IT'S ABOUT TIME! MIKLÓS RÓZSA'S COMPLETE TIME AFTER TIME NOW ON CD
Film Score Monthly releases for the very first time the great composer's stirring, symphonic gem as recorded for the film itself
Linden, VA - January 29, 2009 - After thirty years, Film Score Monthly has finally released one of the last great works from one of the preeminent film composers of all time - Miklós Rózsa.
Time After Time (1979) is a delightful fantasy adventure based on the historical "what if?" premise that The Time Machine author H.G. Wells (Malcolm McDowell) has actually invented the device and uses it to journey to modern-day San Francisco in pursuit of the murderous Jack the Ripper (David Warner). Today this might be called "high-concept" but in the capable hands of screenwriter/director Nicholas Meyer the film is much more: a social commentary, thriller, period piece, romance and character comedy.
Meyer had previously authored the Sherlock Holmes-meets-Sigmund Freud bestseller The Seven-Per-Cent Solution (adapted into a film) and would cowrite and direct the best Star Trek movies. A highly literate admirer of classical and film music, the director sought out Miklós Rózsa for a full-bodied romantic score of the kind Rózsa had written for decades yet seldom in demand by the 1970s. The result was arguably Rózsa's last great work, a stirring, symphonic gem that delighted critics and moviegoers in its authentic evocation of Hollywood's Golden Age (even kicking off with the traditional Warner Bros. logo music composed by Max Steiner). More than being underscoring per se, the "retro" soundtrack plays an essential role in evoking the point-of-view of a Victorian man adrift in the modern world.
Time After Time has been available on an LP and CD (from Fifth Continent) but that was a re-recording conducted in 1979 by the composer in London. FSM presents, for the first time, the original soundtrack performance conducted by Rózsa in Burbank with a larger orchestra (as well as more music than the re-recording). With the original Dan Wallin recording remixed from the 16-track masters by Mike Matessino, the stereo sound quality is top-drawer.
FSM's CD package features a new essay by Nicholas Meyer, reflecting on his work on the film and his friendship with Rózsa, plus detailed liner notes by Jeff Bond and Frank Dewald. Thirty years later, one of Rózsa's greatest works is available in definitive form.
It is available now from Screen Archives Entertainment at www.screenarchives.com.
Check it out at http://www.screenarchives...title_detail.cfm?ID=11418
0 Kudos
New FSM: Rozsa's complete TIME AFTER TIME!!!
| Author | Comment | ||
|---|---|---|---|
 TJGuitar |
New FSM: Rozsa's complete TIME AFTER TIME!!! |
Lead | |
|
Posts: 94 (01/29/09 08:11:14) |
|
||
|
George Komar |
IT'S ABOUT TIME! | ||
|
Posts: 589 (01/29/09 13:33:50) |
Ordered!
As I indicated several months ago, Lukas has not abandoned Rózsaphiles. |
||
|
A Lee Hern |
'TIME AFTER TIME' AND TIDE WAIT FOR NO MAN...EXCEPT LUKAS KENDALL | ||
|
Posts: 4839 (01/29/09 14:00:09) |
It's about time -- only two years late for the composer's centenary. And, while I certainly like the score (and film) a great deal, to call it one of
"Rózsa's greatest works" is a tad fulsome, don'tcha think?
While there is a bit more music in the OST, it's not all that much more than what appeared on the old Entr'acte LP/CD; what really makes it worthwhile are the fuller, and different, orchestrations Rózsa employed.
Last Edited By: A Lee Hern
01/29/09 14:02:47.
Edited 2 times.
|
||
|
George Komar |
IT'S NEVER TOO LATE! | ||
|
Posts: 590 (01/29/09 15:37:19) |
A Lee Hern wrote:I believe that the announcement qualified that statement (twice!) by referencing it to the end of Rózsa's career: "one of the last great works from..." "arguably Rózsa's last great work." And, as for the centenary, Lukas has stated that he does not work to an external timetable dictated by anniversary dates. There is NO downside to this release! Just buy it!
Last Edited By: George Komar
01/29/09 15:41:05.
Edited 2 times.
|
||
|
Breda Von Krolock |
|||
|
Posts: 292 (01/30/09 01:09:32) |
That's nice, very nice and long expected. Rozsa is back! Finally!
I disagree with Lee that TIME AFTER TIME isn't one of MR greatest works. It's a very fine composition, very dark and dense. TIME AFTER TIME evokes the spirit of his early concert works and can be considered a gran finale to his glorious carreer. Afterall, this is a great oportunity to replace the crappy bootleg. The sound from the samples are awesome, and possibly far superior to the rerecording released by Southern Cross label. The FSM has 15 min of additional music. 
|
||
|
david lezeau |
|||
|
Posts: 57 (01/30/09 04:01:13) |
In my mind, nothing can compete with the album version of the End Titles - Dr Rozsa's conductind is outstanding ! BUT the OST have it's own qualities -
so thanks to Mr Kendall for this new CD.
