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- CommentTimeApr 1st 2008 edited
Lunch with Maurice Jarre
Interview!
http://www.filmmusicmag.com/radio/Lunch … re-18.html
Whatever genre or musical direction he explores, Maurice Jarre’s life has been distinguished by a zest for playing an infinite variety of melodic and ethnic emotion, a sound that’s made him one of the world’s most regarded composers. And now on a new edition of “On the Score,†Maurice Jarre discusses how his adventurous work with David Lean has led to a truly epic musical life.Kazoo -
- CommentAuthorTimmer
- CommentTimeApr 1st 2008
Two big names in as many days ( the other being Miklos Rozsa ) who DIDN'T have their own composer thread!
I'm not a big fan of Jarre but there is a LOT of his work I really like and some that I absolutely loveOn Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentTimeApr 1st 2008
I AM a big fan of Jarre. What he did well, he did exceptionally well. A pity one has to speak about him in the past tense even though he's still with us - a bit like John Barry, prematurely retiring. I guess they deserve a nice relaxing life now they're collecting their pensions. -
- CommentAuthorTimmer
- CommentTimeApr 1st 2008
Southall wrote
I AM a big fan of Jarre. What he did well, he did exceptionally well. A pity one has to speak about him in the past tense even though he's still with us - a bit like John Barry, prematurely retiring. I guess they deserve a nice relaxing life now they're collecting their pensions.
Saying I'm NOT a big fan of Jarre is subjective, I'm NOT a big fan of Hans Zimmer either but in comparison I'll take Jarre over Zimmer every time.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorfranz_conrad
- CommentTimeApr 1st 2008 edited
I wouldn't mind getting a release of the original tracks of THE FIXER, an early Jarre score.A butterfly thinks therefore I am -
- CommentTimeJun 3rd 2008 edited
Another Intrada release; Maurice Jarre score for Big Gamble, combined with a release of Sol Kaplans music for Treasure of the Golden Condor.
Treat for Jarre fans! World premiere release of original soundtrack from 1961 Richard Fleischer Africa ivory-hunt adventure with Stephen Boyd, Juliette Greco. Maurice Jarre writes first epic score a year before efforts for THE LONGEST DAY put Jarre on map. Keen ears will hear origins of still-to-come masterpiece LAWRENCE OF ARABIA! Jarre creates stirring outdoor theme, balances with liting motif, imbues both with signature harmonies. Exciting display of trademark percussion also on display! Presented in dynamic stereo from original 20th Century Fox vault elements. CD fills out with premiere of nearly complete Sol Kaplan soundtrack for Delmer Daves 1953 costume adventure TREASURE OF THE GOLDEN CONDOR with Cornel Wilde, Fay Wray. Kaplan creates exciting score with emphasis on swashbuckling action, exotic locales. Dynamic major-key motif for treasure is rich highlight. Surviving mono elements yield all major set-pieces including powerful Prelude, triumphant Finale. Jarre conducts his score, Alfred Newman conducts Kaplan score. Special Collection release limited to 1200 copies!
http://store.intrada.com/s.nl/it.A/id.5 … egory=-101Kazoo -
- CommentTimeJun 4th 2008
Wow, Kaplan's Treasure of the Golden Condor is getting a release? And I thought I'd have to live with that crappy bootleg for years! And we get to listen to Big Gamble too! Bon Appetit -
- CommentTimeJun 4th 2008
DemonStar wrote
Wow, Kaplan's Treasure of the Golden Condor is getting a release? And I thought I'd have to live with that crappy bootleg for years! And we get to listen to Big Gamble too! Bon Appetit
Is it that good then?waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh -
- CommentTimeJun 5th 2008
Tommy_Boy wrote
DemonStar wrote
Wow, Kaplan's Treasure of the Golden Condor is getting a release? And I thought I'd have to live with that crappy bootleg for years! And we get to listen to Big Gamble too! Bon Appetit
Is it that good then?
I haven't listened to Big Gamble, but yeah I loved the music of Treasure of the Golden Condor , especially the music of the sequences leading to the climax is amazing IMO. -
- CommentTimeJun 5th 2008
DemonStar wrote
Tommy_Boy wrote
DemonStar wrote
Wow, Kaplan's Treasure of the Golden Condor is getting a release? And I thought I'd have to live with that crappy bootleg for years! And we get to listen to Big Gamble too! Bon Appetit
Is it that good then?
I haven't listened to Big Gamble, but yeah I loved the music of Treasure of the Golden Condor , especially the music of the sequences leading to the climax is amazing IMO.
