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Ouch.
Without Adriano no other conductor ever would be able to do it.
Some different opinons on the re-recording:
http://www.musicweb.uk.net/film/dec99/belle.htm
http://www.musicweb.uk.net/classrev/2005/June05/Auric_Beauty_8557707.htm
http://www.cinemusic.de/rezension.htm?rid=1019
Adriano's rerecording got better. Some of the first albums he did for Marco Polo are not very good. That's not only his fault. The orchestras he used weren't top notch either.
- Rebecca has some strong moments (I remember Nick Redman bashing this one in an interview).
- The Bliss album is the worst in my opinion. A shame, because the music is good actually and should be rerecorded again with a better orchestra.
- Then there are Adriano's Honegger albums. Since he is the only one who does it, I'm glad we have them at last. Honegger is one of my all time favorite composers who put the mark on film music.
- The same goes for his Ibert rerecordings, a must have IMO.
- The Auric albums are good and worth having (due to other priorities, I don't own them yet. I know they'll be around for a while).
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Adriano's recording of Herrmann's JANE EYRE (fantastic score) is also fine and a disc I often revisit.
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very good score -quite impressionistic in style.
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I haven't listened to it for a long time, and I never compared it to the OST, but I remember being very happy with the CD. It's an essential golden age European score, a real beauty, no pun intended, and I'd urge anyone to add it to his library.
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Adriano did a lot to further interest in forgotten film and late romantic concert music. AFAIK he doesn't plan to do any film music recordings in the future, concentrating on "Romantic" orchestral works for Sterling instead.
While Adriano (Seriously - Who doesn't want to have a "family" name - Come on - even if it's just a stage name) is a fine scholar, he's a slapdash conductor. I own many of his Marco Polo and a couple of his Sterling discs, and the tempi are stolid, the phrasing flabby and the ensemble playing less-than-tidy.
Some of his discs are adequate (like his Honegger series), others less so. Maybe he should pass the baton to someone more competent to conduct his discoveries...!
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Posted: |
Nov 7, 2014 - 1:44 PM
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By: |
hadrianus
(Member)
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Hi there – and – surprise – with a belated reaction of three years later!
Those who believe that a soundtrack re-recording is a mickeymoused resurrection of the old original soundtrack, have not understood what I aim at with my own interpretations. This kind of “vault purists” should just throw them away and go back cajoling their old historical soundtracks. Or they should read my liner notes, in which I explain why I am doing differently. If a soundtrack is being re-recorded without the image, it should become a different thing; Bernard Herrmann also thought so. Last but not least it should be also mentioned that even in old filmscores, many tracks were recorded in the studio at quite different tempi than they were originally conceived.Those who judge my tempi and interpretations (in symphonic and film music) without being in condition, or capable, to compare them with the original scores are unjust, but every musician has to live with this phenomenon. Some colleagues of mine have been dragged through the mire in similar forums more than I... I know that in the USA they don't liked me doing film music CDs: why on earth should an unknown Swiss be allowed to conduct classic Hollywood filmscores??
Incidentally, I could stumble over many US “slack and formless" CD "yawnfeasts”, and this not only on Varese Sarabande and on Silva Screen; but I would never dare to use such expressions like "he should hand over the baton to someone else" before assuring that I have consulted the scores in question and explaining why exactly and with a bit with more competence. And for sure, not under a pseudonym.
Those who don't like may have seen that since a long time I am not conducting film music anymore. The fact, however, that Naxos is now re-issuing quite a few among those old Marco Polo CDs proves that they are still being sold and appreciated. Last but not least I want to let some more arrogant forum members know, that in the meantime I have conducted 46 slack and formless yawnfeasts on 5 different labels and that the baton is still in my hands - at the age of 70.
Among the greatest compliments I received for my film music CDs, one for “Jane Eyre” came from Bill Stromberg shortly after it was recorded. I always accept technical criticism (tempo/interpretation etc.) if it’s coming from professionals. Compliments are welcome from all the remaining music lovers – but they should be real music lovers and not music forum naggers who think that they know everything better without being able to do the same and have no idea about music making and conducting. Hard judging and condemning is always a dangerous thing: the best way sould be just to say "I personally don't like" something or "I prefer this to that"; it would be more sincere.
Regards from (very) provincial Switzerland
Adriano
www.adrianomusic.com
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