Darth Mulder 154 Posted January 26, 2018 Share Posted January 26, 2018 It's possible or not? Link to comment Share on other sites More sharing options...
Bespin 8,500 Posted January 26, 2018 Share Posted January 26, 2018 Why not? I think JW would be pleased to do it. And he's probably the best for doing it. ... and a new Overture would be welcome... the whole music of the piece could be modernized a lot in fact, I'm listening to the expanded OST now... and my god, it's so sixties... it's almost unlistenable. A big challenge. Link to comment Share on other sites More sharing options...
Joe Brausam 216 Posted January 26, 2018 Share Posted January 26, 2018 Almost unlistenable?? Link to comment Share on other sites More sharing options...
Bespin 8,500 Posted January 26, 2018 Share Posted January 26, 2018 I just survived to a huuuuge xylophone solo... my god. Here's, just to show an example of what the arrangement can do: Link to comment Share on other sites More sharing options...
Balahkay 627 Posted January 26, 2018 Share Posted January 26, 2018 So long this project doesn't interfere with IX, I'm all for it. crlbrg 1 Link to comment Share on other sites More sharing options...
publicist 4,643 Posted January 26, 2018 Share Posted January 26, 2018 How i long for the times when Spielberg challenged himself....it all ended after 'Munich'. Brundlefly and filmmusic 2 Link to comment Share on other sites More sharing options...
filmmusic 1,868 Posted January 26, 2018 Share Posted January 26, 2018 So, upcoming John Williams scores are an 8th sequel, a 4th sequel and an adaptation! Once 1 Link to comment Share on other sites More sharing options...
Bespin 8,500 Posted January 26, 2018 Share Posted January 26, 2018 All work is valuable work. Once and crlbrg 2 Link to comment Share on other sites More sharing options...
crumbs 14,364 Posted January 27, 2018 Share Posted January 27, 2018 2 hours ago, filmmusic said: So, upcoming John Williams scores are an 8th sequel, a 4th sequel and an adaptation! I'm getting nervous about Spielberg's baffling decision to put off shooting Indy 5 until next year for a 2020 release, putting it right in the cross-hairs of Episode IX's recording schedule. Hopefully John's already writing/recording IX by the start of 2019 and has a free schedule to score Indy 5 by October. Link to comment Share on other sites More sharing options...
pete 909 Posted January 27, 2018 Share Posted January 27, 2018 Is it possible Spielberg will ask for entirely new songs and score? Link to comment Share on other sites More sharing options...
Seth 67 Posted January 27, 2018 Share Posted January 27, 2018 Just now, crumbs said: I'm getting nervous about Spielberg's baffling decision to put off shooting Indy 5 until next year for a 2020 release, putting it right in the cross-hairs of Episode IX's recording schedule. Hopefully John's already writing/recording IX by the start of 2019 and has a free schedule to score Indy 5 by October. I keep hoping Indy 5 turns out to be something that never happens. I only love Raiders out of the lot (and that goes for scores too), and I don't see any of the three sequels to date as essential, though I love the Grail and father/son material from Last Crusade. As far as West Side Story goes, I think it would be interesting if Williams were to do new adaptations of the songs and maybe write some new underscore, but I honestly like the arrangements from the 60s just fine. Just now, pete said: Is it possible Spielberg will ask for entirely new songs and score? I don't think it would be West Side Story with new songs. The Bernstein/Sondheim songs are so established and ingrained that trying to replace them would be a fool's errand. Link to comment Share on other sites More sharing options...
crumbs 14,364 Posted January 27, 2018 Share Posted January 27, 2018 Here's Williams conducting Tonight with the BSO: https://www.youtube.com/watch?v=y7G8MBikPrg Cerebral Cortex 1 Link to comment Share on other sites More sharing options...
Josh500 1,615 Posted January 27, 2018 Share Posted January 27, 2018 I thought his next movie was Indy 5! _deleted_ 1 Link to comment Share on other sites More sharing options...
Fancyarcher 350 Posted January 27, 2018 Share Posted January 27, 2018 4 hours ago, Josh500 said: I thought his next movie was Indy 5! It was supposed to be, but it doesn't seem to have gone much in the way of actual development, so I wouldn't be surprised if Spielberg is instead attempting a West Side Story remake first, which is something he's been wanting to do for a while anyway. Personally I'm fine with him doing West Side Story first, if only because I've wanted to see Spielberg do a musical for a while now. Link to comment Share on other sites More sharing options...
