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What I can also recommend is the Russian score of the film, which was composed by Aleksandr Zatsepin. Hardly anyone knows about it, but it's almost as good as Ennio's score imo.
A combo CD of the Russian score with the Morricone score was released in 2007, though isn't widely distributed. Does anyone know if it's Morricone tracks were lifted from the Legend cd, or from another source? They appear to be abridged:
http://sammel-surium.heim.at/soundtracks/OSTtenda.html,,,,,,,,,,,,,,thanks for posting this , never knew about the other ZATSEPIN cd. really interesting article . thanks again.
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I was told by Alesandroni the whistler on many of Morricones scores, that Morricones unused score for THE BIBLE was utilised in THE RED TENT and much of the music was actualy rejected......
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Posted: |
Jul 26, 2009 - 4:26 AM
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By: |
Les Jepson
(Member)
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In the six-and-a-half years since my first post on this thread I’ve revised my opinion of the “Others, who will follow us” track. I’m starting to think that maybe it is not a patchwork of short cues after all, but may be a through-composed piece. It certainly doesn't have the fragmented feel of, say, the "suite" on the old A FISTUL OF DOLLARS LP.
Back then, I hadn’t seen the film for thirty-odd years, but I’ve watched it a couple of times recently and listened a few more times to the CD. There’s something about the way the various chunks of “Others, who will follow us” blunder in and out of the film soundtrack. It gives me the impression of a cut-and-paste job from a longer piece. Could the Maestro have provided the film makers with a selection of pieces, long and short, sight unseen, and left the music editor to decide on usage and placement? From the mid-Sixties to the mid-Seventies Morricone was an extremely busy man. We know he worked this way on a few projects during that ten-or-so-years period (one thinks immediately of TWO MULES FOR SISTER SARA).
If “Others, who will follow us” is indeed a long, complete piece, then it must have represented the most ambitious film score cue since North’s cue for the battle of Actium in CLEOPATRA; which, happily, survived intact in both film and CD.
One other thought: Vaughan Williams used the jaunty penguin music from SCOTT OF THE ANTARCTIC as a mood-lightening scherzo in his Seventh Symphony, the “Sinfonia Antartica”. What a shame that whoever compiled THE RED TENT LP and later CD didn’t use that delightful cue for the Russian radio ham. It would have made a perfect scherzo in the Maestro’s otherwise sombre “Sinfonia Artica”.
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Posted: |
Aug 9, 2009 - 12:34 AM
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By: |
Luke1981
(Member)
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http://sammel-surium.heim.at/soundtracks/OSTtenda.html,,,,,,,,,,,,,,thanks for posting this , never knew about the other ZATSEPIN cd. really interesting article . thanks again.
Thanks, I am the writer of this review. The Red Tent is such a georgeous score, and the last part, which seems to be partly based on the morse code SOS, is really frightening.
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