I'm not rushing out to go buy it, it's always difficult to get an idea of an older score through just several words or impressions, it would be easier if I knew which sound or style it sounds likewaaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh -
- CommentTimeJun 6th 2008 edited
ToTGC is naturally oriented towards the classical side, with great brass and strings. There are clips on that site if you want to check out some samples -
- CommentTimeSep 19th 2008
I love you Maurice! Please come back and give us one last score. -
- CommentTimeSep 20th 2008 edited
In this interview posted in this thread he said that he is now more interested in conducting than in composing. -
- CommentTimeOct 13th 2008
Grand Prix (1966)
Limited Edition of 3,000 Copies.
One of Maurice Jarre’s classic 1960s scores comes to CD in complete form: Grand Prix (1966), for director John Frankenheimer’s film about Formula One racing, a masterful technical achievement that has long been lauded as one of the best and most accurate films about auto racing ever made. The film covers the on- and off-track experiences of a group of racers during a Grand Prix season, headlined by James Garner, Yves Montand, Brian Bedford and Antonio Sabato as the drivers, and Jessica Walter, Eva Marie Saint and Francoise Hardy as the women they love.
Maurice Jarre had recently scored The Train (1964) for Frankenheimer (FSMCD Vol. 10, No. 8), and provided one of cinema’s all-time famous scores in Dr. Zhivago (1965) for M-G-M. Grand Prix, also from M-G-M, was hurriedly completed for Christmas 1966 release and Jarre was more or less left on his own to provide music that scored the personal journeys of the characters, rather than the visceral thrill of the racing (which was largely conveyed by sound effects in Frankenheimer’s naturalistic approach).
Jarre’s main theme evokes the pomp and grandeur of the Grand Prix experience, while two secondary themes apply to the French (Montand) and English (Bedford) racecar drivers. The score is beautifully melodic and sensitive, with a wafting Continental flavor that is at once refined yet accessible—Jarre’s career in a nutshell. Few other composers have been able to so elegantly provide the sense of a theatrical frame as Jarre, while maintaining an intimacy with the characters—an achievement he nimbly repeats in Grand Prix.
Grand Prix was previously released on LP and CD but this newly restored and expanded master features superior sound quality (remixed from the original 35mm three-track magnetic film sessions), and eliminates the sound effects that briefly appeared on a couple of tracks on the vinyl. Tracks 1-20 present the complete score, while tracks 21-30 feature alternate and album selections. Liner notes are by Paul Andrew MacLean, featuring new interview comments by Jarre.
http://www.screenarchives.com/title_detail.cfm?ID=10602
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- CommentTimeDec 24th 2008
Maurice Jarre: Concert Works (1951-1961)
FSM kicks off its 12th year of “Classics†releases with a CD of rare Maurice Jarre concert works from the French national archives.
Maurice Jarre’s career is commonly thought to begin with The Longest Day and Lawrence of Arabia in 1962, which propelled him to international stardom. But as early as 1951 he had a flourishing career in his native France that encompassed film, radio, theater, record albums and concert works for over a decade. Five such classical works are presented on this CD (although one of the performances dates from 1974).
“Three Dances for Ondes Martenot and Drums†(1951) was written for a ballet that was never choreographed, although the score was performed in concert. It is scored for the ondes Martenot (an early electronic instrument which Jarre used in several film scores) and percussion.
“Passacaglia to the Memory of Arthur Honegger†(1957) is a symphonic work which Jarre wrote in tribute to his mentor, French composer Arthur Honegger. It utilizes the challenging form of the passacaglia, marked by a persistently sustaining musical figure (or ostinato) in the bass.
“The Night Watch†(1961) is the most cinematic piece on the album, inspired by a Rembrandt painting (hence the cover of the CD). It is an exciting, pulsating work foreshadowing Jarre’s film music, particularly Lawrence of Arabia, with what sounds like a forerunner to the Arab theme.
The lengthy (32-minute) “Mobiles for Violin and Orchestra†(1961) is a modern, abstract piece in which the violin soloist (here, Devy Erlih) is responsible for choosing some of the order of the violin music, in relationship to a “fixed†orchestral accompaniment. (The liner notes explain the work’s conceptual backing in detail.)
Finally, “Ancient Suite for Percussion Instruments and Piano†(composed in 1956, recorded in 1974) is a “competition work†spotlighting several percussion instruments in five movements. Jarre was himself a percussionist and writes for percussion with great skill.
Maurice Jarre: Concert Works has been produced by Jacques Hiver and Lukas Kendall from recordings maintained by the Institut National de l’Audiovisuel (INA), a division of the French government which archives the country’s public radio and television broadcasts. The entire CD is in monaural sound and has been newly mastered from the original tapes—or, in the case of the 1951 “Three Dances,†acetates. Liner notes explain all of the works in detail, including new interview comments by the composer. This important release is limited to 1,500 copies.
