Jump to content

Schindler's List - 2CD 25th Anniversary Edition from La-La Land Records (2018)


Recommended Posts

  • Replies 784
  • Created
  • Last Reply

Top Posters In This Topic

Top Posters In This Topic

Popular Posts

A rare picture from the Boston scoring sessions back in summer 1993:    

Schindler's List was recorded onto analog tape that is perfectly vaulted at Universal with no issues.  Those original tapes were not pulled to assemble this release; they've probably been sitting in t

I'm sorry but that's just not true.  Other than source music, everything's here.

Fair enough, maybe it’s only Japan and/or Hong Kong who has a market for SACD. And cost is an issue I’d assume. Still, it wouldn’t have hurt to have it on there, if the price was right.

 

I bought Steve Hoffman’s remaster of CE3K in 2015, and that one was a hybrid.

 

I’d take that over embossed slipcases that we keep getting for SW, for example.

Link to post
Share on other sites
23 hours ago, rough cut said:

I bought Steve Hoffman’s remaster of CE3K in 2015, and that one was a hybrid.

 

Released by Sony, not a niche label.

 

23 hours ago, rough cut said:

I’d take that over embossed slipcases that we keep getting for SW, for example.

 

LLL doesn't do embossed slipcases.

 

I'm really not sure what you're on about.

Link to post
Share on other sites

An earlier comment made it sound as if the SACD market was completely dead. All I am saying is, that there is still a market out there. I don’t know why you bring up Sony? The label behind the release doesn’t really affect the size of the market, does it?

 

Regarding slipcases, I never implied that LLL does them or should do them. But they are marketed as a bonus or deluxe item occasionally - for the recent SW CDs for example. I was just stating the obvious, saying that - if given the choice - I’d rather have the CD being a SACD-hybrid as a bonus, instead of a slipcase.

 

That’s all. No biggie.

 

 

Link to post
Share on other sites

The only rearrangement of this score I did after getting the 25th anniversary edition was to replace Schindler's Workforce and I Could Have Done More with their film version counterparts in the main programme. I think that in this case Williams original soundtrack programme is very well thought out and while it begins essentially with the finale of the score I think it is less repetitive in this form. I like how the opening of the album forms a trifecta of concert suites that work as a thematic introduction to all that comes after.

 

I might try to create a chronological version to see how it flows but for the moment the OST + those film versions has been sufficient.

Link to post
Share on other sites

I think for Schindler's List, which is a short score for a very long film a chronological order isn't all that important. There's long segments of the film that have no music so Williams' score really isn't building a strong narrative like a more or less wall-to-wall score like TLW does.

Link to post
Share on other sites

After constructing my own film mix of Schindler's List, I've come to the conclusion that a couple of source cues are still unreleased/unidentified.

 

I've quickly run through the posts but haven't found anything about these cues.

 

I'm talking about 4 cues in these scenes (chronologically):

- After Schindler selects his secretaries, girl playing piano in restaurant (= short cue identified as 'Meine Lippen, sie küssen so heiss' (piano solo))

- Amon Göth parties with Schindler (kissing women), and Stern meeting up with Schindler (= a long violin/accordeon cue playing throughout the scene)

- Celebration of Schindler's birthday, first part of party (= short violin/accordeon cue with same actors as above)

- After Schindler kisses girl, second part of party (= a song accompanied by violin/accordeon with same actors as above, could be identified as 'To ostatnia niedziela')

 

So I wonder if any of you guys could identify these cues. As to my knowledge, these cues are not available on any source (including LLL/RS). I suspect JW had nothing to do with these cues, specifically the last 3 cues for/by the violin/accordeon band. Anyone knows if this was a real musical duo (like the Irish band in Titanic), or just actors.

 

 

Link to post
Share on other sites

The album includes the complete score, but does not include all of the source music from the movie (source music = in-universe music, such as something coming from a restaurant band or on the radio).  My understanding is that some of this music remains completely unreleased.

Link to post
Share on other sites

Yes, I know what source music is. LLL didn't include any of JW's written source music either. Those were left on the RS.

 

Many of the source music have been identified though, and is available in some sorts. I haven't been able to track down the 4 cues that I mention specifically in my post, which leaves me with an incomplete mix. So I was curious if someone else was able to identify those tracks and could possibly help me in my search. If they are completely unreleased, so be it... but I need some sort of confirmation on that.

Link to post
Share on other sites
20 hours ago, Bespin said:

I have inserted gun shots sounds in my C&C playlist, it’s more realistic.

 

I can't tell the difference between the gunshot sounds in the soundtrack from the two or three I hear each hour daily. 'Murica. 

