• Categories

Vanilla 1.1.4 is a product of Lussumo. More Information: Documentation, Community Support.

 
    • CommentAuthorTimmer
    • CommentTimeApr 8th 2010
    plindboe wrote
    My choice would have been The thief of Bagdad. But The sea hawk is pretty good as well.

    Peter punk


    Yeah, I can't really argue with that.

    Tough choice IMO. ( and I'd forgotten 'didn't remember' that Sea Hawk was 1940 ).
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorErik Woods
    • CommentTimeApr 8th 2010
    The Sea Hawk is one of my Top 10 scores of all time!

    -Erik-
    host and producer of CINEMATIC SOUND RADIO | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorsdtom
    • CommentTimeApr 8th 2010
    I'm going to comment at length but right now I admit I'm undecided as to my choice. Sea Hawk is excellent as a choice Alan and I've got the Morgan, Previn, Rhino, and Gerhardt recordings. There are a couple of others from that year that have me thinking, one in particular but I've not decided quite yet.
    Thomas
    listen to more classical music!
    •  
      CommentAuthorsdtom
    • CommentTimeApr 8th 2010
    Also, thanks Erik for stepping in on D. I fear if I had other members would just say its Tom and his conservative views. Heh, that is for other threads if some of you think this is funny. This thread is like I'm revisiting my defunct golden scores. Love it.
    Thomas
    listen to more classical music!
    •  
      CommentAuthorDemetris
    • CommentTimeApr 8th 2010
    Well, now you make a team of 2 wink
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorsdtom
    • CommentTimeApr 8th 2010
    Thanks for your understanding D. Especially in the US Snow White is a symbol of good and purity.
    Thomas
    listen to more classical music!
  1. sdtom wrote
    I'm going to comment at length but right now I admit I'm undecided as to my choice...There are a couple of others from that year that have me thinking, one in particular but I've not decided quite yet.

    I'm interested to hear what your choice will be Tom.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    •  
      CommentAuthorThor
    • CommentTimeApr 8th 2010
    If going by music/image marriage, I would pick FANTASIA for 1940. In terms of original scores, I would give it to THIEF OF BAGHDAD as well, slightly ahead of REBECCA with SEA HAWK at third.
    I am extremely serious.
  2. Thor wrote
    If going by music/image marriage, I would pick FANTASIA for 1940. In terms of original scores, I would give it to THIEF OF BAGHDAD as well, slightly ahead of REBECCA with SEA HAWK at third.

    Rozsa's score is certainly a popular one - and one that I chose last time round. But hearing the additional tracks from a subsequent release - was it FSM's Bernstein Box? - it went down in my appreciation somehow. The songs were one of the main things that put me off slightly. And the "Rozsa sound" that I like, and that I sometimes hear in this score, isn't yet fully formed. There's a bit too much of the Steiner-like mickey-mousing.

    And, off course, the Morgan/MSO version just lets The Sea Hawk shine.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    •  
      CommentAuthorThor
    • CommentTimeApr 8th 2010 edited
    FalkirkBairn wrote
    Thor wrote
    If going by music/image marriage, I would pick FANTASIA for 1940. In terms of original scores, I would give it to THIEF OF BAGHDAD as well, slightly ahead of REBECCA with SEA HAWK at third.

    Rozsa's score is certainly a popular one - and one that I chose last time round. But hearing the additional tracks from a subsequent release - was it FSM's Bernstein Box? - it went down in my appreciation somehow. The songs were one of the main things that put me off slightly. And the "Rozsa sound" that I like, and that I sometimes hear in this score, isn't yet fully formed. There's a bit too much of the Steiner-like mickey-mousing.

    And, off course, the Morgan/MSO version just lets The Sea Hawk shine.


    That's why I won't pick up the FSM release and just savour my Varese/Bernstein suite-style recording of BAGDAD. wink

    Incidentally, I have seen neither THIEF nor SEA HAWK, so I'm just going by album experiences here.
    I am extremely serious.
  3. Thor wrote
    Incidentally, I have seen neither THIEF nor SEA HAWK, so I'm just going by album experiences here.

    Same here.

    A majority of my choices so far are from films I've not seen - and that will include my choice for 1941.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    • CommentAuthorTimmer
    • CommentTimeApr 8th 2010
    Thor wrote
    If going by music/image marriage, I would pick FANTASIA for 1940. In terms of original scores, I would give it to THIEF OF BAGHDAD as well, slightly ahead of REBECCA with SEA HAWK at third.


    I 100% agree with you on FANTASIA, that has a lot to answer for concerning my love of classical. ( all possitive I might add cool )
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorsdtom
    • CommentTimeApr 8th 2010
    Thor wrote
    If going by music/image marriage, I would pick FANTASIA for 1940. In terms of original scores, I would give it to THIEF OF BAGHDAD as well, slightly ahead of REBECCA with SEA HAWK at third.