King Mark 3,631 Posted January 27, 2018 Share Posted January 27, 2018 wow, what a boring and disappointing announcement I don;t even like West side Story except that one song crumbs linked to Link to comment Share on other sites More sharing options...
Wojo 2,453 Posted January 27, 2018 Share Posted January 27, 2018 I hope the lead actress doesn't drown after making the movie. Joe Brausam and Bespin 2 Link to comment Share on other sites More sharing options...
1977 1,743 Posted January 27, 2018 Share Posted January 27, 2018 Apparently Indy 5 is next, before WSS: http://www.darkhorizons.com/indiana-jones-5-is-next-for-spielberg/ Link to comment Share on other sites More sharing options...
publicist 4,643 Posted January 27, 2018 Share Posted January 27, 2018 So, pest or cholera? Link to comment Share on other sites More sharing options...
Josh500 1,615 Posted January 27, 2018 Share Posted January 27, 2018 Whatever. I'm fine with West Side Story. I just hope Tom Hanks isn't the lead. 57 minutes ago, JTWfan77 said: Apparently Indy 5 is next, before WSS: http://www.darkhorizons.com/indiana-jones-5-is-next-for-spielberg/ I dunno. I kinda like Kingdom of the Crystal Skull. I've come around. The plot is preposterous, but I like the music and the set pieces. Plus, the beginning is awesome. So here's to hoping Indy 5 will be twice as spectacular. TheUlyssesian 1 Link to comment Share on other sites More sharing options...
Popular Post TheUlyssesian 2,478 Posted January 27, 2018 Popular Post Share Posted January 27, 2018 14 minutes ago, Josh500 said: Whatever. I'm fine with West Side Story. I just hope Tom Hanks isn't the lead. I dunno. I kinda like Kingdom of the Crystal Skull. I've come around. The plot is preposterous, but I like the music and the set pieces. Plus, the beginning is awesome. So here's to hoping Indy 5 will be twice as spectacular. I like it too. It's better than the superhero gutter trash that Hollywood puts out. It's well directed and well put together at the least. Not Mr. Big, fuhrsy31 and Josh500 3 Link to comment Share on other sites More sharing options...
Josh500 1,615 Posted January 27, 2018 Share Posted January 27, 2018 2 hours ago, TheUlyssesian said: I like it too. It's better than the superhero gutter trash that Hollywood puts out. It's well directed and well put together at the least. Exactly! I still think this scene is pretty awesome. The music puts it over the top, of course. And I also like this opening, although no JW music here. fuhrsy31 1 Link to comment Share on other sites More sharing options...
Thor 7,602 Posted January 27, 2018 Share Posted January 27, 2018 As I said in the other thread, I'm not thrilled about this project, but if there's ONE composer currently alive who should be doing the Bernstein adaptation, it's Williams. He was a close friend of Bernstein, worked with him as session musician in the past and has previously done Bernstein adaptations for the concert scene ("For New York"). 1977 1 Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,676 Posted January 27, 2018 Share Posted January 27, 2018 2 hours ago, Josh500 said: Exactly! I still think this scene is pretty awesome. The music puts it over the top, of course. And I also like this opening, although no JW music here. Although it absolutely "works" with Elvis, this would make a thrilling main title sequence, if scored by JW. Btw, @Josh500 the first music heard in this scene, is by JW. Link to comment Share on other sites More sharing options...
Score 771 Posted January 27, 2018 Share Posted January 27, 2018 One moment. Is there any official announcement about an involvement of JW in the project? As far as music is concerned, West Side Story does not need to be re-arranged at all! A new recording would be welcome, but... re-arranging?? And there should be no ouverture at all. Bernstein wanted the performance to start immediately with the first song, which is written with the specific purpose to set the stage and the mood of the situation, to take you there. He had to write an ouverture, but then discarded it. Link to comment Share on other sites More sharing options...
Alex 2,838 Posted January 27, 2018 Share Posted January 27, 2018 I wonder if Sondheim will be involved if he is still active. He's 87 Link to comment Share on other sites More sharing options...
Josh500 1,615 Posted January 27, 2018 Share Posted January 27, 2018 3 hours ago, Richard said: Btw, @Josh500 the first music heard in this scene, is by JW. Yes, and I understand JW struggled for weeks to come up with just the right note here... Link to comment Share on other sites More sharing options...
