Yavar Moradi

Up for ordering now! https://store.intrada.com/s.nl/it.A/id.12900/.f?sc=13&category=-113 CD 1 MacArthur – The Score 01. MacArthur – Main Title (MacArthur March) (2:08) 02. The Tunnel [Long Version] (0:36) 03. MacArthur March [March Indoors] (With Drum Intro) (1:10) 04. I Shall Return (3:53) 05. To Australia (0:51) 06. The Minefield (1:52) 07. Statistics (1:47) 08. Surrender (0:54) 09. Attack Training (0:43) 10. Casualties (0:51) 11. Propaganda (2:26) 12. Change Is Inevitable (1:22) 13. Stand By [Marcato Trumpets] (1:42) 14. The Landing (3:26) 15. The Prison (1:30) 16. The Reunion (0:50) 17. Missouri [Extended Version] (0:43) 18. The Treaty (2:16) 19. New Era (3:01) 20. Newsreel – #1 (0:40) 21. Newsreel – #2 (0:20) 22. Hard Gained Ground (From Lonely Are The Brave) (2:03) 23. The Last Gift (1:56) 24. Ambush (0:55) 25. Reflections (1:03) 26. MacArthur March [Newsreel] (1:05) 27. I Bid You Farewell (2:07) 28. MacArthur – End Title (MacArthur March) (1:54) Score Time: 46:41 Score Alternates 29. The Tunnel [Short Version] (0:31) 30. MacArthur March – Drums (0:10) 31. MacArthur March [March Indoors] (Without Drum Intro) (1:07) 32. I Shall Return (Alternate Mix) (3:50) 33. Stand By [Legato Trumpets] (1:42) 34. Missouri [Original Version] (0:26) Alternates Time: 8:06 Source Music 35. Waltzing Matilda (A.B. Paterson/Marie Cowan) (2:04) 36. Don’t Sit Under The Apple Tree (Lew Brown/Charles Tobias/Sam H. Stept) (0:41) 37. Funeral March (Piano Sonata No. 2, Op. 35) (Frederick Chopin) (0:57) 38. Symphony No. 7 In A Major – Mvt. 2 (Beethoven) (1:32) 39. Admiral Byrd (Billy May) (0:29) 40. Undecided – Instrumental (Sid Robin/ Charles Shavers) (1:08) 41. Orpheus In Hades – Can-Can (J. Offenbach, Arr. Hal Mooney) (0:20) 42. Mayday In Moscow (From The Front Page) (Billy May) (0:48) Source Music Time: 8:27 CD 1 Total Time: 62:30 CD 2 Original 1977 Soundtrack Album 01. MacArthur March (Main Title) (2:48) 02. I Shall Return (3:56) 03. The Treaty (2:35) 04. The Tunnel (2:32) 05. Statistics (3:03) 06. Stand By (2:07) 07. A Last Gift (2:24) 08. New Era (3:24) 09. The Landing (3:40) 10. The Minefield (2:36) 11. I Bid You Farewell / MacArthur March (4:15) CD 2 Total Time: 33:42 90+ min Goldsmith Odyssey Soundtrack Spotlight coming in the next few days, with Doug Fake, Jeff Bond, and Chris Malone! Yavar

