26 replies to this topic

[Tom]

This may have already been posted, but there is a new recording of music from the original IJ trilogy being released by Silva on may 13. Nothing too earth-shattering, but its something.

[Josh500]

Yes, this.

Seems extremely boring to me. I won't get it . . . why should I? I have all three OSs of the trilogy.

[Delorean90]

The only difference I see between this and the previous Silva trilogy CD is the text on the cover.

[Josh500]

So it's not a new recording, after all?

Listen to sound clip of Anything Goes! Who is singing that in English? Mrs. Spielberg???

[WellOfSouls]

The only reason to check this out is the more complete recording of the Finale/End Credits track from ToD. From the Amazon sound clip, you can hear the first statement of the Indy theme overlaid with Short Round's theme that was edited out of the original album version.

[Docteur Qui]

Yes, this.

Seems extremely boring to me. I won't get it . . . why should I? I have all three OSs of the trilogy.

You miss the point of re-recordings. It's not about getting the music, it's about the new interpretation.

I quite enjoy Raine/Prague Philharmonic's take on "Mine Cart Chase" and the ToD End Credits.

The Raiders tracks are rubbish though.

[Josh500]

Yes, this.

Seems extremely boring to me. I won't get it . . . why should I? I have all three OSs of the trilogy.

You miss the point of re-recordings. It's not about getting the music, it's about the new interpretation.

I quite enjoy Raine/Prague Philharmonic's take on "Mine Cart Chase" and the ToD End Credits.

The Raiders tracks are rubbish though.

What are you talking about "interpretation"? These are the same pieces, only performed by a (slightly) inferior orchestra. There's no "interpretation" about it, since the orchestration is EXACTLY the same for most pieces!

[ChrisAfonso]

Yes, this.

Seems extremely boring to me. I won't get it . . . why should I? I have all three OSs of the trilogy.

You miss the point of re-recordings. It's not about getting the music, it's about the new interpretation.

I quite enjoy Raine/Prague Philharmonic's take on "Mine Cart Chase" and the ToD End Credits.

The Raiders tracks are rubbish though.

What are you talking about "interpretation"? These are the same pieces, only performed by a (slightly) inferior orchestra. There's no "interpretation" about it, since the orchestration is EXACTLY the same for most pieces!

Apperently the meaning of "interpretation" is lost on you.

[Docteur Qui]

Tsk tsk...

You underestimate the function of a conductor.

Added to that the orchestrations aren't all exact. I believe Nic Raine arranged a lot of them himself. By ear.

[Josh500]

Yes, this.

Seems extremely boring to me. I won't get it . . . why should I? I have all three OSs of the trilogy.

You miss the point of re-recordings. It's not about getting the music, it's about the new interpretation.

I quite enjoy Raine/Prague Philharmonic's take on "Mine Cart Chase" and the ToD End Credits.

The Raiders tracks are rubbish though.

What are you talking about "interpretation"? These are the same pieces, only performed by a (slightly) inferior orchestra. There's no "interpretation" about it, since the orchestration is EXACTLY the same for most pieces!

Apperently the meaning of "interpretation" is lost on you.

Why don't you explain it to me then?

[Erik Woods]

The only reason to check this out is the more complete recording of the Finale/End Credits track from ToD. From the Amazon sound clip, you can hear the first statement of the Indy theme overlaid with Short Round's theme that was edited out of the original album version.

I don't think ANYTHING was edited out. I think the End Credit version on the Temple album is a completely different take with different orchestrations.

-Erik-

[Docteur Qui]

goodness, it's quite obvious.

The energy of a piece of music is never exactly the same between two performances. Would you say the same about a repeatedly-performed classical piece? it's the same piece, the same parts, but MILES between interpretations.

I find the energy in the Mine Cart to be fantastic in this re-recording, but in a different way to the original. Without the constraints of the film to work with the music is able to breathe easier; take its time in some parts while moving along a bit quicker in others.

Things like speed, dynamics and feeling are what I'm talking about when I say "interpretation".