Miguel Andrade 1,267 Posted January 27, 2018 Share Posted January 27, 2018 9 hours ago, Thor said: As I said in the other thread, I'm not thrilled about this project, but if there's ONE composer currently alive who should be doing the Bernstein adaptation, it's Williams. He was a close friend of Bernstein, worked with him as session musician in the past and has previously done Bernstein adaptations for the concert scene ("For New York"). Williams was a session player for Johnny Green. Bernstein had no involvement in the recording process for the film. If memory serves, Bernstein did stop by at the sessions only, not on a professional basis. As for "New York", I wouldn't call it an adaptation. It's a Williams piece with quotes of Bernstein tunes (and also Happy Birthday). Adaptation is what Williams did in his 1958 recording of Gershwin's Porgy and Bess, and Alexander Courage's later Porgy and Bess Fantasy for Williams' Gershwin Fantasy album. As for being close friends... they did share the podium both at Symphony Hall and Tanglewood, since both had/have close ties with the BSO. Link to comment Share on other sites More sharing options...
Darth Mulder 154 Posted January 27, 2018 Author Share Posted January 27, 2018 Link to comment Share on other sites More sharing options...
King Mark 3,631 Posted January 27, 2018 Share Posted January 27, 2018 Williams probably arranged the song in the Boston Pops video, so basically we have all we need to hear alteady Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,676 Posted January 27, 2018 Share Posted January 27, 2018 7 hours ago, Alex said: I wonder if Sondheim will be involved if he is still active. He's 87 If he has any sense, at all, he'll stay well and truly the fuck away. Spielberg jumped the shark in KOTCS. I can't believe he's coming around for another shot. Link to comment Share on other sites More sharing options...
Thor 7,602 Posted January 28, 2018 Share Posted January 28, 2018 4 hours ago, Miguel Andrade said: Williams was a session player for Johnny Green. Bernstein had no involvement in the recording process for the film. If memory serves, Bernstein did stop by at the sessions only, not on a professional basis. Williams performed on the WEST SIDE STORY album. Quote As for "New York", I wouldn't call it an adaptation. It's a Williams piece with quotes of Bernstein tunes (and also Happy Birthday). Adaptation is what Williams did in his 1958 recording of Gershwin's Porgy and Bess, and Alexander Courage's later Porgy and Bess Fantasy for Williams' Gershwin Fantasy album. It's as much an adaptation as "Air and Simple Gifts" is (partially) an adaptation of Copland. Point is he's very well versed in the Bernstein vernacular. Quote As for being close friends... they did share the podium both at Symphony Hall and Tanglewood, since both had/have close ties with the BSO. Exactly. Maybe not 'close' as in "I'll call Lenny up for a Friday beer", but close in a professional capacity. There's no point underestimating the link between Bernstein and Williams, Miguel. It's very much there. Link to comment Share on other sites More sharing options...
karelm 2,915 Posted January 28, 2018 Share Posted January 28, 2018 On 1/26/2018 at 9:00 AM, Bespin said: Why not? I think JW would be pleased to do it. And he's probably the best for doing it. ... and a new Overture would be welcome... the whole music of the piece could be modernized a lot in fact, I'm listening to the expanded OST now... and my god, it's so sixties... it's almost unlistenable. A big challenge. Part of why it is great is because it is part of its time. Like any great work to a big extent they belong in their time. The first time I saw this film was at a "live to concert" event and I was blown away by it because it felt so right in its context. The first half felt so innocent and 1950's (officer Krupke and I feel pretty) because it was a product of that time but the second half was so edgy (stay cool and really the end of the film). I really believe the reason this is a masterpiece is because it is a snapshot of a very complex cultural transition that was happening then. As someone who saw it for the first time only recently the original is a snapshot. Also please note that the film is itself a remake of a theater work from ten years earlier or Romeo and Juliet from hundreds of years earlier so this is a remake of a remake of a remake which of course can work but they aren't really remaking West Side Story but Romeo and Juliette for the umpteenth time. Basically another modernization of that story which is what West Side Story was in the first place. Bespin 1 Link to comment Share on other sites More sharing options...