Ok, I dug through old email drafts and found the following fragmentary work. That is, I came up with timestamps for every cue based on watching the film, but at least on the version I was able to find (again this was almost half a decade ago) I didn’t have a title or description for every cue. But for those who find the breakdown useful, here’s what I can share based on watching the film: Pieces recorded for the album only which do not appear in the film: Love Theme from Jane Eyre (track 1, concert arrangement), To Thornfield (track 4, unused action scherzo), Festivity at Thornfield (track 5, unused original party source music), Meeting (track 7, chamber arrangement of love theme), Restoration (track 10, album/concert arrangement of music for St. John) 0:03-4:14 1. Main Title (Overture) 4:12 (album recording track 2, 3:58) Album recording seems more tightly performed at times; film recording has an ugly edit at 2:51. First half minute introduces the mysterious long-lined (over 20 notes!) Rochester theme on harpsichord (most prominent in the album action cue To Thornfield), followed by an even more mysterious and ominous theme for the mystery of Thornfield itself led by a 7 note motif 29 sec in (25 of album recording), as the title “Jane Eyre” appears onscreen. At 1:04 (0:58 of album) a strident related motif grows out of this. Pay attention to how much Williams is doing with counterpoint here. At 1:35 (1:28 of album) the love theme is introduced, sounds as if it were something of a love child between a couple of themes in Nino Rita’s beloved score for Franco Zefirelli’s Romeo and Juliet a couple years before Around 2:11 (2:06 of album) love theme transitions to a bridge melody At 2:30 (2:26 of album) the strident 1:04-1:35 material returns. Ugly edit/cut at 2:51, equivalent to 2:47-2:52 on album, right before return of 7 note mysterious Thornfield motif, and then back to a more subdued version of strident motif, and back to the Thornfield motif again as the cue winds down. 6:28-9:04 2. Deceitful “Let’s see who it is...” begins cue 9:56-10:54 3. Lowood (album recording track 3, 2:28) Film cue initially mixed so low you can barely tell it's there, and the cue cuts off abruptly just before a minute in. A new mysterious theme is introduced here, more subtle than any of the themes introduced in the Main Title. 12:44-14:37 4. Relics of Satan Hair forcibly cut, punished 17:57-19:04 5. Forever and Ever Childhood friend's death, and passing of time. 20:14-21:01 6. Thornfield Thornfield theme (2nd theme from Main Title) given further development as Jane approaches the manor. 24:44-25:27 7. Laughter Mysterious (almost horror) music with the Thornfield theme developed over threatening strings. 27:23-29:55 8. The Meeting First different development of main theme; good candidate to mention in podcast 33:16-33:56 9. Jane Plays The love theme played in-scene on solo piano by Jane. 35:06-36:03 10. Good Night Further development of the main theme for Jane, and then the mysterious Thornfield theme. 41:39-42:14 11. Good Night Threatening development of the Thornfield theme. 44:11-44:36 12. The Fire Another horror cue with the Thornfield theme. 46:17-47:42 13. Do Me Good Brief Thornfield mystery, then first proper appearance of the love theme on harpsichord, and then strings. 48:29-50:02 14. Flowers Love theme on woodwind, gets more intense near end. 51:14-53:29 First Dance 53:39-53:52 Second Dance 56:14-57:18 Youth's the Season Made for Joys (song from The Beggar's Opera) 57:30-58:41 Piano Source 59:54-62:21 15. Mason's Arrival 63:11-66:10 16. She Bit Me 68:58-71:08 17. 72:26-73:30 18. The Veil 74:30-75:50 19. 76:05-79:15 20. 82:50-85:09 21. She Still Lives 85:45-88:17 22. Jane Leaves 89:23-91:06 23. St. John Shorter film cue used as basis for album "Restoration"; brief interlude for Jane/Rochester love theme as Jane remembers. 92:51-94:18 24. I Accept Second shorter film cue with St. John's theme, this time with a brief interlude with the mysterious Thornfield motive as her letter is returned, transitioning immediately afterwards to another in-film solo piano performance by Jane of her love theme with Rochester. 99:37-100:59 25. God Alone 101:15-102:37 26. The Tragedy 102:37-107:58 27. Reunion (End Title) Longer version of album cue (which starts at 103:16 and still seems to run shorter on album). — I’ll bet Williams also wrote and originally recorded some music that got dialed out of the film. Yavar

Yes, absolutely. Similarly to E.T. only half of the album is made up of actual film cues, so you can rightfully conclude that a great deal of the score (probably the majority of it; I'd have to calculate) is unreleased. I remember highlighting at least one major cue in the film in my discussion with @Trumpeteer on his podcast The Baton over 4.5 years ago! https://thebatonpodcast.podbean.com/e/episode-25-jane-eyre/ Check out that episode and you'll hear it, and maybe one or two unreleased cues ripped from the film. Imagine it because there definitely is (although a few great cues are expanded upon in special album arrangements, like "Restoration"). I'll dig around because when I worked on my research for that episode of The Baton, I did a breakdown of the score. Yavar

After LLL's original 2CD expansion of Hook, the same assumption could have been made... but you didn't. For many years we heard that certain Goldsmith scores like Shamus or Take Her, She's Mine were definitely lost/unsalvageable, and yet in the past few years we have gotten them. So I'll continue to live in hope that those seven missing reels from Jane Eyre that Mike mentioned at FSM might eventually show up some day. Yavar

It's nice to have a few alternates added, but I would hardly consider the new Quartet Jane Eyre a definitive release of the score and cross it off the list, considering the majority of the score as written and recorded for the film is still missing. Yavar

Pretty sure not. I'm pretty sure the bootleg just included Williams's own later re-recorded suite. I haven't heard the Heidi/Jane Eyre remaster, but I have heard MacArthur (just recorded a Spotlight on it last night with Doug Fake, Jeff Bond, and Chris Malone) and I think this is a mistake. Chris has remastered the original MacArthur album recording so that's maybe an equivalent improvement... but the film recording has never been released before and there's a good chunk of unreleased cues plus significant differences in the film recording vs. the album. It's the most important Goldsmith release in some time. Yavar

