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Posted: |
Aug 14, 2010 - 11:56 PM
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By: |
ToneRow
(Member)
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As per Burlingame, Rosenman composed and conducted the music (mostly for tracking purposes although some episodes were specifically scored) in Italy.
Does this have any bearing on who has the music rights, or where the music recordings might be stored?
Yes, I think it does have bearing.
It appears that specialty soundtrack labels such as FSM, Intrada, Varese, Kritzerland, etc., all pay upfront fees to satisfy copyrights prior to even discovering if the original scoring sessions tapes exist or not.
Sometimes the major studios do retain the original recordings on 35mm film stock, while other times a label's producer tracks down the mono mix-downs which may reside with the composer's estate, or be in a closet of someone's personal archive library.
Kritzerland's release of Ernest Gold's "Pressure Point" is but one example.
Sometimes Hollywood composers have gone to Italy to record a film's soundtrack, such as Franz Waxman's "The Nun's Story" and "Sodom And Gomorrah" by Miklos Rozsa. While both "The Nun's Story" and "Sodom And Gomorrah" have had multiple CD incarnations after their initial releases on LP, they are mostly on European labels like Digitmovies or smaller US ones like Cambria or Stanyan.
Why is it that FSM, Intrada, Varese, etc. have not given the C&C treatment to scores such as these? It may very well be because the original elements are not in California, and specialty lables like FSM do not wish to deal with language barriers and different time zones in order to release non-USA recordings.
Even before the age of limited editon CDs and ordering via Internet, American lables such Bay Cities and Citadel released Les Baxter's AIP re-score of Mario Bava's "Black Sunday", while the original Italian score by Roberto Nicolosi did not see the light of day until Digitmovies rescued it from oblivion on their 2005 Italian release.
So - back to Leonard Rosenman's "Combat!" - would any American CD label pay fees to clear the rights for Rosenman's music to be released, knowing that the original recording sessions were done in Italy? Or would an Italian CD label be our only hope for a "Combat!" soundtrack release?
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As per Burlingame, Rosenman composed and conducted the music (mostly for tracking purposes although some episodes were specifically scored) in Italy.
And Lenny didn't keep copies and the masters have long since gone MIA..
I don't know even if the written scores still exist.
Ford A. Thaxton
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I'm always happy to see threads about Leonard Rosenman's music. I believe there's about 8-15 minutes worth of "Combat!" music stored on a tape somewhere - the merest fraction of the music that Mr. Rosenman wrote for the series, but still something. It's brilliant music though, capped by that extremely catchy, brassy main theme.
As for any manuscripts - I can't speak for studio storage, but I know that Leonard didn't hold onto any of his "Combat!" scores. I was the assistant conductor for a concert of his music, and when it was decided to use his "Combat!" theme as one of two encores, I had to reconstruct the march (since we couldn't turn up anything) from two YouTube videos from the series, as well as another recording of the march I was fortunate enough to receive. The finished arrangement was a mix of the Opening and Closing versions of the march, and was received fairly well. I was particularly touched when one of Leonard's daughters came up to me afterwards and said they felt like they were a kid in front of the TV again when they heard it.
In any event, it's fairly doubtful that whoever owns the "Selmur Productions" holdings has any of the scores, but stranger things have surfaced over the years, I suppose. As the old saying goes, "Hope springs eternal."
By the way, I've just seen commercials for a new version of "The Defenders," does anyone know if it's a remake of the old series, and if so, are they using a version of Leonard's theme?
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Wasn't COMBAT an MGM series? Too bad nothing ever turned up over there while Lukas and company were trolling their vaults. Even if the music was recorded in Italy, the tapes would have been sent to MGM for post-production.
Actually, I'm half tempted to say that a release of HELL IS FOR HEROES would pretty much sate one's nostalgia for
COMBAT music, except for the upbeat march theme--the bulk of Rosenman's underscore being what a friend in McKeesport jokingly refers to as his "bump-bump-bump" music. (Now, don't get all exercised--I LIKE much of Rosenman's work, but the thought of a whole disk of his underscore for COMBAT doesn't set my heart afire.)
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I doubt very much that FSM would be able to release this music if it originated in Italy...
...perhaps Stefan Schlegel would know more about this? 
I have to disappoint you, but I don't know anything about this music. I also doubt that any tapes are available in Italy even if it was recorded there.
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Posted: |
Aug 15, 2010 - 9:50 PM
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By: |
SchiffyM
(Member)
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It appears that specialty soundtrack labels such as FSM, Intrada, Varese, Kritzerland, etc., all pay upfront fees to satisfy copyrights prior to even discovering if the original scoring sessions tapes exist or not.
Why do you believe this? While they certainly began some contractual work (acquiring the rights), if they paid for the music before discovering if it existed, they would go broke very quickly.