    I cannot argue with you at all Thor as far as Fantasia is concerned. Unlike perhaps others my appreciation for classical music came from a young peoples concert and the performing and playing Carnival of Animals and Peter and the Wolf. Just think how the Prokoviev influence was on Alan and I. smile

    My choice has to be Our Town from Copland with orchestration from Jerome Moross. Even today the sound is fresh and alive as it conjures up that Americana sound of a rural town in the USA. This score has never been released save for a suite arranged by Copland. The RCA release of Copland, Music for films, by the Saint Louis Symphony conducted by Leonard Slatkin is a must have in any collection. Grovers Corners was also included by Ken Burns in his War documentary as part of the soundtrack as well as Copland's Clarinet Concerto. Is my opinion somewhat tarnished by love and admiration for Copland? Perhaps.
    Thomas smile
    listen to more classical music!
    •  
      CommentAuthorMartijn
    • CommentTimeApr 8th 2010
    Thor wrote
    That's why I won't pick up the FSM release and just savour my Varese/Bernstein suite-style recording of BAGDAD. wink


    But...but...that is the FSM release: the 1973 Bernstein FMC rerecording (at LP length...40 minutes or so?)
    The Varese tracks are recorded by Rozsa himself (& the Graunke Symfoniker, if memory serves, around the same time).

    Anyway, The Sea Hawk is a very good score (I personally prefer the Varujan Kojian rerecording over the Morgan/Stromberg one: the latter is just too long for me), but I'd never choose it over The Thief Of Bagdad. (incidentally: the Sea Hawk has about as much singing as The Thief Of Bagdad has! shocked ). Korngold is clearly at the top of his game here, but for me there is no magic in the score. It's swashbuckling, exciting and adventurous, but it's not epic, larger than life.

    This is what I dearly love in The Thief Of Bagdad.
    It's the finest oriental fantasy score ever composed, to a truly magical film.
    Every single cue is another adventure and another theme to whistle or hum, and imbued with such enthusiasm as to border on exuberance! Of course it helps that I do know the film. Very well in fact (and I'd warmly and strongly recommend it to anyone! It's a beautiful Korda production, of such scope that it dwarfs all its meager carbon copies ten-twenty years hence). So it's easy for me to pick out the Evil Grand Vizier, the thief (who was a son of a thief, who was a son of a thief), the malevolent but awe-inspiring Djinn...but even without that benefit, Rozsa's score is of such colour and eloquence that it tells the story so easily and beautifully through the music: the sweating laborers in the Basrah harbour, the evil Vizier's arrival, the beautiful princess, her toy-obsessed father, the thief, the noble king...all have an immediately noticeable and recognizable musical presence.

    To me it's one of the finest scores ever, and it consistently features somewhere in the top of my personal perennial favourites.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorsdtom
    • CommentTimeApr 8th 2010
    All That Money Can Buy (1941) - Bernard Herrmann (I)

    Other Nominees:
    Back Street (1941) - Frank Skinner (I)
    Ball of Fire (1941) - Alfred Newman
    Cheers for Miss Bishop (1941) - Edward Ward (I)
    Citizen Kane (1941) - Bernard Herrmann (I)
    Dr. Jekyll and Mr. Hyde (1941) - Franz Waxman
    Hold Back the Dawn (1941) - Victor Young (I)
    How Green Was My Valley (1941) - Alfred Newman
    King of the Zombies (1941) - Edward J. Kay
    Ladies in Retirement (1941) - Morris Stoloff; Ernst Toch
    Lydia (1941) - Miklós Rózsa
    Mercy Island (1941) - Cy Feuer; Walter Scharf
    Sergeant York (1941) - Max Steiner (I)
    So Ends Our Night (1941) - Louis Gruenberg
    Sundown (1941) - Miklós Rózsa
    Suspicion (1941) - Franz Waxman
    Tanks a Million (1941) - Edward Ward (I)
    That Uncertain Feeling (1941) - Werner R. Heymann
    The Little Foxes (1941) - Meredith Willson
    This Woman Is Mine (1941) - Richard Hageman


    The next year for us to ponder.
    listen to more classical music!
    •  
      CommentAuthorThor
    • CommentTimeApr 8th 2010
    Martijn wrote
    Thor wrote
    That's why I won't pick up the FSM release and just savour my Varese/Bernstein suite-style recording of BAGDAD. wink


    But...but...that is the FSM release: the 1973 Bernstein FMC rerecording (at LP length...40 minutes or so?)
    The Varese tracks are recorded by Rozsa himself (& the Graunke Symfoniker, if memory serves, around the same time).


    Oh? I don't own the FSM, so I couldn't say. Given Alan's response above, I assumed they had released an expanded version of the score.
    I am extremely serious.
    •  
      CommentAuthorMartijn
    • CommentTimeApr 8th 2010
    Nope. It's the Bernstein FMC rerecording. In the Bernstein Box.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorFalkirkBairn
    • CommentTimeApr 8th 2010 edited
    sdtom wrote
    My choice has to be Our Town from Copland with orchestration from Jerome Moross. Even today the sound is fresh and alive as it conjures up that Americana sound of a rural town in the USA. This score has never been released save for a suite arranged by Copland...

