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 Posted:   Nov 20, 2019 - 2:48 AM   
 By:   Cinefanart   (Member)

Bit of a nostalgic post this but I remember purchasing this amazing score (George Fenton) and being absolutely blown away by the ferocity of the High Spirits Overture and thinking has there ever been a track as loud as that before and with such quality of themes throughout, even though it sounds like it was recorded 20 miles away from the microphones. Maybe an intentional move to protect the mics from exploding by the wonderful Graunke Symphony Orchestra.

https://youtu.be/uyqZP_1pN_0

Released on GNP in 1989. Breath of fresh air from Fenton and a really pleasurable listen from start to finish. Hats off to the Graunke Symphony .......enjoy.

 
 Posted:   Nov 20, 2019 - 4:30 AM   
 By:   LordDalek   (Member)

Well I guess Fenton got lucky considering the allegedly poor level of musicianship the Graunke Orchestra was said to be providing in 1989.

 
 
 Posted:   Nov 20, 2019 - 6:46 AM   
 By:   Cinefanart   (Member)

Well I guess Fenton got lucky considering the allegedly poor level of musicianship the Graunke Orchestra was said to be providing in 1989.

Must have been an off day for them ??

 
 
 Posted:   Nov 20, 2019 - 6:49 AM   
 By:   Cinefanart   (Member)

Well I guess Fenton got lucky considering the allegedly poor level of musicianship the Graunke Orchestra was said to be providing in 1989.

Must have been an off day for them, depending on how you see it.

 
 
 Posted:   Nov 20, 2019 - 6:51 AM   
 By:   moolik   (Member)

Fantastic Score and performance! A must have.One of Fentons best.

 
 Posted:   Nov 20, 2019 - 5:48 PM   
 By:   Paul MacLean   (Member)

I love this score, but the performance leaves a bit to be desired. It's not awful, but it's ragged in places. Agreed on the "20 miles away" mic placement. It seemed everything recorded at that studio always sounded like the mics were in another hemisphere.

High Spirits was recorded at a time when everyone was going to Europe, as even London was deemed "too expensive".

Elmer Bernstein was frequently recording in Germany (where he did Spies like Us, Marie Ward, and Amazing Grace and Chuck), as was John Scott (for The Deceivers, Man on Fire, Winter People and King Kong Lives) and Maurice Jarre (Enemy Mine and Tai-Pan).

Goldsmith was constantly recording in Budapest (partly at the urging of his pal Andrew Vajna -- a Hungarian) until quitting Budapest in exasperation (opting for Rome and Melbourne for Leviathan and Warlock, respectively). Goldsmith of course also went to Germany for Total Recall, until Paul Verhoeven convinced the producers to move the sessions to London (and thank Heaven for that!).

 
 
 Posted:   Nov 22, 2019 - 10:36 AM   
 By:   Cinefanart   (Member)

I love this score, but the performance leaves a bit to be desired. It's not awful, but it's ragged in places. Agreed on the "20 miles away" mic placement. It seemed everything recorded at that studio always sounded like the mics were in another hemisphere.

High Spirits was recorded at a time when everyone was going to Europe, as even London was deemed "too expensive".

Elmer Bernstein was frequently recording in Germany (where he did Spies like Us, Marie Ward, and Amazing Grace and Chuck), as was John Scott (for The Deceivers, Man on Fire, Winter People and King Kong Lives) and Maurice Jarre (Enemy Mine and Tai-Pan).

Goldsmith was constantly recording in Budapest (partly at the urging of his pal Andrew Vajna -- a Hungarian) until quitting Budapest in exasperation (opting for Rome and Melbourne for Leviathan and Warlock, respectively). Goldsmith of course also went to Germany for Total Recall, until Paul Verhoeven convinced the producers to move the sessions to London (and thank Heaven for that!).


Hi Paul,
On the back of what you say It would be interesting to know, in league table format, which country/recording studio has recorded the most original movie soundtracks.....now that’s a feat in itself.....ok where’s Google....

 
 Posted:   Nov 22, 2019 - 3:48 PM   
 By:   johnonymous86   (Member)

I love this score, but the performance leaves a bit to be desired. It's not awful, but it's ragged in places. Agreed on the "20 miles away" mic placement. It seemed everything recorded at that studio always sounded like the mics were in another hemisphere.

High Spirits was recorded at a time when everyone was going to Europe, as even London was deemed "too expensive".

Elmer Bernstein was frequently recording in Germany (where he did Spies like Us, Marie Ward, and Amazing Grace and Chuck), as was John Scott (for The Deceivers, Man on Fire, Winter People and King Kong Lives) and Maurice Jarre (Enemy Mine and Tai-Pan).

Goldsmith was constantly recording in Budapest (partly at the urging of his pal Andrew Vajna -- a Hungarian) until quitting Budapest in exasperation (opting for Rome and Melbourne for Leviathan and Warlock, respectively). Goldsmith of course also went to Germany for Total Recall, until Paul Verhoeven convinced the producers to move the sessions to London (and thank Heaven for that!).


Hi Paul,
On the back of what you say It would be interesting to know, in league table format, which country/recording studio has recorded the most original movie soundtracks.....now that’s a feat in itself.....ok where’s Google....



Which film industry are you talking about? India might have the lead with Bollywood. But if you take all film into single account, maybe London or Los Angeles

 
 Posted:   Nov 23, 2019 - 9:00 AM   
 By:   Paul MacLean   (Member)


Hi Paul,
On the back of what you say It would be interesting to know, in league table format, which country/recording studio has recorded the most original movie soundtracks.....now that’s a feat in itself.....ok where’s Google....


At a guess I'd say the US, with all the Hollywood features, A pictures, B pictures, newsreels, cartoons, etc. going back to the 1930s. And then scoring sessions not only in Hollywood, but also New York (and on rare occasions) other cities.

 
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