1/4/2023 0 Comments Knights of the light table![]() Whereas the earlier FSM release relegates them to a bonus section. Also, per the recording plan, a few pieces of source music are integrated into the British program, The British recording is largely in stereo butĪ few cues surviving only in monaural sound have been given a stereo reverb here for a more consistent listeningĮxperience. Grouping of some of the cues is different (per the recording plan) and, notably, early versions of cues (whichĬan be heard on the FSM CD of the U.S. Represented on the British recording generally correspond to the tracks of the U.S. Please refer to the booklet accompanying FSM’s original Knights of the Round Table release forĬomprehensive liner notes on the production as well as track-by-track commentary by Jeff Eldridge. Opportunity to release an expanded edition of this performance under the baton of Muir Mathieson, significantlyĮxpanded from the 40:27 program released by Varèse (which was sequenced as two tracks on their CD, representing The occasion of this box set presents a perfect ![]() recording was also found on the master tapes. Rózsa’s score for The King’s Thief) represented the premiere release of the U.S. ![]() recording, but the British recording had no such costs.įSM’s earlier release of Knights of the Round Table (a 2CD set also including On CD in 1983 with a bonus piano suite from Lydia (VCD 47269)-they would have had to pay high When Varèse Sarabande licensed the score for release on LP in 1980 (STV 81128)-issued No dates are available for the British recording sessions but they likely took place shortly after the U.S. The whole thing with Muir Mathieson conducting. However, the orchestra was an American orchestra, the musicians had to be repaid, which is an enormous cost.īecause it was an English picture, the actors had to be English, with few exceptions-the stars could beĪmerican-the composer had to be English, and if he wasn’t then the musicians had to be. Anyway, the film was in the cinema by Christmas. He conducted the first half of the score and I listened to it through the The head of the music department at M-G-M. So I replied, “For you I do it.”Īt the same time, I couldn’t record the music, because I still had to compose. You are a genius.” I replied that even two geniusesĬouldn’t do it. I said I just couldn’t write that much music in such a short period of ![]() Knights had to be in the cinema by Christmas, and it was October The studio wanted to release the picture as soon as possible, because it was the second CinemaScopeįilm, and there’s a lot of music. It was an English film and an English orchestra To perform the same duty on Knights of the Round Table: Rózsa had scored the earlier M-G-M success Ivanhoe and was recruited The reason behind having two recordings was explained by Miklós Rózsa inġ982 interview with David and Richard Kraft, published in Soundtrack! magazine (as transcribed andĮdited by Daniel Mangodt). 7) and again in London (as released on LP and CD by (as used in the film and released on FSM Vol. Widescreen format, which resulted in the score being recorded twice: once in Culver City with Hollywood musicians ![]() The film was rushed to theaters in order to take advantage of the novelty of the Taylor, Mel Ferrer and Ava Gardner in an epic telling of the legend of King Arthur and the love between Queen Knights of the Round Table (1953) was M-G-M’s first CinemaScope production, starring Robert ![]()
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