Genre: Score
Date: 2001
Country: USA
Audio codec: FLAC
Quality: lossless
Playtime: 1:54:22
CD1
1. 20th Century Fox Fanfare & Cinemascope Extension (0:22)
2. Street Scene (From “How To Marry A Millionaire”) (5:12)
3. Overture (From “Diary Of Anne Frank”) (3:28)
4. Live In Hope (From “Diary Of Anne Frank”) (1:42)
5. The First Kiss (From “Diary Of Anne Frank”) (3:45)
6. Persecution / Finale (From “Diary Of Anne Frank”) (4:18)
7. Zorro Theme / Madrid / Lolita / Finale (From “The Mark of Zorro”) (4:42)
8. Main Theme (From “Anastasia”) (2:24)
9. Overture (From “Song Of Bernadette”) (5:31)
10. Prelude / The Land (From “How the West Was Won”) (7:11)
11. Cleve and his Mule – Scherzo (From “How The West Was Won”) (2:07)
12. Intermezzo (From “How The West Was Won”) (5:19)
13. Cheyenne Attack And Aftermath / Finale (From “How the West Was Won”) (8:08)
14. How The West Was Won (From “How The West Was Won”) (3:20)
CD2
1. Conquest (From “Captain From Castil”) (3:25)
2. Overture (From “Keys Of The Kingdom”) (6:46)
3. Main Title (From “Nevada Smith”) (2:26)
4. Main Title (From “The Razor’s Edge”) (1:45)
5. Seduction (From “The Razor’s Edge”) (3:18)
6. India (From “The Razor’s Edge”) (5:32)
7. Cathy’s Theme (From “Wuthering Heights”) (2:58)
8. Prologue (From “Man Of Galilee”) (1:25)
9. The Promise Of The Holy Spirit (From “Man Of Galilee”) (6:46)
10. Rejoice (From “Man Of Galilee”) (4:00)
11. The Great Journey (From “Man Of Galilee”) (8:36)
12. Miriam’s Song (From “Man Of Galilee”) (3:18)
13. Sunrise Of The Third Day (From “Man Of Galilee”) (6:51)
10 comments
Thank you
Hi Admin,
Thank you very much for this (rare) sharing.
This re-recording of many film musics by Alfred NEWMAN, very well interpreted by the Prague Philarmonic Orchestra with excellent sound, is a must for fans of the Great Alfred. With classicals and some rare tracks, like the excellent “The Mark of Zorro”, recorded for the first time !!!
A real pleasure for lovers of the Golden Age of Hollywood and all these so talented composers (of which John WILLIAMS may be the last living descendant).
Thank you again, Admin. That’s good film music !!!
It’s such a shame they went for the soulless City of Prague and the heavy-handed baton of Nic Raine, rather than turning to David Newman to reinterpret his father’s music. David is an exceptional conductor, and I suspect there would have been more life in a recording by him than in this dull collection.
Nic Raine, conductor and orchestrator, has collaborated with John Barry , Carl Davis , Elmer Bernstein , Maurice Jarre , Gabriel Yared , Michael Kamen , George Fenton and Stanley Myers for example. Difficult to believe that these great composers thought that he is a “heavy-handed baton” !!! He conducted the City of Prague Philarmonic Orchestra for TADLOW for great re-recordings as “Alamo”, “el Cid”, “Ben-Hur”, “The Fall of the Roman Empire”, “Quo Vadis”, “The Private Life of Sherlock Holmes”, “The Vikings”, “Dracula/The Curse of Frankenstein”, “King of Kings”, all recordings praised by expert critics and the lay public (records I bought) … So I don’t agree with you. But you seem to be THE specialist and I am content at my humble level to give an opinion that, of course, engages me only.
And David NEWMAN (who should be effectively content to direct and not to compose, even if he doesn’t have the talent of his uncle, Lionel NEWMAN, for that…) is undoubtedly much too expensive for a label like TADLOW (which does not content itself with exhuming old film musics in order to make a substantial profit, like labels you supporte, but offers to the new (and less new) public a real orchestra and true music enthusiasts…
Laurent: I know exactly who Nic Raine is – thanks for the Wiki/IMDB extracts but it really wasn’t necessary. He works with Tadlow and with Silva Screen and the main reason for the use of the City of Prague is cost, where the musicians are paid far less than their contemporaries in the UK or the US. In fact Nic himself has railed against the cheapness of his bosses (I have attended several forums with him on the future of film music) and the sub-optimal locations and talent that he is forced to use. The reason why they can re-record or issue previously unreleased material is again due to cost – a lot of the scores are out of copyright, or are acquired cheaply by studios that don’t want to invest in recording them themselves.