[Mark Olivarez]

I'll pass on this.

[ChrisAfonso]

Why don't you explain it to me then?

Since I have to go now, this will do: If a different interpretation exists only where the music has been arranged differently, why are there more than one (1) recordings (a lot more...) of classical works?

Just because most scores only exist on one recording, doesn't say this performance is the best possible (although it often is).

[Josh500]

goodness, it's quite obvious.

The energy of a piece of music is never exactly the same between two performances. Would you say the same about a repeatedly-performed classical piece? it's the same piece, the same parts, but MILES between interpretations.

I find the energy in the Mine Cart to be fantastic in this re-recording, but in a different way to the original. Without the constraints of the film to work with the music is able to breathe easier; take its time in some parts while moving along a bit quicker in others.

Things like speed, dynamics and feeling are what I'm talking about when I say "interpretation".

I know what you're saying, but I wouldn't exactly call that "interpretation." I would call it "slight difference in performance."

[ChrisAfonso]

goodness, it's quite obvious.

The energy of a piece of music is never exactly the same between two performances. Would you say the same about a repeatedly-performed classical piece? it's the same piece, the same parts, but MILES between interpretations.

I find the energy in the Mine Cart to be fantastic in this re-recording, but in a different way to the original. Without the constraints of the film to work with the music is able to breathe easier; take its time in some parts while moving along a bit quicker in others.

Things like speed, dynamics and feeling are what I'm talking about when I say "interpretation".

I know what you're saying, but I wouldn't exactly call that "interpretation." I would call it "slight difference in performance."

I have the impression you don't have that much experience with how different a piece of music can sound, performed by different people, how different the feel, emotion, and meaning of it can be. No offense, but "slight difference in performance" is extremely belittling.

[Josh500]

goodness, it's quite obvious.

The energy of a piece of music is never exactly the same between two performances. Would you say the same about a repeatedly-performed classical piece? it's the same piece, the same parts, but MILES between interpretations.

I find the energy in the Mine Cart to be fantastic in this re-recording, but in a different way to the original. Without the constraints of the film to work with the music is able to breathe easier; take its time in some parts while moving along a bit quicker in others.

Things like speed, dynamics and feeling are what I'm talking about when I say "interpretation".

I know what you're saying, but I wouldn't exactly call that "interpretation." I would call it "slight difference in performance."

I have the impression you don't have that much experience with how different a piece of music can sound, performed by different people, how different the feel, emotion, and meaning of it can be. No offense, but "slight difference in performance" is extremely belittling.

You're wrong there--I have a lot of "experience" in that regard. I love classical music, and I know how different a piece can sound if performed by a different orchestra/under a different conductor. However, a film score is not "classical music." That's not supposed to sound belittling, just the truth. A score brilliantly performed by LSO and conducted by the composer will OF COURSE sound A LOT different than a performance by a second rate orchestra of the same pieces. And that has little to do with interpretation, IMO.

[MrScratch]

I downloaded this album about a month ago when it had the old cover. I like some of the tracks but most of them are underwhelming. I bought it mostly because there is a severe lack of Indiana Jones rerecordings out there. I think I like "Map Room" the best, probably because its the only rerecording of the Ark theme out there, and it doesn't require virtuoso playing like some of the action cues so the Prague ensemble did ok with it.

[king mark]

Yes Prague sis ok on some cue .And I like the sound quality.

Best tracks:
Indy's First Adventure
Map room
Marion's Theme

Worst Track:

Ark trek

[Erik Woods]

I can't stand most of the Prague recordings. They just aren't up to the task when it comes to Williams music and the sound of these recordings are just plain awful. Over processed, compressed to garbage and to quote some one on the FSM board... the entire orchestra sounds constipated. However, I will say that the Tadlow recordings and some of their performances on actual film scores (The Iron Giant) are quiet impressive.

