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Mark Ford

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  • Birthday 20/07/1957

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  1. RE: KONG re-recording As Bill Stromberg has said (John too I think), The Moscow Symphony's playing of film music in the past few years has really evolved since their earlier recordings together becoming much more accomplished and more of what they've always wanted to achieve with them. Since Kong is a personal favorite of the Tribute folks, it was a natural for them to want to revisit the score which John has said is just as valid a thing to do in film music as one would do with a classical work which is interepreted and re-interpreted by artists all the time. This goes a long way to giving film music the same legitamacy as other types of music. Also, licensing is really where they expect to eventually make money in their recordings. With the 80th anniversary of Kong coming up in a couple of years, it opens up the door to possibly licensing the music for a tie in of some sort which will financially help them to continue to record other scores since they are still very much in the red in their endeavors and it is their personal money involved. That's just speculation though on my part. Those are several reasons to re-record it and I'm sure they have others as well.
  2. I'm with David, MYSTERIOUS ISLAND & FAHRENHEIT 451 are must haves. ISLAND is truly spectacular and 451 is one of the most gorgeous recordings of film music I've ever heard. I have all six Tribute releases, but love these two the most, although that could be because of my love of Herrmann and a milder interest in Steiner and Korngold. I'm not forgetting Herrmann's THE KENTUCKIAN, it's just that it's a more standard sounding score (beautiful as it is) and therefore a less compelling listen for me personally than the other two Herrmanns. Having never been a big Steiner fan before, but Tribute's SHE really opened my eyes and has changed my thinking a bit. I've always loved DON JUAN though from the Gerhardt recording so I'm eagerly anticipating the upcoming release...not as much as NERETVA though! Here is the Tribute catalog: MYSTERIOUS ISLAND (Herrmann) FAHRENHEIT 451 (Herrmann) THE KENTUCKIAN (Herrmann) SHE (STEINER) CHARGE OF THE LIGHT BRIGADE (Steiner) THE PRINCE AND THE PAUPER (Korngold) Due this Spring: THE BATTLE OF NERETVA & THE NAKED AND THE DEAD (Herrmann) ADVENTURES OF DON JUAN & ARSENIC AND OLD LACE (Steiner) 2012: KING KONG (Steiner) - Indicated as possible by John Morgan ? - Hope it's a Hermann. I'd kill for a re-recording of JOURNEY TO THE CENTER OF THE EARTH personally to take advantage of today's recording technology and the superb playing of the Moscow Symphony.
  3. Whenever Tribute completes the mixing and mastering of Don Juan, they'll be sending me a finished version of the Procession into London so I can re-cut the video to it. They'll also be sending something from the Battle of Neretva. I've heard some of the un-mixed Neretva cues and all I can say is that it's going to be a fantastic release. The brass section has to be one of the largest ever assembled for an orchestral film score recording. The sound is just so rich and overwhelmingly powerful. Here's a photo of the Moscow Symphony's augmented brass section which was also used for The Naked and the Dead, the other Herrmann recording on the release. 9 horns, 6 trumpets, 6 trombones, 4 tubas - VERY Herrmann!
  4. Check out this video presentation of a rehearsal recording from the upcoming TRIBUTE FILM CLASSICS release of Max Steiner's ADVENTURES OF DON JUAN. The audio quality is wanting owing to the fact that it was recorded on a cell phone in a non-optimal location, but the approach and spirit of the music is all there to give some idea of what to expect from the exciting new recording of this classic film score. [The release date has been pushed back with no target date determined.] http://www.youtube.com/watch?v=kzShDCp8Dos
  5. Recently received... Herrmann's The Snows of Kilimanjaro (Marco Polo) Steiner's She (Tribute) - Not normally a big Steiner fan, but this one...wow! Broughton's Glory & Honor (Intrada) McCreary's Human Target (La-La Land) Goldsmith's iso scores from the Thriller DVD set
  6. I guess my sense of Prokofiev, whose music I adore, see my avatar, was always very refined, even when he was delving into more aggressive music. Witness "The Fight" from Romeo & Juliet (some of you will know it by a different name- "Stealing the Enterprise" ). It's energetic, the B section has that wonderful portentous brass statement, but it's all very precise. Stravinsky's insistence of changing meters every 2 bars and his orchestration seemed to convey a sense of the "ugly" that Prokofiev never approached, even when he was trying, ie Third Symphony. I also would say that savagery from Goldsmith was more akin to Bartok's influence than Stravinsky. Alien has some flat out vicious moments that one can reference right to Miraculous Mandarin, although most would say that was the most "Stravinskyesque" that Bartok ever got. I've always thought that much of Goldsmith's style is more a reflection of Bartok's influence than Stravinsky's too, although a good case can be made for either. Spot on about your comparison of Prokofiev and Stravinsky, although Prokofiev did get his barbarism "ugly" on with the Scythian Suite I thought. Outside of that, definitely more refined in his more aggressive stuff. In any event, JG chose some GREAT influences!
  7. Goldsmith's A Step Out of Line/Brotherhood of the Bell. I've given this disc a lot of spins since it was released. Goldsmith in his experimental mode which TV often allowed for. Great mix of funky stuff, jazz riff vibes, neo-baroque coolness, well tempered atonal atmospherics, etc. This is definitely JG being JG!
  8. Not sure what the best is, but this one is by far the crown jewel of my collection. Unfortunately (that's not really the right word here) some of what used to be only available in this set has since been released dimming its specialness a bit, but it's still the most prized possession in my collection. A lot of it has to do with the emotional tie I have to it after hearing Jerry's surprise and heartfelt gratitude towards his fans upon hearing that a box that expensive sold out so quickly. This occurred as he lay on his couch suffering from the cancer that would soon take his life. Little did we know it was something of loving farewell tribute to a man whose music meant so much to so many of us. After that, SPARTACUS.
  9. I'm a big Giacchino fan with something like 30 of his scores. For me he's the only current one of the fairly recent crop of new composers that I'm really big on. He writes with such enthusiasm and is decidedly old fashioned to some extent by writing for the orchestra in a style not exactly welcome these days by the film industry in general. I have a number of Desplat scores and love the delicate beauty of his writing, but I find a lot of it starts sounding alike after a while. Could be he is writing too many scores one after the other where repetition is sometimes a result of the need for expediency. It's not an uncommon phenomenon. Both guys are great, but I just prefer Giacchino personally and I think his range has yet too be fully seen. I mean he has been writing for around 15 years now and just now did his first horror score for LET ME IN. It'll be interesting watching his growth as a composer.
  10. Hi Mark! Just thought I'd check things out over here. "See" you around!
  11. I just joined this forum and thought I'd make my first posting a short video snippet I shot with my digital camera during the August 28th John Williams and the Music of the Movies concert at the Hollywood Bowl. Probably nothing new here, but here it is anyway! http://www.youtube.com/watch?v=wzR1XLYZgpc
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