Rejected Film Scores

There was an interesting over at FSM about Bernstein's score, a while back.

http://www.filmscoremonthly.com/board/posts.cfm?forumID=1&pageID=1&threadID=58287&archive=0

Arkadin wrote:

Is the whole score available, or just that track?

There's a limited release from Varése Sarabande, that contains the complete unreleased scores of GANGS OF NEW YORK, THE JOURNEY OF NATTY GANG, and THE SCARLET LETTER. A 4 CD box set.

Though, there are other ways. ;)

Was the rejected score to "Frenzy" ever released as a whole album? Sounds far more interesting than the actual score used for the film.

But, IIRC, Bernard Herrmann even said that Hitch didn't know a damn thing about film music.

Mr. Brown wrote:

Was the rejected score to "Frenzy" ever released as a whole album?

No, only that main title, which was released on "Mancini in Surround: Mostly Monsters, Murders & Mystery" (RCA, 1990).

Sharky wrote:

Scorcese's always had a funny relationship with film scores. A bit of a control freak, with a few exceptions.

Care to elaborate?

Anyway, I was able to dig up this one quote from Bernstein re: the score for GANGS OF NEW YORK:

In a 2003 interview conducted by Roger Friedman, Bernstein had this to say about it: “On Gangs of New York, Marty could never quite make up his mind about what he wanted. Then, he got into this long, painful edit. I wrote way back, nine months ago, some music for the film. I went over it with him. But as he went along, he began to have some other concept of what he wanted. He winds up with a Scorsese score, a pastiche.”

Harms wrote:

Sharky wrote:

Scorcese's always had a funny relationship with film scores. A bit of a control freak, with a few exceptions.

Care to elaborate?

What I meant is that Scorcese generally isn't after the effect an original film score can sometimes have, that is the potential of taking the viewer out of the drama, and consequently being aware of the score. I think his reverence towards Herrmann is comparable to Tarantino and Moriconne. In other words, he's got ridiculously high standards. This is all taken from a Scorcese film score doc I watched on Sky Arts a year or two ago

Here's something new. A month or so ago Intrada released John Barry's rejected score for the lame 80s Eddie Murphy comedy-thriller THE GOLDEN CHILD. TBH, I can't remember much of the final score, only that it was a trendy Harold Faltemeyer/Tangerine Dream-lite piece of synth crap. Didn't date well from what little I remember.

Anyhow, Barry's score is pretty damn impressive. In his Gothic Romance mode. Someone on Youtube has generously synched it up with the film , to give one an idea how it might have worked out. Dialogue and sound fx only come in at key moments, but it's mostly dialed out to avoid conflict with the the actual score.

If you listen closely, you can hear one of the themes that Barry recycled later for THE SPECIALIST.























Here's the Main Titles from Georges Delerue's rejected score for REGARDING HENRY.



Maurice Jarre's Main Titlee for MAD MAX: BEYOND THUNDERDOME. This was replaced the Tina Turner song.



Here's something a bit different - there's a suite unreleased synth cues and overlays (most likely an Arp 2600) from Jerry Goldsmith's DAMNATION ALLEY (1977). Reminds me of his score for LOGAN'S RUN. People underestimate Goldsmith's role in the creation of electronica. Sound fx occasionally bleed in, but no dialogue.

Always lament the way Goldsmith's Alien score was chopped and abused...but it makes for one of his very best album releases.

As regard's Legend I've only ever seen the film with Goldsmith's score....though I vaguely recollect some channel advertising an alternate cut that used TD.

Sharky wrote:

Here's something new. A month or so ago Intrada released John Barry's rejected score for the lame 80s Eddie Murphy comedy-thriller THE GOLDEN CHILD. TBH, I can't remember much of the final score, only that it was a trendy Harold Faltemeyer/Tangerine Dream-lite piece of synth crap. Didn't date well from what little I remember.

Anyhow, Barry's score is pretty damn impressive. In his Gothic Romance mode. Someone on Youtube has generously synched it up with the film , to give one an idea how it might have worked out. Dialogue and sound fx only come in at key moments, but it's mostly dialed out to avoid conflict with the the actual score.

If you listen closely, you can hear one of the themes that Barry recycled later for THE SPECIALIST.























Here's the Main Titles from Georges Delerue's rejected score for REGARDING HENRY.



Maurice Jarre's Main Titlee for MAD MAX: BEYOND THUNDERDOME. This was replaced the Tina Turner song.



Here's something a bit different - there's a suite unreleased synth cues and overlays (most likely an Arp 2600) from Jerry Goldsmith's DAMNATION ALLEY (1977). Reminds me of his score for LOGAN'S RUN. People underestimate Goldsmith's role in the creation of electronica. Sound fx occasionally bleed in, but no dialogue.

No one cares? :silent:

Finally got around to listening to those bits from Barry's GOLDEN CHILD score. Great stuff. Better than the movie deserves.

A) John Barry scored (even if rejected) an Eddie Murphy movie? Lumme

B) Rejected. I must confess other than The Horse Whisperer I knew of no such thing.