-Erik-

[crocodile]

I can't stand most of the Prague recordings. They just aren't up to the task when it comes to Williams music and the sound of these recordings are just plain awful. Over processed, compressed to garbage and to quote some one on the FSM board... the entire orchestra sounds constipated. However, I will say that the Tadlow recordings and some of their performances on actual film scores (The Iron Giant) are quiet impressive.

-Erik-

The Iron Giant I like. And Nino Rota's Romeo and Juliet. I'm not a big fan of Pan's Labyrinth though. Some parts of this Indy compilation are quite good (TOD End Credits and Map Room: Dawn)

Karol

[ChrisAfonso]

You're wrong there--I have a lot of "experience" in that regard. I love classical music, and I know how different a piece can sound if performed by a different orchestra/under a different conductor. However, a film score is not "classical music." That's not supposed to sound belittling, just the truth. A score brilliantly performed by LSO and conducted by the composer will OF COURSE sound A LOT different than a performance by a second rate orchestra of the same pieces. And that has little to do with interpretation, IMO.

Ok, in that regard wie agree. Like I said - often the original recoring of a score is the best one out there.
I just started this rant because your initial post seemed to dismiss the concept of interpretation entirely, that was the reason for my arguing.

[Docteur Qui]

You're wrong there--I have a lot of "experience" in that regard. I love classical music, and I know how different a piece can sound if performed by a different orchestra/under a different conductor. However, a film score is not "classical music." That's not supposed to sound belittling, just the truth. A score brilliantly performed by LSO and conducted by the composer will OF COURSE sound A LOT different than a performance by a second rate orchestra of the same pieces. And that has little to do with interpretation, IMO.

I would say that has more to do with the fact that the "first" performance is ALWAYS going to sound like the "right" performance for most people. There's hilarious fights between musical scholars about the "right" way to play Bach and other composers - whether to constrain oneself to the instruments and techniques of the era - preserving the dynamics, the tempo, everything as it would have been; or to take the music and just get completely lost in it, hammering away at that damper p[edal like there's no tomorrow. Personally I think it's a matter of balance, but you get an idea of where I'm coming from.
I wouldn't so flippantly dismiss the merits of film music in terms of musicality; there's a lot of room - particularly in Williams' work - for interpretation. The very fact his music is performed so much in concert halls should indicate this.

I can certainly agree with you that the LSO is probably the tightest and most professional sounding orchestra in the world. But that was a job for them - getting the music PERFECTLY in time with the PERFECT right notes so it would fit the film. As soon as the film is removed it becomes music - which is where I drew the parallel with the classical repertoire. The context of the music changes, so therefore its sound and function does. These recordings are performances of music that we've all heard before. A different take. If you actually listen to them you will find differences in interpretation - some subtle, some obvious - which are clearly either artistic decisions or merely the way the players felt the music. As I've said before, I find the Love theme from ToD as presented in this recording to be a more rich and passionate performance than the original. Does that mean I think William's interpretation of his own music is wrong? No, I just don't respond as strongly to it.
Conversely, I find the feeling behind this version of "The Map Room: Dawn" to be hollow and lacking.

There comes a certain point when music is above and beyond the person who wrote it.

[king mark]

Bach died centuries ago.There is no recording of how his music sounded back then


In the case of Williams it's different.Only he knows how his music should sound exactly.It's not just a matter of accepting the first performance as the reference.

[Henry Buck]

Bach died centuries ago.There is no recording of how his music sounded back then


In the case of Williams it's different.Only he knows how his music should sound exactly.

Him and William Ross.

[king mark]

And the ultimate performance of the ToD love theme is unreleased (the one in the Finale when Indy lashes his whip around Willie) .It has the passion that the End Credits performance doesn't quite have (and main reason I want that cue released )

[Miguel Andrade]

Bach died centuries ago.There is no recording of how his music sounded back then


In the case of Williams it's different.Only he knows how his music should sound exactly.It's not just a matter of accepting the first performance as the reference.

I'm sorry, that statment is completely nonsense. A good composer don't make a good performer/conductor of his own work.
And original soundtrack recordings aren't always the best performance of a piece. Anyone heard of Fury before?