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Awesome news!
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Mark, I'm just now catching up on your series on Herrmann's concert works and I am so pleased that you are doing this! I've just written a comment on your Moby Dick review as well, but wanted to congratulate and thank you here as well. I look forward to reading your enthusiastic thoughts on the rest of the works!
For those interested in Moby Dick, as Joe Sikoryak mentioned in the comments for Mark's blog review of that work, I will be conducting the west coast premiere of Moby Dick, and the first US performances of the work since its 1940 premiere. Yes, the Chandos CD will be released later, but here is a chance locally (well, in California - at least within the US) to hear the work live - and I suspect it may win more followers in a live setting that captures the immediate drama of the piece.
Keep 'em coming, Mark! I hope we can chat some time about Herrmann - I love your enthusiasm for his music, particular the concert works which tend to be ignored.
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Hello Mark! I have yet to intersect with Stromberg and Morgan, though I have long admired their meticulous and devoted work. It's strange - as a conductor I have been mostly in the realm of orchestral and opera work, and not film. It has long been my intention to integrate film score suites into standard orchestral repertoire (if we program incidental music like Peer Gynt, or ballet suites by Tchaikovsky, Prokofiev etc, then why not suites from films? why must it be seen as "pops" concert fare?), though I'm waiting for the right opportunity to start doing so. But as one who is not as involved in the film world, except as an area of much research, I'm only just making friends in that field. At some point, I would love to be involved in some of these re-recording projects, the way that Stromberg and McNeely have been doing. I'm sure at some point that will happen, and look forward to that. I would especially like to record all of the concert works, as I'm very fond of them all. I have been looking into some of the earlier concert works that no one has recorded yet, too. Herrmann was so familiar with so many other composers' works, and it is fascinating to hear certain influences from Ives, Delius, Grainger, Stravinsky, etc in his early works (and in all the rest of his music too!). But... I start to digress and ramble enthusiastically... :-)
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