Lewya 360 Posted January 28, 2018 Share Posted January 28, 2018 Meh, I am guessing Williams will arrange Bernstein then, but neither him doing it nor the project itself excites me. Link to comment Share on other sites More sharing options...
publicist 4,643 Posted January 28, 2018 Share Posted January 28, 2018 Does the 'west side' even exist today? Link to comment Share on other sites More sharing options...
p0llux 400 Posted January 28, 2018 Share Posted January 28, 2018 Hope he wins an Oscar for this like he did with Fiddler on the Roof. Link to comment Share on other sites More sharing options...
crumbs 14,364 Posted January 28, 2018 Share Posted January 28, 2018 The rules have long since changed since Fiddler on the Roof. The score won't even be eligible unless they write entirely new songs. Link to comment Share on other sites More sharing options...
Miguel Andrade 1,267 Posted January 28, 2018 Share Posted January 28, 2018 10 hours ago, Thor said: Williams performed on the WEST SIDE STORY album. It's as much an adaptation as "Air and Simple Gifts" is (partially) an adaptation of Copland. Point is he's very well versed in the Bernstein vernacular. Exactly. Maybe not 'close' as in "I'll call Lenny up for a Friday beer", but close in a professional capacity. There's no point underestimating the link between Bernstein and Williams, Miguel. It's very much there. I remain right. Williams performed for Johnny Green. Not Bernstein. Bernstein did not conduct or arrange any material for the West Side Story soundtrack. Williams never recorded on a Bernstein orchestra! Air and Simple gifts isn't an adaptation of Copland. Both Copland and Williams quote and arrange the traditional hymn "Simple Gifts" on, respectively, Appalachian Spring and Air and Simple Gifts. Now, if you say that the way Williams used the quote was to make a reference to Copland (since he's Obama's favorite composer), I'll agree with you. But he's certainly not adapting Copland's version of the tune either. I never underestimate the link between Bernstein and Williams. Where did I do so? I just pointed out that they were certainly close on a professional capacity. I never saw anything that would confirm a close relation beyond that. There could possibly be one, of course. Did you know Williams conducted the L.A. Phil premiere of Bernstein's Divertimento? Link to comment Share on other sites More sharing options...
Thor 7,602 Posted January 28, 2018 Share Posted January 28, 2018 1 hour ago, Miguel Andrade said: I remain right. Williams performed for Johnny Green. Not Bernstein. Bernstein did not conduct or arrange any material for the West Side Story soundtrack. Williams never recorded on a Bernstein orchestra! My point was that Williams was involved with Bernstein material early on, through recordings such as the WEST SIDE STORY album. I would be very surprised if Williams and Bernstein weren't also familiar with each other at the time; if not on a personal level, then at least professional. It's true I've never read any comments from Williams that he was personal friends with Bernstein, but I think it's a fair assumption based on the amount of works (like tribute pieces such as "For New York"), the Tanglewood links and so on. Quote Air and Simple gifts isn't an adaptation of Copland. Both Copland and Williams quote and arrange the traditional hymn "Simple Gifts" on, respectively, Appalachian Spring and Air and Simple Gifts. Now, if you say that the way Williams used the quote was to make a reference to Copland (since he's Obama's favorite composer), I'll agree with you. But he's certainly not adapting Copland's version of the tune either. Both "For New York" and "Air and Simple Gifts" contain quotes from, respectively, Bernstein and Copland, and their particular vernacular. Whether you'd call that quoting or adaptation, is a matter of semantics. Quote I never underestimate the link between Bernstein and Williams. Where did I do so? Well, since you basically set out to debunk the three main link points that I mentioned, it seemed to be your goal. Jurassic Shark 1 Link to comment Share on other sites More sharing options...