Why is it that FSM, Intrada, Varese, etc. have not given the C&C treatment to scores such as these? It may very well be because the original elements are not in California, and specialty lables like FSM do not wish to deal with language barriers and different time zones in order to release non-USA recordings.
Except that they have all done this. If I weren't on an airplane right now (inflight wifi, baby!), I'd find a few examples.
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Posted: |
Aug 18, 2010 - 1:39 AM
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By: |
ToneRow
(Member)
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It appears that specialty soundtrack labels such as FSM, Intrada, Varese, Kritzerland, etc., all pay upfront fees to satisfy copyrights prior to even discovering if the original scoring sessions tapes exist or not.
Why do you believe this? While they certainly began some contractual work (acquiring the rights), if they paid for the music before discovering if it existed, they would go broke very quickly.
Well, the impression I got from reading the liner notes within Kritzerland's "Pressure Point" album was that a soundtrack producer needs to satisfy licensing requirements first, then afterwards discovers whether the master tapes are available from a studio or not.
Bruce Kimmel indcates that he went to another source for the mono mix-downs as the MGM vaults did not have the original score recordings of "Pressure Point".
I do not have any knowledge, though, of how and when fees get paid. Do album producers need to pay for a license prior to the exploration for music tapes? Or, do those fees get paid after the fact, when CD sales yield profit returns? Perhaps you or somebody else can enlighten us?
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Posted: |
Aug 18, 2010 - 1:57 AM
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By: |
ToneRow
(Member)
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Why is it that FSM, Intrada, Varese, etc. have not given the C&C treatment to scores such as these? It may very well be because the original elements are not in California, and specialty lables like FSM do not wish to deal with language barriers and different time zones in order to release non-USA recordings.
Except that they have all done this. If I weren't on an airplane right now (inflight wifi, baby!), I'd find a few examples.
Employees from all these labels have travelled outside the US?
I realize this can be the case with re-recordings and/or soundtrack releases from new films,
but do they do travel as well for vintage material?
For example, if FSM ever issues Piero Piccioni's "More Than A Miracle", will an FSM staffer need to travel to (or correspond with) Italy to deal with Piccioni's estate, or C.A.M. or Digitmovies? Perhaps MGM in USA has all the score elements needed for a C&C treatment?
If all the US specialty labels get involved with non-U.S.A. regulations and licensing, then why was the 2-disc set of "Sodom And Gomorrah" released by Digitmovies and not by an American label? Why hasn't "The Nun's Story" been given a C&C release by a FSM or an Intrada?
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Posted: |
Aug 18, 2010 - 2:41 AM
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By: |
Bob DiMucci
(Member)
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Did you know that there were lyrics to the "Combat!" theme song?
Combat! Theme Song
Words by Leonard Adelson
Music by Leonard Rosenman
copyright 1965 by Ampco Music
VERSE
Proudly we bear the name of the Infantry,
Knowing we share the fame of the Army Infantry,
Where-ever liberty's battle must be won,
The Infantry has gone and so it shall go on.
Where there's a job to be done is where we'll be,
For we are the fighting men of the Infantry.
CHORUS
Follow me, left, right,
Follow me, left, right,
We'll go marching to hell and back if it has to be.
Follow me, left, right,
Follow me, left, right,
We're the ever ready men of the Infantry.
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Posted: |
Aug 18, 2010 - 2:48 AM
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By: |
Bob DiMucci
(Member)
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The following is from Jo David Meyer's book on the "Combat!" series:
"Robert Blees [one of 'Combat!'s producers] says that Combat! had "tremendous sound effects editing. And the music was unusual. Leonard Rosenman had already been signed from the pilot, then he got a scholarship in Rome while this was going on. I talked to him once before he left. I said 'Here's what's going on, it's a war series, you know that. It's just going to be a lot more honest than the pilot. We're going to have exteriors and some interiors under tension.' We couldn't send the film to him to score, because he was in Rome. So he wrote eight to ten hours of cues — some cues would be thirty seconds of dum-de-dum stuff. And then he'd write a minute cue, and a two-minute cue, and a three-minute cue and a soft cue, and all these kinds of basic cues, and his editors had to adapt this stuff to each episode, music that had already been written. Nothing was scored for our series. And it turned out very well."
"Leonard Rosenman gave descriptive titles to his various compositions. Some of the hit tunes were "Tortured Crawling," "More Tortured Crawling," "Confused #1," "Man Drowns," "Soldiers Searching," and "Saunders' Theme." In the book TV's Biggest Hits, by Jon Burlingame, Leonard Rosenman compares the style of his Combat! compositions to avant-garde composer Gyorgy Ligeti (brought to prominence for his music to Stanley Kubrick's 2001: A Space Odyssey)."
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