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Details can be found here,
http://www.tadlowmusic.com/
including a splendid video of the orchestra playing the Main Title.
Hell that's impressive.
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Quite impressive. When I lived in Libya as a grade schooler, this film was forbidden for viewing in the Arab world. Having been through the 1967 conflict as a 10 year old, I started to see why. I remember when Coca-Cola opened up a plant in Israel circa 1966, that product was boycotted and I was forced to drink Pepsi-Cola... it sure was nice to get back to the USA in the summer and have "the real thing." The first thing I had when we'd stop in Rome en route home was a Coke.
This is a really fine score and I look forward to it this fall.
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I'm looking forward to hearing this one. Ordered! Thanks Chris.
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As much as I wish Tadlow success, and enjoy True Grit, El Cid, and Sherlock Holmes, I find it wrong that anyone should buy a CD they don't like just to support the company.
I agree with this sentiment. While I certainly believe in supporting the companies that are producing these recordings, my funds are finite and I can't afford to buy every release that comes out from every label I wish to support (I do not, however, think that's what pp312 meant).
That said, I like Ernest Gold's score, find the original soundtrack recording to have horrible sonics, and find that Tadlow recordings are brilliantly performed and recorded. So I am definitely buying this release.
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Posted: |
Jun 15, 2009 - 11:59 AM
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By: |
estgrey
(Member)
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TerraEpon: As much as I wish Tadlow success, and enjoy True Grit, El Cid, and Sherlock Holmes, I find it wrong that anyone should buy a CD they don't like just to support the company.
I am inclined to agree with you. Fortunately, I am impressed by the sample for this CD, and I like the score, so this unpleasant choice does not exist for me. Now, where to get the money? That is indeed a problem, and a growing one . . .
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Posted: |
Jun 15, 2009 - 6:39 PM
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By: |
pp312
(Member)
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my funds are finite and I can't afford to buy every release that comes out from every label I wish to support (I do not, however, think that's what pp312 meant).
How right you are, my friend. However, I'm not sure such an action could ever be construed as "wrong"; it could very well be a simple investment. What if James Fitzpatrick were to say, "Well, my next project is going to be 'Quo Vadis', but only if 'Exodus' sells well. However, up to now I've only sold 500 copies."? Assuming you were desperate for Quo Vadis, wouldn't you consider a purchase of Exodus? I've never actually bought a CD I wasn't interested in for any reason, but I have been swayed by extra-musical considerations like that when undecided--that, and the fact that Tadlow is a tiny company struggling to produce great re-recordings largely out of a love of the music.
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I've ordered mine for two reasons,
1) This is my all time favorite theme and score and has been since I first heard it in 1963 (they used to play it at school assembly)
2) Hopefully in buying this I'm supporting Tadlow's attemps to provide us with some of the greatest film music ever (just my opinion) and maybe I'm helping to finance his next project which could be (hopefully) "Lawrence of Arabia"
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What's with all this, 'Should we buy something inferior to fund something better?' routine?
Get it straight.
'Exodus' needs no apologies. It has a position overall as possibly THE greatest film main theme ever. This is not up for debate. It's a theme instantly recognisable for decades amongst folk who know very little filmscore work, and is one fo the most famous EVER. (Please don't yap about 'Titanic' and all this flash-in-the-pan stuff ... please.)
The overall score is good too. It doesn't take a lot of risks, but develops the main themes in a fine and simple way. There are four or so main leitmotives, and the score has an economy of statement, but NOT so as to be oversimplified or in any way banal. Lots of Hebraic/Arabic and Baroque-informed bits too. It has plenty of 'crash-bang-wallop' too, but God preserve us from the 'I'm a nerdy who lives vicariously through crash-bang-wallop so hurry up and give me 'Spartacus' nonsense.
The movie is no great shakes, and the novel's the usual pure Leon Uris one-sided polarising 'tough silent hero watches girl unroll her nylons and smokes post-coital cigarette between lists of great historical events' formula, but even there ... the film has great sense of sunlight and geography.
But this is the music score, and it's one of those scores that, frankly, if it ain't in your CD collection of film-music, then you HAVE no CD collection of film-music. I was barely on the planet when this film emerged, but it happens to be the first filmscore that I ever noticed even though I'd not seen the film. I heard the theme (which was popular for years) on radio a lot as an infant and was hooked. I just can't imagine how this VASTLY FAMOUS score has somehow been sidelined in the 1970s and is only now re-emerging. And no complete decent album. Shameful.
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What's with all this, 'Should we buy something inferior to fund something better?' routine?
Get it straight.
'Exodus' needs no apologies. It has a position overall as possibly THE greatest film main theme ever. This is not up for debate. It's a theme instantly recognisable for decades amongst folk who know very little filmscore work, and is one fo the most famous EVER. (Please don't yap about 'Titanic' and all this flash-in-the-pan stuff ... please.)
The overall score is good too. It doesn't take a lot of risks, but develops the main themes in a fine and simple way. There are four or so main leitmotives, and the score has an economy of statement, but NOT so as to be oversimplified or in any way banal. Lots of Hebraic/Arabic and Baroque-informed bits too. It has plenty of 'crash-bang-wallop' too, but God preserve us from the 'I'm a nerdy who lives vicariously through crash-bang-wallop so hurry up and give me 'Spartacus' nonsense.
The movie is no great shakes, and the novel's the usual pure Leon Uris one-sided polarising 'tough silent hero watches girl unroll her nylons and smokes post-coital cigarette between lists of great historical events' formula, but even there ... the film has great sense of sunlight and geography.
But this is the music score, and it's one of those scores that, frankly, if it ain't in your CD collection of film-music, then you HAVE no CD collection of film-music. I was barely on the planet when this film emerged, but it happens to be the first filmscore that I ever noticed even though I'd not seen the film. I heard the theme (which was popular for years) on radio a lot as an infant and was hooked. I just can't imagine how this VASTLY FAMOUS score has somehow been sidelined in the 1970s and is only now re-emerging. And no complete decent album. Shameful.
Well said William.
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That's a thing I always wondered about.
You'll notice that Nic Raine conducts the full version with Ari's little theme in the middle, bisecting the main theme in two (although everybody calls the main theme 'Ari's Theme' it really isn't in terms of leitmotif. His tune is the little military march in the middle ...).
Yet in the OST this was cut. So what's the story behind that? Is the 'Prelude' the title, or an Overture version? I'm in favour of as complete a rendering as possible, so no complaints here.
The best statement of the main theme is in the Finale, where the chordal progressions are even more emotionally evocative, a kind of resolution saved for the ending.
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Except that he's arguing against a position nobody's taken. Nobody has said "Exodus" is inferior, simply that there are other scores some of us would have chosen well before this one. It's a matter of taste, not ultimate worth. I've already said the score is vastly better than the film.
William, it might be well in future if you referenced the post to which you're replying. Otherwise you seem to pop up out of the middle of threads flailing wildly in furious rebuttal of arguments never advanced.
Why would it be as well, Paul? It might be as well to stop being so paranoid. You seem to think everyhing is aimed at you precisely.
There are no less than three posters who suggested this score was less a priority than 'Quo Vadis?'
Anyhow, J. Fitz made it quite clear that QV is not on the cards, and indeed why. How many times need he say it? Maybe someone else is in the pan. But 'Exodus' is far more economically scored than QV (in every way!) and is in just the same position, namely a score with albums out there, but not COMPLETE.
I have no doubt that the full Ernest Gold score will seem like a 'revelation' to many. Part of that 'revelation' will no doubt be due to the fact that they've never listened to the thing in the first place.
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