Miguel Andrade 1,267 Posted January 28, 2018 Share Posted January 28, 2018 Again, and please, don't take this personal, because it certainly isn't, let me express what, in my mind, needs to be adressed. The fact that Williams was aware of Bernstein in the early 60's does not make Bernstein aware of Williams at that time. As you very well know, at that point, Williams was starting his composer career in Hollywood. Bernstein wasn't a Hollywood man, even if he was considered and invited to become an actor -- fortunately, he remained a dedicated musician and educator. Addressing that point on your original post was because, the way I understood it, you were saying Williams worked under Bernstein in the 1961 sessions for West Side Story, which wasn't the case. But Williams was surely much aware of Bernstein ahead of that -- I would be surprised to discover if he hadn't heard before this time Bernstein's two very successful Symphonies and some of his other concert works, as well as his two previous musicals (On the Town and Wonderful Town), and naturally, Bernstein's only film score, On the Waterfront. I wouldn't be surprised that in 70's, Bernstein was somewhat aware of Williams, and surely from the late 70's on, with Williams appointment to the Pops, they were well acquainted. They even did, just the two of them, a whole Tanglewood on Parade concert, during the mid 80's (Williams conducted Barber pieces, Bernstein some Tchaikovsky, if memory serves). Williams and mostly everyone else seems to hold Bernstein in high esteem (and rightly so, in my opinion), and Williams as expressed that on several occasions. He performed extensively Bernstein's works during his Pops tenure and For New York was one of the pieces commissioned for the Bernstein's 70th anniversary celebrations at Tanglewood - hence the quotations. Nevertheless, I can't agree with you in the way you look at this things. It's a quote in a Williams piece by a tune by another composer -- in the case of Air and Simple Gifts he's only quoting a traditional piece! He didn't go out to try to imitate Bersntein's style. It surely doesn't sound like that to my ears, I'm sorry. Quoting and adapting are different things, I wouldn't call it semantics. KK and karelm 2 Link to comment Share on other sites More sharing options...
Thor 7,602 Posted January 28, 2018 Share Posted January 28, 2018 1 hour ago, Miguel Andrade said: Addressing that point on your original post was because, the way I understood it, you were saying Williams worked under Bernstein in the 1961 sessions for West Side Story, which wasn't the case. Sorry if that caused a misunderstanding. I was talking about his session work on the WSS album. I know he never performed directly under Bernstein's supervision (to our knowledge so far). Speaking of which, do we know for certain that Bernstein wasn't in some way involved with that Green album? Like having to approve it, for example? 1 hour ago, Miguel Andrade said: I wouldn't be surprised that in 70's, Bernstein was somewhat aware of Williams, and surely from the late 70's on, with Williams appointment to the Pops, they were well acquainted. They even did, just the two of them, a whole Tanglewood on Parade concert, during the mid 80's (Williams conducted Barber pieces, Bernstein some Tchaikovsky, if memory serves). Exactly. I think it's likely Williams and Bernstein eventually attained a personal relationship at this point in time. 1 hour ago, Miguel Andrade said: Nevertheless, I can't agree with you in the way you look at this things. It's a quote in a Williams piece by a tune by another composer -- in the case of Air and Simple Gifts he's only quoting a traditional piece! He didn't go out to try to imitate Bersntein's style. It surely doesn't sound like that to my ears, I'm sorry. Quoting and adapting are different things, I wouldn't call it semantics. But it's COPLAND's take on the traditional piece Williams is channeling, right? Maybe I've misunderstood "Air", but I always assumed that, rather than Williams simply using the same folk melody that Copland used, he also used Copland's arrangement of it? Link to comment Share on other sites More sharing options...
Miguel Andrade 1,267 Posted January 28, 2018 Share Posted January 28, 2018 From what I understood, Williams included the traditional hymn as a nod to Copland's use of the same tune. Williams did his own arrangement. I actually find the opening/closing Air sections to have a greater debt to Copland's Appalachia Spring, the way he use the harmony, though it still distinctly sounds like Williams. As for the 1961 sessions and album, I believe that in the LB Letters published a few years ago, there was some material with references to the film, and my understanding is that Bernstein had nothing to do with it. They surely shown him the material, but that was all. Link to comment Share on other sites More sharing options...
p0llux 400 Posted January 29, 2018 Share Posted January 29, 2018 Bernstein + Williams Thor 1 Link to comment Share on other sites More sharing options...
Thor 7,602 Posted January 29, 2018 Share Posted January 29, 2018 Nice photo! Taken just a year before Bernstein passed away. I think Williams was profoundly inspired by Lenny as a kid. In his formative years, he (and his friends) used to play a game of recognizing various studio orchestras around LA, so I wouldn't be surprised if Bernstein was already on Williams' radar by the mid or late 40s. Maybe I'm the only one, but I can heard shades of Bernstein in Williams' first score, DADDY-O. Link to comment Share on other sites More sharing options...
Jurassic Shark 12,204 Posted January 29, 2018 Share Posted January 29, 2018 Spielberg should make a musical about Bernstein while working on West Side Story. Now, that would be meta! Link to comment Share on other sites More sharing options...