The finest of The Maestro's last scores. Richard Donner was an idiot for throwing it out.

Who the fuck rejects a John Barry score? :roll:

Barry's most famous rejected score was for Prince of Tides. Replaced with something by James Money Howard.

Barry was under-appreciated.

A rejected score from one of the finest composers left in the business (respected by John Williams and others) - John Corigliano's EDGE OF DARKNESS.

Quote :

Music From The Edge/Corigliano



When I received my review copy of Music from the Edge I was totally confused as to where this material came from. There was no mention in the liner notes and there was a film made in 1997 called”The Edge” starring Anthony Hopkins and Alec Baldwin. There was also a Russian made film called “The Edge” made in 2010. A Google search results in pages of different scenarios! For all I knew this was commercial music for the shaving gel! The music was written for the 2009 film “The Edge of Darkness” that starred Mel Gibson and dealt violently with a father’s loss of a daughter from the mob, a hit. This score was rejected and replaced with one written by Howard Shore.

Like Aaron Copland, another outstanding American composer, John Corigliano has only dabbled in film, having composed four soundtracks since 1981. Copland for your information did six. While both composers were sparse in their output two Oscars were given out, one to each composer giving you a small idea of the vast talent of each composer. In fact between the 10 feature films there have been 8 nominations, something which says it all.

Corigliano approached this recording as a tone poem/suite of eleven movements totaling 38 minutes. This is truly a classical approach as it is performed by The London Metropolitan Orchestra conducted by Leonard Slatkin.

His Daughter’s Death, the opening track begins in an innocent fashion with a solo clarinet providing the sad opening melody. A flute continues the melody with help from the strings. Wind chimes are the signal to something far more ominous as low disturbing strings are followed by a couple of dissonant brass motifs before the solitude of the opening of the track returns. There is an interesting foghorn type sound from the flutes which required practice on the part of the flute section. Reflections opens quietly enough with an oboe and then a return to the “daughter” theme, twice a hint of a carousel before there is a return to the main theme again. The track ends with a disturbing sequence of low growling brass and dissonant strings complemented by percussion. Her Home quietly returns to the “daughter” theme once again before it leads the ears to sentimental quiet times with a minimum of orchestral members. Pursuit is a strong example of well written underscore. The brass got no vacation on this track as they’re asked to perform difficult double tonguing techniques complemented by timpani. The strings offer a Herrmann type sound in the background. Her Friend’s Death is another exercise with dissonant brass, swirling strings and percussion. Hideout, the shortest of the tracks at two minutes, offers a flute without a melody. A reference again to the carousel melody which is continued by the strings highlights Family Shave which ends on a disturbing note. A Sober Story is certainly a quiet moment of sadness with strings being given the job of providing the mood and atmosphere. It ends with a reference to the “daughter” theme slowly building to a crescendo with a snare drum guiding the listener. The Escape begins with low disturbing strings which build to a loud dissonant passage from the horns which quickly disappear. The title Revenge again features the carousel theme with plenty of depressing underscore. This track made its point without having to go over the top with sound. Reunification, the longest of the tracks at six plus minutes hints at the “daughter” theme with the flutes before the ice is broken with the oboe, clarinet, and strings offering a romantic version of the theme. Brass and lush strings also play a strong part before Hila Plittman appropriately ends the track with touching words.

This is nicely recorded and one could make a strong case that this is a symphonic piece that stands on its own without the film. An excellent fourth addition to your Corigliano collection. Highly recommended. No limited edition sales apply on this recording.

Track listing

1. His Daughter’s Death (04:11)

2. Reflections (05:15)

3. Her Home (03:23)

4. Pursuit (03:46)

5. Her Friends Death (02:33)

6. Hideout (01:55)

7. Family Shave (02:31)

8. A Sober Story (03:01)

9. The Escape (02:03)

10. Revenge (03:00)

11. Reunification (06:34)

Total Duration: 00:38:12

http://sdtom.wordpress.com/2012/06/27/music-from-the-edgecorigliano/

Here's John Corigliano's finale to the Mel Gibson remake of EDGE OF DARKNESS.

That is lovely.

I know, right? Apparently it was rejected when they recut the film. Corigliano scored it as a film about about a man grieving for his daughter, whereas the filmmakers wanted a straight-up thriller.

Have you heard THE RED VIOLIN or ALTERED STATES, Harms?

Largo's Shark wrote:

I know, right? Apparently it was rejected when they recut the film. Corigliano scored it as a film about about a man grieving for his daughter, whereas the filmmakers wanted a straight-up thriller.

Shame. I'd love to see how the film plays with Corigliano's score.

Largo's Shark wrote:

Have you heard THE RED VIOLIN or ALTERED STATES, Harms?

I have the soundtrack to THE RED VIOLIN. I've not heard his work for ALTERED STATES.

Harmsway wrote:

I've not heard his work for ALTERED STATES.

It's very avant-garde. Lots of aleatoric writing.