I also disagree entirely with your dismissal of the labels that make money out of “exhuming” old scores – Varèse invested heavily in having Bernard Herrmann’s scores re-recorded with Joel McNeely and the RSNO, giving absolutely wonderful life to old material, better on most occasions than the originals. There is no reason Tadlow/Silva Screen could not do the same, but they choose to put profit before performance, so your “substantial profit” accusation is simply incorrect and completely unfair.
I don’t know why you imagine David Newman may be too expensive – his work with the Sundance Film Festival would suggest he is able to work to a modest budget. I also know the full family history, thank you – you missed his brother Thomas and his cousin Randy if you want to really be dismissive of a Hollywood composer and a thoroughly charming, knowledgeable and modest man.
You are entitled to your opinion, but I have to tell you that if you listen to Nic Raine’s expanded recording of Basil Poledouris’ Conan, and then listen to the Intrada expanded version, you will be able to understand the difference between a workmanlike recording and when you have a masterful one.
Soundtrackman,
I thank you for your message. I agree with the work actually done by some labels on the restoration of soundtracks (but you were so excessive and aggressive in your remarks that I wanted to make a “counterweight”) or on some re-recordings scores. I agree with you for the TADLOW recording of “Conan” (which I did not mention in the “good examples” (for which I forgot to add in the other hand the excellent “Taras Bulba”). So let’s stop, if you will ,any systematic quarrel over labels. It is the music of films that must come out winner. Or you if you prefer, having no ego to defend.
As for the history of the Newman family, I did not pretend to teach you anything (It wasn’t about Thomas or Randy anyway) but I simply repeated your argument. Dare you say that David NEWMAN is a better conductor than Lionel NEWMAN was ? Genius is, alas, not hereditary… To the next time, I guess…
Laurent. I was hardly aggressive or excessive – I simply stated that it was a shame that they hadn’t gone with a better conductor/orchestra combination than Raine and the City of Prague, and had instead gone with David Newman. It would be difficult for them to have gone with Lionel, as he passed in ’89, no?
Can I ask if you have ever heard or seen David Newman conduct? He is currently conducting alongside John Williams in the States, and I was fortunate enough to see him conduct the James Horner concert in Vienna (in front of the maestro) and can affirm that David is an exceptional conductor and arranger of film music. I think the slight about genius not being hereditary is unnecessary. I did not, sadly, get to see Lionel conduct in person, so I cannot compare the two from a personal standpoint, but I didn’t at any point, nor would I ever, suggest that he was inferior to David, or the other way round.
All is OK for me.
When you talk about John WILLIAMS (my favourite conductor and composer alived), all is said !
Even if I’m not a fan (you have understood) of David NEWMAN…
What a chance to see the concert in VIENNA on James HORNER, in truth. I only saw it on the internet and it was indeed a beautiful moment.
For Lionel NEWMAN, I know he is passed in 89 (it was not the problem posed) but we can get a real idea of his qualities as conductor for HOLLYWOOD on the recordings, isn’t it ?
A last question to the specialist you are : what do you think about the interpretation of the Philarmonic Orchestra of VIENNA under the baton of John WILLIAMS himself in January 2000 (I have of course the blu-ray) ?
Have a good day.
Hi Laurent – I’m glad we’ve not offended each other.
I thoroughly enjoyed the Vienna concert with John Williams – alas only seen on the Blu-Ray like you. Raiders and Imperial March were exceptional – some of the Mutter interpretations were a bit flowery for me, but it was joyous nonetheless. I missed out seeing the great JW at the Royal Albert Hall as he was taken ill – it will forever haunt me.
The Horner concert was moving and brilliant – I was delighted when Varèse issued a blu-ray of it to relive the night. Horner moves me in ways no other composer can, a rare and beautiful man, taken far too early.
My very best to you
Hi Soundtrackman,
No offense (as said Ricky NELSON to John WAYNE in RIO BRAVO…) !!!
I share your opinion about Mutter in John WILLIAM’s beautiful concert in VIENNA.
The age and health of John WILLIAMS concerns me every day and I hope not only that he will live a long time ( in good conditions for him, of course ) but also that we will be able to enjoy his 5th Indiana JONES, which should be, anyway, his musical “testament” since he announced his retirement (very understandable and well deserved).
About Horner’s concert, this wonderful musician was visibly deeply moved. If I remember (without Wikipedia…private joke), he left the next year, too early, it is true. I didn’t know that Varèse issued a blu-ray of that night. I’ll search for it immediatly ! Thank you for that information.
My very best to you too.