TownerFan 4,991 Posted January 29, 2018 Share Posted January 29, 2018 I'm quite sure JW will be involved as music supervisor/arranger. I cannot think of anyone else more qualified than JW for such a job and he would also have all the support and aid from Bernstein's estate given his track record. Kushner said in an interview that the libretto and the score will not be modified, so it's likely gonna be a work of adapting it to the new requirements, most likely staying as close as possible to Bernstein's original score. What JW could add would likely be short connective tissue material (written in the spirit of Bernstein's score) to be used as underscore and perhaps beef up just a notch the original orchestrations, but nothing too invasive. West Side Story is one of the great masterpiece of 20th century American music and there's no need to modify or tamper with it too much. Miguel Andrade 1 Link to comment Share on other sites More sharing options...
Miguel Andrade 1,267 Posted January 29, 2018 Share Posted January 29, 2018 1 hour ago, Thor said: Nice photo! Taken just a year before Bernstein passed away. I think Williams was profoundly inspired by Lenny as a kid. In his formative years, he (and his friends) used to play a game of recognizing various studio orchestras around LA, so I wouldn't be surprised if Bernstein was already on Williams' radar by the mid or late 40s. Maybe I'm the only one, but I can heard shades of Bernstein in Williams' first score, DADDY-O. I'm sure he was aware of Bernstein not because of the material recorded in LA. Bernstein was a huge musical figure right from the start, through his concert works and musicals. On the Town (1944) was a huge sucess, even before the Williams move to California. As an interesting bit of information, Bernstein stoped doing musicals after Wonderful Town, out of respect to his mentor, the famous BSO music director Sergei Koussevitzky. Only after his death, did he return to Broadway, doing West Side Story, his greatest sucess. His later Broadway efforts weren't as sucessful though they all seem to have proved the test of time. 3 minutes ago, TownerFan said: West Side Story is one of the great masterpiece of 20th century American music and there's no need to modify or tamper with it too much. That encapsulates my feelings about the project. There's no need... _deleted_ 1 Link to comment Share on other sites More sharing options...
TownerFan 4,991 Posted January 29, 2018 Share Posted January 29, 2018 Daddy-O seems to be influenced more by the jazzy sound of "the other Bernstein" (Elmer). I'm sure JW always had Lenny in high esteem. I mean, he was a towering figure since the early 1950s for any musician. I always found some Lenny-inspired moments in JW's early concert piece "Prelude and Fugue", btw. Miguel Andrade 1 Link to comment Share on other sites More sharing options...
Jurassic Shark 12,204 Posted January 29, 2018 Share Posted January 29, 2018 38 minutes ago, Miguel Andrade said: Bernstein stoped doing musicals after Wonderful Town, out of respect to his mentor, the famous BSO music director Sergei Koussevitzky. Only after his death, did he return to Broadway, doing West Side Story, his greatest sucess. How do you mean this was "out of respect"? Did Koussevitzky hate musicals? Link to comment Share on other sites More sharing options...
Thor 7,602 Posted January 29, 2018 Share Posted January 29, 2018 31 minutes ago, TownerFan said: Daddy-O seems to be influenced more by the jazzy sound of "the other Bernstein" (Elmer). I'm sure JW always had Lenny in high esteem. I mean, he was a towering figure since the early 1950s for any musician. I always found some Lenny-inspired moments in JW's early concert piece "Prelude and Fugue", btw. Yeah, but there's something about the pulsating, wrangly brass harmonies of the opening theme from DADDY-O that reminds me a bit of ON THE WATERFRONT. Just a few moments; the rest of the score is pure jazz/rockabilly etc. I think Williams is as perfect match for this as Elfman was for adapting Herrmann's PSYCHO (say what you will of the film, Elfman's version remains my FAVOURITE recording of the score; even moreso than Herrmann's own album). Link to comment Share on other sites More sharing options...
Jurassic Shark 12,204 Posted January 29, 2018 Share Posted January 29, 2018 35 minutes ago, Thor said: I think Williams is as perfect match for this as Elfman was for adapting Herrmann's PSYCHO (say what you will of the film, Elfman's version remains my FAVOURITE recording of the score; even moreso than Herrmann's own album). Regarding Psycho, I find Herrmann's re-recording slow and dull. However, his original recording, which to date has only been issued in foul sound, is way more energetic and interesting. The McNeely re-recording comes close to capturing that energy, but it's not quite there. Apparently, Herrmann's widow is sitting on the master tapes. Link to comment Share on other sites More sharing options...
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