beautifully-effective scores by having that uneasy noise so persistently spoiling the mood, over and over again. It was almost as if he was hypnotised by the thought of the instrument's powers - or those of his favourite interpreter of it.........
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I have to say that I definitely did not like the use of this instrument in Mr.Bernstein's scores. During a brief meeting with Elmer in Dublin in the late 80s I mentioned that I really liked his score for Marie Ward except for the use of the Ondes, he raised an eyebrow and said "oh really, we think it is very effective" I replied that "I would rather hear the flute or oboe" and the conversation moved on to some other topic. Now, I have to be honest, if the gorgeous Cynthia had been present I would probably have shut up ! I can readily understand how our well loved Maestro may have been captivated by her playing.
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Sorry, double post !
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I think it was used a bit arbitrarily at times in the 80's, but I have never grown tired of it. The music that Jarre and Bernstein were writing during this period is among my favorite, and their heavy reliance on the ondes martinot plays a big part in that. Come on! The theme from The Bride is absolutely gorgeous, I can't think of any other intrument that can evoke quite the same feelings (from me, anyway). I just listened to Dominique Muldowney's score for 1984, Millar made good use of the ondes martinos on this score too. Heavy Metal will forever be my favorite, but Black Cauldron, Marie Ward, Slipstream, A Passage To India are all outstanding. That sound captures my growing up in the 80's, and I wouldn't have it replaced for all the violas and oboes in the world. They can inhabit all the other decades. Leave the 80's for Cynthia and here etherial goodness.
NP. Tai Pan (Jarre)
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It's just another musical instrument. No one said it has to be blown, plucked or plunked, ot has to have valves, keys, or strings to be a valid instrument.
I'm not an avid lover of the sarusaphone, but it has it's place also.
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PS: It doesn't "wail". It sings.
Celine Dion wails.
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I think it-by turns-moans and shrieks.
I can see about as much singing beauty in it as I can in the bagpipes, lujon or jews harp......but no doubt all these have their place too; the point being NOT IN EVERY SCORE!!!
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