If LLL's one-two expansion punch of Zorro and Sneakers hadn't decided it already, this is the final triumphant release to declare 2023 as the greatest year for James Horner releases EVER. And all of them expansions or premieres! Yavar

Quartet's end of year batches have become equally as great as LLL's Black Friday batches! Yavar

Agreed! With the Kamen premiere not far behind. Great batch overall, though. Just as with Goldsmith, Barry didn't hold back no matter how obscure the project. And these are from Barry's best period, IMO. Yavar

I wish. Yavar

I'll echo the recommendation of Turandot. For me by far his best and most advanced work, even if he didn't quite finish it. Similarly for me Rachmaninov's last orchestral work the Symphonic Dances (basically a "Dance Symphony"... don't think of it as a ballet or anything) is his most advanced and interesting/engaging. Yavar

Well I suspect the Fresh Sound release was mastered from the FSM, with just some added bass or something. If mastered from LP I don't see how it could possibly sound better... though if Fresh Sound is exploiting that European copyright rule, maybe they have to say it's mastered from an LP copy, for legal cover or something. Yavar

Well yes, they do have different catalogue numbers. Here are some other differences: 1. Regular releases more commonly tend to end up in regular stores, where those still exist. They have wider distribution (through a Universal Music distribution deal for many years, I believe). 2. Tied in with this, regular releases are sold at other retailers at list price, because they are widely available at wholesale prices for retailers. Retailers like Intrada or Screen Archives have to mark up Varese Sarabande Club titles $5 or so because they can only purchase them at list price just like anyone else. 3. Regular releases are not limited editions in the same way as Club titles have been. Yes, they eventually stop printing them when they stop selling, but they don't say "limited to 2000 copies" on the packaging and likely the paperwork is different for licensing them (Varese almost never gets perpetuity rights on scores that premiere in the Club line, because those are expressly limited editions anyway.) Yavar

100% untrue. The Film Score Monthly release used the original album master tapes: https://www.filmscoremonthly.com/cds/detail.cfm/CDID/363/Checkmate-Rhythm-in-Motion/ "These two vintage Columbia LPs are remastered from the original stereo master tapes for sterling sound quality. (The LPs at the time were meant to show off first-rate stereo imaging.)" I think the FSM sounds great and it's bizarre to see an unlicensed and rather shoddy-looking knockoff being recommended over an officially licensed release from the original master tapes. Yavar

Sighhhhhhh... I was really hoping for at least a 2CD (or 3CD) Deluxe Edition of LOST Season 1, getting a wide release. (After all, their Deluxe Edition of Graeme Revell's The Crow was put out not long ago as a regular release, not a Club title.) Yavar

What's wrong with Ender's Game? Have you even seen it? I thought it was an excellent and well-acted adaptation of the book. Ford didn't seem to be phoning it in, to me. I think it was just poorly marketed. Not as poorly marketed as John Carter, mind you, but my wife and I were both not very interested based on the trailers. But we took a chance and saw it in theater, and we both loved it. Yavar

Yup! Especially when Bear McCreary uses them! Yavar

Could be, but tapes also degrade over time and Fox tapes often seem to have degraded in a consistent way. Yavar

I mean, maybe LLL’s Disc 1 program includes some cues that were recorded for the film but not used in it? But it’s pretty evident that there is a 25 minute time difference between the original album length and the length of the full score as recorded for the film:

Will do my best to convince with the Spotlight. I too am not really into military marches, but (as with Patton in some ways) I would argue the “meat” of this score is internal. Yes there are some bursts of action but overall it feels very much like a thoughtful character based score. I will also say I was rather taken aback by just how good the film recording sounds on this. It sounds like a much more modern recording than say Damnation Alley from the same year. I guess that speaks somewhat to Universal’s tape preservation practices? Yavar

Occasionally they’ll release a single title in December like that (this year they do have one announced a couple days ago: Beltrami’s Silent Night), but not a batch. Yavar

Quartet has released some in the past. 🤷🏻‍♂️ Yavar

Looks like we’re successfully scheduled for a recording next week! Alas we probably won’t be able to have it edited in time for Intrada’s release date like we’d originally hoped, but I’m optimistic we may be able to get it out a few days before Christmas. Yavar

Oh yes, it’s the creatives who are the problem, not the executives. 🙄 Yavar