Link to post
Share on other sites
19 minutes ago, Jay said:

Wow, Troxies message here makes no sense.  What part of Strupie's post led you believe he didn't know what source music was?

That's for anyone else reading the thread that might be confused, although most of us know what source music is. I presume.

Link to post
Share on other sites
6 hours ago, StRuPiE said:

Yes, I know what source music is. LLL didn't include any of JW's written source music either. Those were left on the RS.

 

Many of the source music have been identified though, and is available in some sorts. I haven't been able to track down the 4 cues that I mention specifically in my post, which leaves me with an incomplete mix. So I was curious if someone else was able to identify those tracks and could possibly help me in my search. If they are completely unreleased, so be it... but I need some sort of confirmation on that.

 

I don't know the name of these pieces, unfortunately, but sometimes using Shazam while playing these obscure pieces in movies helps. If the background noise or dialogue isn't too distracting, that is. Shazam apparently knows a lot more than current hits and golden oldies. Good luck!

Link to post
Share on other sites
7 hours ago, Jay said:

Wow, Troxies message here makes no sense.  What part of Strupie's post led you believe he didn't know what source music was?

 

They said not all the “score” was there, and then mentioned four source pieces, which are not score?

Link to post
Share on other sites
2 hours ago, mstrox said:

 

They said not all the “score” was there, and then mentioned four source pieces, which are not score?

 

The source cues are not score, no. Did I say the score was incomplete? I don't remember that. In fact, the score itself is complete (and completely film mix accurate if you put some work into it). It's the source cues that are not complete, or should I say unreleased (to my knowledge). My quest here is to identify those missing pieces and maybe find out more about them. It's no technical issue, it's an informational issue.

 

You guys seem to know quite a lot about JW, that's why I came aboard. But as I said, I suspect JW not to have been involved in these particular source cues, unlike some other source pieces in the movie (ie 'Por una Cabeza' or 'Milosc Ci Wszystko' which were adapted by JW).

Link to post
Share on other sites
  • 2 weeks later...

Pretty good set! I have suspicions that Disc 2 might get more listens from me than Disc 1.

 

However.

Leaving out an "L" from a latin word or switching up calliope and accordion are one thing. These things happen, I can understand that. But leaving in something like "to the liberation of Auschwitz-Birkenau (1944)" right in the first paragraph of the booklet, in Spielberg's introduction he apparently wrote specifically for the set, is another matter entirely. Unless he uses the Julian Calendar, of course.

Link to post
Share on other sites
  • 2 weeks later...

So, after the initial "Holy hell, this is actually pretty good!", I'm starting to grow a deeper appreciation of this score. The first disc is a pretty good program, but not an everyday listen - the second disc, however, fills in really well as either an abridged or a not-nearly-as-heavy substitute! I fully support the decision not to include the source music this time, even if Gloomy Sunday with cimbalom is Gloomy Sunday with cimbalom. There's a world of difference between source source, recorded to throw in the background because for a party we gotta have party music, and "songs" which are used almost as score - which Yeroushalaim Chel Zahav certainly is (even if the film uses a different mix, perhaps different take, maybe even a complately different recording). Throwing a "best of early 20th century" party mix at the end of Disc 2 á la "Music from Amity Town Beach" would've just been completely wrong and unfitting.

 

I did approximate a C&C order, but haven't really listened to it yet, so it may be subject to change. I felt really weird opening with Workforce (film version), the best track of the whole score, so I put Theme, one of the Remembrances' and Jewish Town in front as an overture. Stolen Memories follow after Workforce, Give Me Your Names before Could Have Done More to give Auschwitz-Birkenau's intense horror and dread more time to buffer down, I didn't break these two into their elements. Theme for Recorder replaces Placing the Stones (Theme), and the other bonus cues after Remembrances in some order I will probably change up, finishing with the third Remembrances.

 

Boy have I not regretted this admittedly very much impulse purchase!

Link to post
Share on other sites
6 hours ago, Jay said:

The press release specifically says disc 1 was not remastered. 

In the case of Saving Private Ryan, I can understand that there was no need to remaster it. But here the OST should have got a slight Matessino treatment. The bonus tracks prove that there would have been space for improvement.

Link to post
Share on other sites
2 hours ago, Brundlefly said:

In the case of Saving Private Ryan, I can understand that there was no need to remaster it. But here the OST should have got a slight Matessino treatment. The bonus tracks prove that there would have been space for improvement.

 

They said there were budgetary reasons for the lack of a proper remaster, or new scans of the analogue tapes (which would have been really appreciated).

Link to post
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now

×
×
  • Create New...

Important Information

By using this site, you agree to our Guidelines.