For all the serious collectors, which performance of this score (or theme) do you think is the absolute best, all things considered?

The original recording is certainly definitive, however, it lacks in clarity for obvious reasons. I've recently noticed Decca re-released its "Great Hitchcock Movie Thrillers" album for almost nothing. This album mostly contains Herrmann's re-recordings from 1969. However, and to my point, it also has a five minute suite of music from Spellbound conducted by Stanley Black that will absolutely knock your socks off. If listened to loud enough, this thing will re-invigorate any film score fan who may be thinking twice about dumping his relationship with film music.

This is a 23min. version of the concerto w/two pianos and ondes martenot...
If it doesn't bring tears to your eyes, you are not human.

Sean

I am interested exclusively in versions that use an actual theremin... no piano versions, no organ, no synthesizer, not even an ondes martenot. I want the real deal.

My mind boggles in wonder as to why no one has recorded this with Lydia Kavina yet...

In addition to that version I also love the Stanley Black & The London Festival Orchestra version which PeterK already mentioned here - it is a perfect companion to John Williams' FAMILY PLOT with its breathtaking angel chorus.

The theremin is now cliched but it wasn't then. Interesting how Rozsa employed it in a blatantly similar manner to his Lost Weekend i.e. Peck's character having a flashback episode in comparison to the onset of Milland's recurring alcoholic binges. But you look at the depth of Lost Weekend's score in contrast to Spellbound's and damned if you don't end up respecting each treatment with the same fervor anyway.

Gotta tell you my two favorite mind images are Peck running downhill in the dream sequence and that of Bergman embracing her cherished (and eccentric!) mentor. Different emotions conveyed, that's for sure, but each quite potent. Stunning moment, too, when Hitchcock cross-cut from Peck skiing downhill to the horrible childhood accident. Stunning...and disturbing.

I too have the Gerhardt highlights LP only but what's there is cherce.

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The theremin may seem cliched now, but I wouldn't give up on it's validity in film music just yet. In Ed Wood Howard Shore used it mainly as a tool of parody, but at the same time it becomes interestingly sympathetic to Wood himself. Listen to the subtle fashion in which Shore employs the instrument at the end of "This is the One." I have not heard how Shore used the theremin in eXistenZ, but I am anxious to. In a Shore score for a Cronenberg film, I would imagine the effect is anything but cliched.

If you get the chance, listen to some of the work that has been composed for the theremin in the concert world. I think composers have only barely scratched the surface in terms of what the theremin is capable of in film music.

Thank you, everyone, for the suggestions. I'll start poking around and see what turns up!

Yes, thank you for pointing out that it is actually a parody thing as opposed to cliche'. I too enjoyed the Shore score (gotta stop doing that) very much for Ed Wood. Another fine theremin-based parody was employed by Mr. Elfman for his Mars Attacks!. But think theremin in the film music pioneering sense it's hard not to think Rozsa or Herrmann. Dimitri Tiomkin used it to a sparing (and chilling) degree in his The Thing, too, around that time.

If you get the chance, listen to some of the work that has been composed for the theremin in the concert world. I think composers have only barely scratched the surface in terms of what the theremin is capable of in film music.

Some TV or print newsmagazine outfit did a whole piece on this subject, can't recall how long ago. You have whetted my appetite further.

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It's not at all surprising that Rod McKuen produced the album: he OWNS Stanyan.

The Bernstein-Utah Symphony Orch. recording, which also features selections from Rozsa's scores to THE WORLD, THE FLESH, AND THE DEVIL and BECAUSE OF HIM, and the "New England Concerto" from TIME OUT OF MIND (Varese VCD 47226) IS the recording to get. The only problem is that the Ondes Martenot is NO SUBSTITUTE for the Theremin. Bernstein loves the damn thing, and it's featured in a lot of his own scores, but it totally lacks the eerie subtlety of the Theremin.

(It should be mentioned, though, that Rozsa had wanted to bring the Ondes and its inventor, Dr. Maurice Martenot, to London, so that his instrument could accompany the Djinni's flights in THE THIEF OF BAGDAD (1940), but when it came time to record the score, Dr. Martenot was in a bunker somewhere along the Maginot Line, helping to defend France from the invading Nazis. As such, electronic instruments' introduction to film-scoring had to wait five years, until THE LOST WEEKEND and SPELLBOUND.)

I agree with perf...the Bernstein 22min. concerto for duo pianos and ondes martenot is the way to go....one of the most passionate readings of any work in my mind, this music truly soars...again, a shame that disc is very hard to find, although some of the other cues from the album were reissued by Citadel recently.

quote:

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Originally posted by OHMSS76:
We discussed this in chat last week, but can anyone tell me, conclusively, IS the Gerhardt RCA CD SPELLBOUND oop and hard to find? I know it's not as elusive as the Tiomkin recording, but is it up there?????

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No, it's in print.

quote:

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Originally posted by OHMSS76:
I agree with perf...the Bernstein 22min. concerto for duo pianos and ondes martenot is the way to go....one of the most passionate readings of any work in my mind, this music truly soars...again, a shame that disc is very hard to find, although some of the other cues from the album were reissued by Citadel recently.

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I wonder why Citadel doesn't reissue the rest of the material.

Either the Sinfonia of London or the Philharmonia. Bruce Broughton at the helm. And, most importantly, Lydia Kavina at the theremin.

The type of theremin used could also be significant. If they were really trying to recreate the sound of the original recording, then an original RCA theremin would be ideal. But I'd leave that up to Lydia; she's the expert.

1. the Stanyan LP/Cd version
2. that Varese Bernstein conducted one with the two pianos and Utah Symphony, wow what a version. From the part of the "train" to the end is dynamite. The ending is superb. Although, not following the film that closely, a great suite. The train and ski run piece is fantastic.

I have several others that are good too, many of those above are good too. Best, John.