The excellent Sedares re-recording had the disadvantage of one of the most inept illustrations in the entire history of soundtrack music cover art.
I was just playing the Sedares version today, I find the performance to be satisfactory but it does not have the fire and 'tour-de-force' performance that the RSNO whips out under the baton of Elmer Bernstein. The studio vs the concert hall recording debate remains legit, though. Both re-recordings have their plus and negative points. But I'm still partial to the OOP Bernstein/RSNO re-recording.
It HAS to be the original tracks (on Ryko or Varese Sarabande) for the simple reason that the re-recordings get the main title a bit wrong. The Sedares comes closest, but the concert-hall sound deflates it a bit. No, the terse, spring-loaded sound of Elmer Bernstein in the studio conducting to film is essential and vital. It may be in mono, but it is the best. No question!
(An aside - and in no way wishing to de-rail the thread) - while the RETURN OF THE SEVEN album has great sound and served us Bernstein fans for years, I must say that the listening experience of GUNS OF TM7 (available as part of box-set FSM Vol.10No.10) is extremely satisfying. And, as a bonus of sorts, the guitar solos that take up the last 12 minutes or so of the disc are exceptional. I wish the guitar player had been credited on the CD.
Here's a thought - how about a Magnificent Seven box set? The TM7 original tracks, followed by ROT7 original tracks (if they still exist (?) followed by Guns of TM7 and then THE MAGNIFICENT SEVEN RIDE! And if that ever happens, I want to do the liner notes!
JMM.
Seven years later and it finally came to pass, thanks to Quartet Records.
The excellent Sedares re-recording had the disadvantage of one of the most inept illustrations in the entire history of soundtrack music cover art.
I was just playing the Sedares version today, I find the performance to be satisfactory but it does not have the fire and 'tour-de-force' performance that the RSNO whips out under the baton of Elmer Bernstein. The studio vs the concert hall recording debate remains legit, though. Both re-recordings have their plus and negative points. But I'm still partial to the OOP Bernstein/RSNO re-recording.
I do have all the recordings, Bernstein's original soundtrack recording, Sedares, Bernstein's RSNO recording... and I can honestly say I enjoy them all. It's a terrific film score, and I'm quite happy that I can re-visit it in different recordings.
Great review (and analysis) of Elmer Bernstein's THE MAGNIFICENT SEVEN (the Bernstein recording with the Royal Scottish National Orchestra) by David Hurwitz of "Classicstoday.com" in the series "The Greatest Recordings Ever!"
I found the old Rykodisc CD in a sales bin in the 90s, so that was really my only version of this score for years. But eventually it wore me out. The crisp nature of the recording, the excessive length, the bombastic nature of much of the music. So I traded it off at some point (although I still have it in digital file form). However, I've been thinking about replacing it with any of those rerecordings you talk about, maybe the Sedares, so that I can start appreciating the score again.
Great review (and analysis) of Elmer Bernstein's THE MAGNIFICENT SEVEN (the Bernstein recording with the Royal Scottish National Orchestra) by David Hurwitz of "Classicstoday.com" in the series "The Greatest Recordings Ever!"
I'm also a big fan of this recording which is kinda hard to find since it's untimely Demise along with the sustercrecirding of The Big Escape as also conducted by Bernstein with RSNO.
I'm also a big fan of this recording which is kinda hard to find since it's untimely Demise along with the sustercrecirding of The Big Escape as also conducted by Bernstein with RSNO.
Great review (and analysis) of Elmer Bernstein's THE MAGNIFICENT SEVEN (the Bernstein recording with the Royal Scottish National Orchestra)]
you call that "analysis"...?
Well, not really, no it's not really an "analysis", of course not. It's an entertaining intro into Bernstein, film scores, and the Magnificent Seven. What I meant is that he first juxtaposes film music against the expectations of the classical music tradition, and why it is nevertheless a valid form of music. That is the way I see (or hear) film music as well, and I find it interesting that Dave Hurwitz and I are very much on the same page here.
"...context of film music...Film music has its own rules, it has its own aesthetic criteria...the idea of purity of style is alien because film music composers have to write music which is suitable to whatever the storyline is, whatever the locale, the atmosphere..."
A [film] music man, for sure. Luv it. But nothing new here; this website has provided terrific opportunities for over two decades to delve into critical analyses pertaining to the scoring/underscoring of individual films. To ilustrate, see early replies for a hint. This guy Dave's comments between that and the standalone listening experience make for a fine balanced presentation. Balance is oh so crucial to displaying fairness to the composer (as underlined by the Previn anecdote).
Peter, the main theme is EPIC, but you will also find a lot of other great themes in this score. There is a villain theme, love them, and lots of action music. After the main theme, I really like the rather comedic rousing theme that follows Yul Brenner and Steve McQueen's ride from Boot Hill back into town.
The Rifleman TV series began when I was only a couple years old and that meant watching only bits towards the end of the program's five-year run. Never saw much in subsequent reruns. Sixty years later I am just about finished watching the full first two seasons.
What a perfect time to rewatch TM7 which I did last night. It had been a while. The resurrection of this thread compelled me. The lady's themes citation from seven years ago carries well. And what a goof to see early TR alums Coburn and Vaughan move over to the big western screen. Vaughan in particular; he had played a "kid" in the mold of the movie's "Chico" (played by H. Buchholz) in his lone TR episode, which now feels like an audition for the movie role where he was anything but a kid.
Lots of memorable character actors from the one to the other, too, including one of the three Mexican negotiators. Most of the others were in the early Boot Hill portion. Not to mention the guy whom Coburn knifed. Who ordered Maggio on guard duty in From Here To Eternity some years before.
Howard, glad to hear you liked the movie and score. We all know that wonderful main theme with its unique rhythms and melody; however, I also enjoy the fun theme played early on when the guys are in town and the action themes played at various times. Truly one of the best scores ever written.
The same lady wrote that in 2001 in reply to a post created upon seeing the flick for the first time ever "after an entire TV-viewing childhood filled with Elmer Bernstein's theme for Chesterfield ads." Whoops, Marlboro ads as Mr. Hurwitz points out. Me and checking things online were both much younger then.
