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| | | General Discussion:QB VII vs QB VII vs QB VII | 123 NEXTLAST | Last Post |
| | | | | | | | Posted: | Apr 8, 2024-4:19 AM | | | By: | Graham Watt(Member) | I "accidentally" heard the suite from QB VII last night, the one from the "40 Years of Film Music" 4-CD set. I'd meant to put on Disc 1 to hear THE BLUE MAX, but I got the discs mixed up. No matter, I let QB II play out. I was under the impression that I never really cared for that interpretation. Anyway, last night it seemed spine-tinglingly great. The recording dates from 2005 or before, and it's conducted by James Fitzpatrick. James Fitz! I had assumed it was Nic Raine. Which brings me to the point of this. I haven't got the full score release from Prometheus/Tadlow dating from 2013. Reconstructed and orchestrated by Aaron Purvis, conducted by Nic Raine. Would you say that there's a significant difference between this one and the earlier James Fitz-conducted suite? Apart from length of course. And in order for my subject heading to make sense, how would you compare those two to the original Goldsmith-conducted release of the score? I always loved that LP (then CD), but knowing the amount of missing music I suppose we could consider it as a mere (admittedly great) sampler. | | | | | | | | | | | | | Posted: | Apr 8, 2024-8:49 AM | | | By: | Yavar Moradi(Member) | The Tadlow is excellent. I think it's better performed and recorded than the older suite, even though I don't think that was bad at all. And all the extra music is just as good as the music familiar from the old album. I consider this to be Jerry Goldsmith's magnum opus, so the complete score is a must have IMO. It's his most diverse and varied, wide-ranging work. So it really does sustain that unusually long (for a Goldsmith score) runtime, because there are so many different themes and sound worlds in the score. The old half hour Goldsmith-conducted album is wonderful, but really can't possibly cover the thematic development of the many wonderful themes in the score. It'll have that great love theme... a couple times, and the middle eastern material that sounds like it came out of The Wind and the Lion... in a single track. Want to hear more of a journey? The complete score is a must. That said it's not *quite* the complete score, which bugs my OCD side. Since Aaron Purvis (who did a great job) was using the DVD release of the miniseries, he only included music that was on that... and what got left out was the unique format music Jerry wrote, namely the short to-commercial bumper cue(s) -- a really cool tympani-led version of one of the score's main themes, as I recall. It used to be up on YouTube to hear, recorded from television. But I'm having trouble finding it now, alas... Yavar | | | | | | | | | | Posted: | Apr 8, 2024-11:42 AM | | | By: | Nicolai P. Zwar(Member) | The Tadlow is excellent. I think it's better performed and recorded than the older suite, even though I don't think that was bad at all. And all the extra music is just as good as the music familiar from the old album. I consider this to be Jerry Goldsmith's magnum opus, so the complete score is a must have IMO. It's his most diverse and varied, wide-ranging work. So it really does sustain that unusually long (for a Goldsmith score) runtime, because there are so many different themes and sound worlds in the score. Yeah, it's one of Goldsmith's richest, most epic scores, with many different themes, there isn't a dull note in what may be his longest score. | | | | | | | | | | | | | | | | Posted: | Apr 8, 2024-1:49 PM | | | By: | Yavar Moradi(Member) | Not much of an update... just pure speculation on my part. I hope I'm wrong. At the very least, I hope that a new CD edition of the original album can come out, possibly including the alternate version/take of one cue which was on the original pressing, but replaced on later editions. Clive James called it sub-Exodus music. https://archive.clivejames.com/books/qb.htm I can only conclude that it sounded vaguely Jewish, and his mind went to the very popular score written by Ernest Gold, for that earlier Leon Uris novel adaptation. I don't think Clive James was really a music critic, was he? Because as much as I do enjoy the score for Exodus, it's not even remotely in the same league as QBVII in terms of number of varied ideas, and development of those ideas. Gotta say I agree with his assessment of the miniseries itself, though. I guess I enjoyed Anthony Hopkins's performance a bit better than he did, but I think his criticisms of Uris are spot-on, and his stand-in character of Cady is pretty insufferable... I was sad whenever the narrative switched back to him, even though Jerry provided excellent music for those stretches! Yavar | | | | | | | | | | | | | | | | Posted: | Apr 8, 2024-3:34 PM | | | By: | (Member) | Clive James called it sub-Exodus music. https://archive.clivejames.com/books/qb.htm Who is Clive James and why should we care? You don’t have to agree with him but Clive James was a superb writer and broadcaster. https://en.wikipedia.org/wiki/Clive_James My question was rhetorical. Never heard of him so I guess we're even on that account. Still, thank you for the information, Sir. PS. I'm pretty confident that Mr. Goldsmith didn't know him from Adam. | | | | | | | | | | | | | Posted: | Apr 9, 2024-1:21 AM | | | By: | Graham Watt(Member) | Thanks for the input, folks! Clive James was a great writer and broadcaster, very popular on British TV when I was growing up. His TV column was usually very sharp, but, as with almost all "great writers", he seemed to have a different perspective on film music from us geeks, almost as if he believed there were more things in life. I've just ordered the QB VII. I was hesitant all these years, because on several occasions I've felt the Tadlow/ Prometheus recordings (especially of Rózsa) to be WAY off... and only I can hear those "flaws" it seems. I sometimes feel like I'm Roderick Usher. "But can't you HEAR it?" But, as I said, I was VERY impressed with the suite I listened to the other night, having kind of dismissed it previously. That was the James Fitzpatrick-conducted one. From the entire history of the Prague re-recordings, does anyone have a preference for James Fitz as a conductor, over Nic Raine? Is it possible to even tell the difference? | | | | | | | Posted: | Apr 9, 2024-1:55 AM | | | By: | Hurdy Gurdy(Member) | QB is a Goldsmith score I've never really liked that much. I had the LP back in the 80s and played it a few times, but never as much as his other 'cooler' stuff. Then I bought the CD (Intrada?) of the old LP and still only played it on the odd occasion. And then I bought the 2 disc Tadlow re-recording (which sounds great and like a proper film score performance, so I don't think you will have any issues there, Graham) and have probably played that about 2-3 times since. I'm not much of a fan of Jewish music, with its um-chitty-bum-bum style lyrics and progressions. It just doesn't do it for me, although I really enjoy MASADA, but that comes at me more like a proper Goldsmith action score. The fanfare refrain in QB is decent and there are some nice tracks here and there, but it's just something I'm never really gonna love, based on my own settings. Hope you have fun with though, Mr Spain. | | | | | | | | | | | | General Discussion:QB VII vs QB VII vs QB VII | | First Post |
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