Rediscoverning Lost Scores by WENDY CARLOS

[Umbopo]

Por fin a la venta y el primero de una pequeña serie de dos volumenes.  En este encontramos principalmente temas de la BSO de El Resplandor (22 temas), algunos de La Naranja Mecanica (3 temas) mas otros tantos para una serie de la Unicef.

Cuanto tiempo oyendo hablar de esta BSO y por fin la tengo en mi aparato reproductor   :roll:

[Mr. Punch]

Pues creo que es la primera vez que se publica de forma completa la BSO de El resplandor, de la que se había escuchado sólo lo poco que usó Kubrick de entre la enorme cantidad de material compuesto por Wendy. Habrá que escucharlo.

[Deckard]

principalmente temas de la BSO de El Resplandor (22 temas),

Ã,¡Vaya notición! :)

[Umbopo]

Eso no es todo, el volumen dos que en estos dias se pone a la venta hay mas material de El Resplandor.

[ivanchev]

vaya, pero para encontrarlos será aún más difícil. Tienen que sonar genial.

[Umbopo]

Cuando hace años lei por primera vez algo referente a esta banda sonora una cosa que me llamó la atención es el gran volumen de música compuesta por Wendy para la pelicula, alrededor de unas tres horas.  De ser cierto esto, la música presentada en los dos volumenes de Rediscoverng Lost Scores no alcanzaría ni el 50% del material para El Resplandor.

Una vez escuchado con mas atención puedo hacerme a la idea de porque Kubrick desechó este material.  No es que sea malo, pero en ciertos momentos el "score" de Wendy Carlos se adapta mas a una pelicula de los estudios Hammer que a una producción Kubrick.  Eso si, no faltan las músicas fantasmagóricas que en una noche solitaria, en plena oscuridad a mas de uno le puede producir autentico panico.

[Umbopo]

Una vez escuchado con mas atención puedo hacerme a la idea de porque Kubrick desechó este material.  No es que sea malo, pero en ciertos momentos el "score" de Wendy Carlos se adapta mas a una pelicula de los estudios Hammer que a una producción Kubrick.

Me como mis palabras...  rectifico lo dicho sobre The Shining, impresionante de verdad.  Lo mejor es escuchar la música mientras se leen los "escritoscomentarios" de Wendy Carlos en el libreto, uno a uno todos los temas.

[Umbopo]

1-Colorado

Let's start off with something big and brassy. Here's the original upbeat title music I wrote after Rachel Elkind and I finished reading King's novel, the first step Kubrick suggested early in the production, before filming had begun. We assumed that the majesty of the Rocky Mountains ought be featured dramatically. In the end it proved too intense for the film's mood. It's played by a ten piece orchestra (three flutes, three horns, three 'celli and a bass) which we somehow squeezed into our small studio, blended with Moog synthesizer and live percussion overdubs. Thanks to composer John Morris for neatly coordinating our small ensemble.

2-The Rocky Mountains

You may find it surprising to learn this is a solo performance on my homemade instrument, the Circon. It's sort of a precise Theremin, something you can play in exact tuning, although it still requires lots of practice. The Circon drives the Moog synth, which here provided those broad brassy sounds. The overlapping effect necessitated a very long tape delay which we accomplished by threading tape between two machines six feet apart. Clumsy, but it worked well when there were few good digital delays. Kubrick reassembled his own soundtrack for the film with audio engineers in London (I never learned what went where), and they used sections from an earlier, longer version of this piece heard as the family drives up the mountains to "The Overlook Hotel."

3-Chase Music

This upbeat selection was composed for the novel, and performed by the same small ensemble as on "Colorado." An extra urgency is provided by Robert Triscari's adept snare drum overdub, from top to bottom, over the insistent 5/8 meter. The huge bass drum was circus-sized, and I nearly fell over when striking it fortississimo during the overdubs. Again, the music proved too assertive for the film's final pacing.

4-Nocturnal Valse Triste

Another Circon cue, an adaptation of the "Valse Triste" by Sibelius, features a reedy solo timbre accompanied by the chamber group. Kubrick's cineaste daughter, Vivian, discovered the unused track on one of our demo tapes, and decided to end her excellent documentary on making the film with it (we only learned of this twenty years later).

...

20-Clockworks (Bloody Elevators)

A favorite sound-painting track of ours, Stanley also liked it, so much so that of all our preliminary music, this is the only cue he ever used. That was for the film's teaser/trailer, which came out exactly one year before we were summoned to London to commence work in earnest. The sounds are Rachel's versatile vocals with percussive and brassy synthesizer lines, all quite melodramatic.