|
||
|
John Fitzpatrick |
Different | ||
|
Posts: 1655 (01/30/09 06:46:20) |
Where does the orchestration differ? If there was a larger string complement in Hollywood, that doesn't really signify a change of orchestation. Doubling/halving of woodwinds might qualify. Or are there more significant differences? |
||
|
shu.utahinventorsforum |
Cover art | ||
|
Posts: 2 (01/30/09 07:12:26) |
When we purchase a CD, the foremost intention is to listen to the music it contains, but also don't we purchase cover art, booklet and articles,
information / comment / notes about the music, comes with the CD disc? In that sense FSM has been providing great quality in all aspects - with often never
seen photos, authentic artwork, and detailed notes. That said, let me ask what is this new TIME AFTER TIME cover art based on? The typestyle is certainly
different from the movie poster. Where did that geometrical design and the illustration come from? Can somebody shed light on this? As far as it is authentic,
or derived from the authentic art, it is OK. I'm not too impressed with the look of this CD cover -- unless somebody says - "That is taken from their
press-kit published on such and such date"
|
||
|
Doug Raynes |
|||
|
Posts: 236 (01/30/09 08:39:45) |
shu wrote:You're absolutely right Shu. For me, it's not only the music but also the presentation which I always look forward to on FSM releases. I was intrigued by the CD cover as well. It appears to be original film artwork but I've never seen it before - although someone on the FSM message board says the same artwork was used on the cover of the "Time After Time" novel. |
||
|
A Lee Hern |
RÓZSA: TWO-TIMING 'TIME?' | ||
|
Posts: 4840 (01/30/09 09:25:16) |
Where does the orchestration differ? If there was a larger string complement in Hollywood, that doesn't really signify a change of orchestation. Doubling/halving of woodwinds might qualify. Or are there more significant differences? I've had the OST tracks for years, and there are distinct differences that I think everyone will notice when they listen to the new FSM CD. Does it "change" the music? No, not really, but it makes for the always-intriguing contrast between Rózsa's original inspiration and his reworkinh it for record/concert performance.
Last Edited By: A Lee Hern
01/30/09 09:27:26.
Edited 1 times.
|
||
|
Doug Raynes |
|||
|
Posts: 237 (01/30/09 09:51:18) |
John Fitzpatrick wrote: There are certainly orchestral differences. I haven't gone through in detail but one obvious difference is the inclusion of a harp glissando on the rerecording which links the two bank montage cues. |
||
|
scoreman |
TIME AFTER TIME | ||
|
Posts: 26 (02/03/09 04:44:35) |
I am sure that MR would have been greatly impressed with such a profound musical observation ! Really guys. Get real.
|
||
|
A Lee Hern |
CARPING TUNNEL-VISION SYNDROME | ||
|
Posts: 4841 (02/03/09 12:33:17) |
And you get credited with a carp glassando.
|
||
|
ldkendal |
|||
|
Posts: 10 (02/04/09 12:36:03) |
Hi Everybody,
Thanks for your nice feedback. Our CD cover is the book cover so as not to be confused with Mr. Lasher's album which used the movie art. Lukas |
||
|
A Lee Hern |
WELLS-A-POPPIN' | ||
|
Posts: 4842 (02/05/09 08:52:08) |
Too bad that you were apparently unaware that the movie had a Style-B poster with different artwork.
|
||
|
John Fitzpatrick |
Fuller orchestrations | ||
|
Posts: 1657 (02/05/09 09:27:23) |
Although Scoreman's sarcasm is unnecessary (especially given that most of us have not heard the new CD), he does have a point. I had asked a very simple
question: where is the orchestration "fuller"? Or (more challenging) what are the differences? Why no answer?
|
||
|
clayking |
First impressions | ||
|
Posts: 226 (02/06/09 18:38:58) |
I'm listening to the CD now, and I consider it a wonderful gift. I'm not as familiar with this score as many who have posted appear to be, so I
can't point out any apparent differences to the re-recorded CD release. The film sessions, to me, sound like a larger orchestra than was used for the
re-recording. I didn't notice any apparent orchestration differences, other than possible balancing for a performance by a smaller orchestra. I've
always loved the film, and feel that Rozsa's score is so perfect for it.
From a technical standpoint, the sound of the FSM CD is superb, and the reminiscence by Nicholas Meyer of working with Rozsa is touching. Bravo, Mr. Kendall!
Last Edited By: clayking
02/10/09 17:29:12.
Edited 1 times.
|
||
|
Doug Raynes |
|||
|
Posts: 240 (02/10/09 02:19:58) |
John Fitzpatrick wrote:Having now received the CD I see that the excellent notes by Jeff Bond and Frank de Wald highlight a few of the differences between the soundtrack and the LP. Nicholas Meyer's introduction is fascinating - especially the horrifying revelation that Warner Bros had considered replacing Rozsa's music with that from a more modern composer i.e. Bill Conti.
Last Edited By: Doug Raynes
02/10/09 02:24:49.
Edited 1 times.
|
||
|
AlanJHamer |
the Time has come....... | ||
|
Posts: 30 (02/10/09 13:41:28) |
Well worth the wait from Lukas and a great production all round. Great sound too at the Burbank Studio and really superlative notes.
One small correction, the two successive scores that followed T A T....(and MR's last) were not LAST EMBRACE (rec.12/78 at MGM/LA; re-record 6/82 in Nuremberg) and DEAD MEN, but EYE OF THE NEEDLE (rec.1/81 at Abbey Rd, London; re-record 6/81 also at Nuremberg) and DEAD MEN. Can't see any other errors however! A really interesting and informative booklet. A must for any Rozsa enthusiast!! |
||
|
Frank DeWald |
|||
|
Posts: 106 (02/10/09 15:42:33) |
Now that Lukas is allowing comments to appear on the FSM website page for each release, someone picked up on that error right away. And although I didn't
write that particular part of the essay, I certainly read it over several times and it went right past me without notice. NOTHING gets by all you sharp folk on
the web, however - thanks for always setting the record (or CD) straight! And isn't it a great listen? We all owe one to Lukas!
|
||
|
hansjoerg |
The Time has come | ||
|
Posts: 60 (02/11/09 23:59:00) |
The notes by Meyer are almost identical with his commentary for the DVD.
The score sounds really awesome in this interpretation. The tubas in the Main title really "blew me away". |
||