Three Dances for Ondes Martenot and Drums
1. Sacred Dance 4:37
2. Profane Dance 2:04
3. Ritualistic Dance 3:24
4. Passacaglia to the Memory of Arthur Honegger 12:49
5. The Night Watch 6:54
6. Mobiles for Violin and Orchestra 32:17
7. Ancient Suite for Percussion Instruments and Piano 9:05
Total Time: 72:44
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- CommentTimeDec 27th 2008
Are archival releases of movie scores beginning to dry up?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 -
- CommentTimeDec 29th 2008
It's not even mentioned in this thread, but Intrada released Fires Within a few weeks ago. Probably sold out already, but if not, then Jarre fans need to hear it. Particularly the opening cue - it's a stunner. -
- CommentTimeJan 8th 2009
http://www.filmscoremonthly.com/board/p … 573#bottom
Why is this limited to 1500 copies? Is the AFM somehow mixed up in this. I didn't know that classical music was governed by the same rules.listen to more classical music! -
- CommentAuthorfranz_conrad
- CommentTimeJan 8th 2009
Despite the low quantity limitation, I confidently predict it will not sell out within three years of this post.A butterfly thinks therefore I am -
- CommentTimeJan 8th 2009
So what your saying indirectly is the 1500 copies is just the number that they chose to print.
Thomaslisten to more classical music! -
- CommentAuthorfranz_conrad
- CommentTimeJan 8th 2009
I think Lukas has effectively said that. They have no idea how much they're going to sell, but they don't think it will be that many. Imagining the reasoning is not hard: (i) no nostalgic memories associated with the films to translate into album purchases; (ii) film score community stigma against concert music (as irrational as that sounds); (iii) Maurice Jarre is not an automatic purchase for many, unlike John Williams, Miklos Rozsa and Jerry Goldsmith.A butterfly thinks therefore I am -
- CommentTimeJan 9th 2009
They could if they chose print more without severe financial penalties. I for one am interested in this.
Thomaslisten to more classical music! -
- CommentTimeJan 9th 2009
I think that with so many new and older releases coming out that people may have to make certain buying decisions and non-film music seems to be a reasonable decision-making point.
I'm sure that the Jarre enthusiasts will go for it and that people will take a listen just out of interest.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 -
- CommentTimeJan 9th 2009
franz_conrad wrote
I think Lukas has effectively said that. They have no idea how much they're going to sell, but they don't think it will be that many. Imagining the reasoning is not hard: (i) no nostalgic memories associated with the films to translate into album purchases; (ii) film score community stigma against concert music (as irrational as that sounds); (iii) Maurice Jarre is not an automatic purchase for many, unlike John Williams, Miklos Rozsa and Jerry Goldsmith.
THANK YOU! Someone who gets it.
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentTimeJan 9th 2009 edited
sdtom wrote
They could if they chose print more without severe financial penalties.
Thomas
How do you know this? Is that a fact? This is sooooooo tiring.
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorfranz_conrad
- CommentTimeJan 9th 2009 edited
sdtom wrote
They could if they chose print more without severe financial penalties. I for one am interested in this.
Thomas
I'd say making a practice of deliberately incurring any financial penalties - severe or sustainable - would have ended the business long ago.A butterfly thinks therefore I am -
- CommentTimeJan 9th 2009
My deduction is simple. It has nothing to do with Hollywood thus no film is involved so the union is out of the loop. A re-recording or classical work is governed by different rules altogether although believe me if Hollywood could extract thousands of dollars from Morgan and Stromberg for their recordings of "The Kentuckian" and others they'd do it. FSM simply publishes a number that a company such as Naxos, Telarc, Chandos, chooses not to. FSM is actually entering an area that is different from the film world.
Thomaslisten to more classical music! -
- CommentAuthorfranz_conrad
- CommentTimeJan 12th 2009 edited
Your deduction is simple, but perhaps you ignore the fact that Naxos, Telarc, Chandos et al did not choose to publish these Maurice Jarre works in the first place, limiting to extent to which we can talk about what they would have done in Lukas Kendall's position. (And it's not hard to see why they wouldn't have issued these recordings - Jarre is not well regarded in classical circles.)A butterfly thinks therefore I am -
- CommentTimeJan 12th 2009
True enough Michael. Milan on the otherhand? My point with the number is simple. It is a selling tool which Chandos, Naxos, Telarc, and the vast majority of others do not resort to. Just release it and if it sells well then press some additional copies. There is no need to know how many there are.
Thomas
By the way I'm getting one.listen to more classical music! -
- CommentAuthorfranz_conrad
- CommentTimeJan 12th 2009
Does Milan do archival recording releases? They're devoted to new film scores and re-issues of their existing catalogue.A butterfly thinks therefore I am