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Has anyone heard this? If so, how does it compare to the other releases?
The RSNO is played at the correct speed, unlike the Sedares version which is slowed down, some of the passages horribly so (Bernardo's Death). Sadly the RSNO is missing the introduction to "Strange Funeral" and also the drum passage (when Chris shoots the guy outside Boot hill), this apart the musical content is identical to the Saderes version. To me, the RSNO has more of the "Bernstein Sound" well he did conduct it, and I really enjoy it. The worst of it is the guitars, in the original soundtrack the guitars are mixed "up front" (please ignore my lack of technical terms). In the Sedares version they are considerably quieter, in the RSNO version the guitars are mixed so low, they are virtually inaudible, heaven knows why they mixed it like this but it does detract from the "Western/Mexican sound" of the music.
As a recording I like it, although I prefer the Sedares, which, although it's played slower, it has more music (1.24 approx) and sounds more Magnificent Seven (ish) than the Bernstein.
If you can get the RSNO version cheaply enough, go for it, it's quite a rare cd and I suspect you'll get a lot of pleasure from it.
I just wish we could have a stereo release of the original score or a "Tadlow Special" a complete re-recording as only Tadlow or Tribute can do, surely this ground breaking score deserves better treatment, it 's the score that got me into film music in the first place.
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Posted: |
Dec 6, 2011 - 8:58 AM
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By: |
MusicMad
(Member)
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Has anyone heard this? If so, how does it compare to the other releases?
This is probably my favoute non-John Barry film score and I've bought all four (five if we include Guns of ...) over a period of nearly 40 years. I replied to a query regarding the different versions on STC back in Jun 06 and I copy an extract from that response here, relating to this RSNO recording. I'm sure others will disagree but, in essence, I'm not so taken with the RSNO recording, so much so that I did not opt to buy their recording (again with Mr. Bernstein) of his score to The Great Escape.
...
So to the re-recordings: The James Sedares' release came first and accordingly was an essential buy. It is top quality and without the others as comparison it will find favour. If you know the score from the movie you will hear differences but then no two versions are ever the same. Sound quality is superb; excellent sleeve notes and EB's own endorsement: "...which makes this recording the definitive interpretation in my opinion" (1994). This is, again, the complete score - as recreated (a few minor omissions) running just short of one hour and the release includes a suite from EB's The Hallelujah Trail - the first half of which is excellent. The vocal chorus lets it down as the Concert Choir are far too polished for this lyric ... it needs a more earthy, common interpretation!
So to EB's own re-recording in April 97 - in many ways the "cheapest" of the collection in that the sleeve notes are almost non-existent, there is no additional material and, to be honest, the recording is lacking! I was, I'm afraid, somewhat disappointed with this release. The recording is vitually the same as the JS recording though slighter faster (as evidenced by the track times) and some of the anomalies of the earlier version when compared with the OST are smoothed away. And, of course, being conducted by the composer, he knew what sound he was after.
I'm no expert but I think the fault lies with the technical side of this release ... the sound is a little flat and lacking in dynamism. Perhaps it was a poor CD transfer rather than a poor recording?
So where does that leave us ... and you, in particular. I have the luxury of four versions to choose from depending upon my mood and I thoroughly recommend all four for their advantages rather than warn off for their disadvantages.
If you're limited to just one you must choose between wanting the OST (and accept the sound difficiencies) and a re-recording. If better sound is your choice then I would urge you towards the JS release - you're unlikley to spot its musical faults unless you have the others as comparison. For a truer version of the original with better sound opt for EB's re-recording - you might not have the same view as me about the lacking in sound.
...
Mitch
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I've long had the Sedares/Phoenix recording and have no problem with it.
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The RSNO is played at the correct speed, unlike the Sedares version which is slowed down
You do realize that there is no such thing as "correct speed" in orchestral music, as it is open to interpretation (as are other aspects like vibrato, phrasing, other emphases) - decided on by the conductor solely on the basis of the score. It is not the idea to just "mimic" the timings of the soundtrack, which are dictated by the editing. Certainly, James Sedares is a highly competent conductor who surely knows how to pace the music as the music demands. I've long owned that recording and am happy with its playing and pacing.
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The RSNO is played at the correct speed, unlike the Sedares version which is slowed down
Rookie mistake. There is no "correct speed" outside of a film. Like all music it is subject to interpretation when it's being "covered" - Sedares chose the tempi he thinks are suitable for the music. Many composers themselves (Herrmann, Rózsa) chose slower tempi when they re-recorded their own works.
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The RSNO recording of The Magnificent Seven ............is dreadful..........and whoever the Recording Engineer was.......needs to go back to the beginning and learn his trade....................the Orchestra perform OK...........it's what happened in the recording booth that matters.........
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Posted: |
Aug 26, 2015 - 1:49 PM
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By: |
Dana Wilcox
(Member)
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The RSNO is played at the correct speed, unlike the Sedares version which is slowed down
Rookie mistake. There is no "correct speed" outside of a film. Like all music it is subject to interpretation when it's being "covered" - Sedares chose the tempi he thinks are suitable for the music. Many composers themselves (Herrmann, Rózsa) chose slower tempi when they re-recorded their own works.
Chris seems to feel (as do I) that the speed "inside the film" is the correct speed. Unlike classical music, there is a reference recording for film music, which is, the score as recorded for and heard in the film. There is nothing wrong with people (composers included) choosing slower tempi for their re-recordings, but neither is there anything wrong with regarding the original recordings, typically recorded under the composer's baton, as the "correct speed." Your "rookie mistake" comment is a bit pompous and patronizing, as you assume your correctness in a matter that is the subject of frequent debate around here, quite obviously a statement of your viewpoint, and subject to an "agreement to disagree."
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This seems like the perfect sort of thing to get dumped on Spotify with some hideous artwork made in MS Paint.
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By the way, both of these re-recordings are available on Amazon quite reasonably used. I know, because I picked them up recently. (Great Escape cheaper, but both under $20.)
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Posted: |
Aug 26, 2015 - 7:11 PM
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By: |
Dana Wilcox
(Member)
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Allow me to throw in a kind word for Return of the 7, the Ryko release, which is for all intents and purposes the original Magnificent Seven score note for note, conducted by EB himself, but this time in stereo. I don't love the excessive echo, but it is a punchy recording and is the one I typically listen to when I get the fever for a Mag 7 listen. I do like the Sedares as well, even with the slight slowing of the tempo, as I think it does the score justice for the most part. I gave up on the RNSO recordings before I got to Mag 7, as they all sounded to me like they were recorded in a Boeing 747 hangar. I almost never listen to the original tracks, I am ashamed to admit...
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