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I never consider a cassette "tape." Reel-to-reel. As I've stated many times, I'm a good detective.
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For some reason, most re-recordings never catch that "certain something" Tiomkin brought to his own conducting of his music. I'm told he would improvise additional bits to accompany cues he recorded, though I don't know this for sure. But the results were almost walls of sound, ebbing and flowing, with various themes interpolated into the mix. Recent re-recordings have tried to duplicate this, but the results always seem to fall short somehow.
I'd appreciate views from FSM'er's who believe differently.
I remember it was a real thrill to hear a Tiomkin score blaring off the screen, with frequent surprises, too, such as that almost cacaphonous Overture to 55 DAYS AT PEKING, followed by the understated, poignant Main Title. Tiomkin was full of contrasts like that. Re-recordings have no problem getting the understated moments, but seem never to catch the full-bodied cues as well as Tiomkin did.
And, though there was a suite re-recorded for a Silva Tiomkin compilation, still my favorite unreleased Tiomkin score is TARZAN AND THE MERMAIDS, which is amazing, sweeping all over you, the kind of adventure score every adventure film should have. Since it was RKO, the original recordings are no doubt lost, but, actually, long sections of the film have little dialogue or sound effects, and a lot of music, particularly the first 20 minutes or so. Well worth catching, just for the music.
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For some reason, most re-recordings never catch that "certain something" Tiomkin brought to his own conducting of his music. I'm told he would improvise additional bits to accompany cues he recorded, though I don't know this for sure. But the results were almost walls of sound, ebbing and flowing, with various themes interpolated into the mix. Recent re-recordings have tried to duplicate this, but the results always seem to fall short somehow.
I'd appreciate views from FSM'er's who believe differently.
I remember it was a real thrill to hear a Tiomkin score blaring off the screen, with frequent surprises, too, such as that almost cacaphonous Overture to 55 DAYS AT PEKING, followed by the understated, poignant Main Title. Tiomkin was full of contrasts like that. Re-recordings have no problem getting the understated moments, but seem never to catch the full-bodied cues as well as Tiomkin did.
And, though there was a suite re-recorded for a Silva Tiomkin compilation, still my favorite unreleased Tiomkin score is TARZAN AND THE MERMAIDS, which is amazing, sweeping all over you, the kind of adventure score every adventure film should have. Since it was RKO, the original recordings are no doubt lost, but, actually, long sections of the film have little dialogue or sound effects, and a lot of music, particularly the first 20 minutes or so. Well worth catching, just for the music.
The Tiomkin "sound" is almost impossible to recapture on modern recordings for some reason. I've never heard any re-recording that quite "gets" it completely right.
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Generally, I agree with Bruce, although the Tadlow FALL OF THE ROMAN EMPIRE is a marvelous recreation of the Tiomkin sound, especially "The Persian Battle" sequence.
I'm also fond of the old Laurie Johnson Unicorn album of Tiomkin western themes and suites, and, strangely, the suite from STRANGERS ON A TRAIN rendered quite faithfully by Charles Ketchum and the Utah Symphony on the now hard to get Varese Hitchcock CD.
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