    I was going to correct you as there has been a (digital download?) release of both Our Town and Of Mice and Men complete scores:

    http://www.filmscoreclicktrack.com/2010 … -our-town/

    I picked this up a few months ago on the Naxos label (Naxos 9.70124) but I can't seem to find any reference to this at all: all the places I have looked has cited it as "unavailable" - it seems to have been withdrawn?

    So, the complete score (43 minutes) for Our Town was available.

    Tom, here's some details on what was on Naxos' Our Town release:

    http://www.racksandtags.com/falkirkbair … d-Our-Town
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
  4. Thor wrote
    Oh? I don't own the FSM, so I couldn't say. Given Alan's response above, I assumed they had released an expanded version of the score.

    shame
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
  5. Martijn wrote
    (incidentally: the Sea Hawk has about as much singing as The Thief Of Bagdad has! shocked )

    I find Korngold's songs much more listenable than those found on The Thief of Bagdad. Personal preference I suppose.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    •  
      CommentAuthorMartijn
    • CommentTimeApr 8th 2010
    NO. NO. NO! You're wrong! angry Admit it! Fiend!

    Ahem.

    Right.

    shame

    Well, roll on 1941. ( a score I rather like in itself biggrin )
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
  6. Martijn wrote
    NO. NO. NO! You're wrong! angry Admit it! Fiend!

    Martijn, I think you might have spelt "friend" incorrectly?

    BTW, thanks for your input above.

    I enjoy reading the points of view of others.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    •  
      CommentAuthorMartijn
    • CommentTimeApr 8th 2010
    As do I.
    It's actually most interesting to read when (and why) you changed your mind from the last time (although I'm sure I won't remember each and every choice per year dizzy )
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
  7. Martijn wrote
    As do I.
    It's actually most interesting to read when (and why) you changed your mind from the last time (although I'm sure I won't remember each and every choice per year dizzy )

    I think that part of it is that there's been a lot of new music becoming available since last time - particularly with all the recent re-recording releases.

    And I think that there's going to be a few changes even into the 70s/80s with the releases from people like FSM & Intrada.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    •  
      CommentAuthorsdtom
    • CommentTimeApr 8th 2010
    In my interview with music curator Mark Leneker yesterday, he stated how the complete scores were just sitting in the Library of Congress and must have fallen under the radar to get produced. Through his tireless efforts over a decade, we now have reason to celebrate that this music has finally seen the light of day. Written within months of each other, the two scores explore different facets of Copland’s populist musical language and yet serve as excellent reminders of Copland’s unique harmonic landscape.

    My guess is there are legal issues with the Copland estate in the US or it would be available and I'd know about it. It is like Silva Records except it is in the UK and some material available in the US. I'd be interested in obtaining it.
    Thomas
    listen to more classical music!
  8. sdtom wrote
    My guess is there are legal issues with the Copland estate in the US or it would be available and I'd know about it. It is like Silva Records except it is in the UK and some material available in the US. I'd be interested in obtaining it.

    It's funny because it was available for a time - I bought it at www.classicsonline.com - but now it seems to have been withdrawn.

    It's similar to Christopher Drake's score for Wonder Woman: I bought this from Amazon a few weeks ago but now I can't seem to find it again (I wanted to check the tracks from the download release with La-La Land Record's new CD release).

    Maybe some download titles are only available for a limited period of time before a CD release?
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    •  
      CommentAuthorsdtom
    • CommentTimeApr 8th 2010
    I'm sure it is legal and Naxos wants no part of it after the debacle they had to go through with the Wayne estate.
    Thomas
    listen to more classical music!
    •  
      CommentAuthorSteven
    • CommentTimeApr 9th 2010
    Martijn wrote
    Korngold is clearly at the top of his game here, but for me there is no magic in the score. It's swashbuckling, exciting and adventurous, but it's not epic, larger than life.


    Swashbuckle, excitement and adventure IS magic for me!

    Incidentally I've never heard The Thief Of Bagdad in full. Just 'The Love of The Princess' on the Gerhardt album which is quite pleasant in an old fashioned kind of way.
  9. 1941 - Citizen Kane - Bernard Herrmann

    This one's a difficult selection - mostly because there's not really that much that jumps out as an obvious choice (I'm afraid to say.) But if I were to choose a single score from 1941 to listen to then it would probably be Herrmann's.

    What I enjoy most about this one is the moodiness of the score: the slow, off-kilter tracks. There are moments that I don't like with this score: tracks such as "Galop", "Carter's Exit" & "Berrnstein's Presto" highlight the more upbeat cues that I tend to skip. And "Salaambo's Aria" I just avoid.

    It all sounds like comments for a title that I didn't choose - but it's just indicative of the year that I can make comments about Citizen Kane like this and it still comes out on top. Because when it's good it's very good!
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    •  
      CommentAuthorSteven
    • CommentTimeApr 9th 2010
    It's a great score, genius even - but I've never had the patience to listen to the complete score. Too many bloody short cues! I just can't enjoy that, no matter how good the themes are, and no matter how clever the score is. And it has brilliant themes and is of course very clever.