We invite you to take advantage of the nice sale prices attached to a number of our releases, specially discounted from now through October 2, 2022. We don’t run sales like this often. Hopefully you will find some titles of interest, priced to own.
As happens from time to time, we are in a holding pattern on final packaging approvals for several new releases all ready for manufacturing… with some really cool ones in the bunch, too! We’re also amidst some major new upgrades and additions to the Intrada studio while we wait, with quite a few new curves to learn. Fun!
William Stromberg and Anna Bonn are finalizing the complete scores and parts for the two upcoming Bernard Herrmann recordings we are readying. The Man Who Knew Too Much and On Dangerous Ground are the two masterpieces on the docket. The Royal Scottish National Orchestra is again our performing group of choice. Setting the actual session dates has taken a bit longer than what we have encountered in the past for a couple of reasons, one being the growing popularity of the musicians and their magnificent hall. We like to think Intrada has been a factor in their increased profile, even if just in a minuscule way. The other reason is our musician requirements are significantly larger than our previous sessions, with the addition of a larger brass section than we typically utilize. Six trombones, six trumpets, eight French horns, two tubas… and a sizable string and percussion section to balance with all those horn players… as well as a key soloist on the viola d’amore parts for On Dangerous Ground. We're even planning on recording Nathan Van Cleave's fabulous VistaVision logo that appears in front of The Man Who Knew Too Much and so many other Paramount films from the era. Yep. It’s all going to be impressive for sure.
We’ve put together a cool new feature to help bring a little anticipation and excitement to our latest releases as they happen. Trailers. Yep, with the talents of our team, and with Joe Sikoryak at the helm, we have these short little video announcements that will showcase our newest albums and in a half minute or so, spotlight the music of the composers involved. Getting out now are glimpses of the 2-CD complete score by Henry Mancini for Lifeforce and our separate CD of the alternate score by Michael Kamen, premiering his orchestral score with the cooperation of Michael Kamen’s Estate. These soundtrack trailers are in their “baby step” stage and we’ll tweak the features as we learn to walk… but they are already cool to see and hear, and are up now on the Intrada Facebook and fan pages and our Forum. Please take a few seconds to check them out, and hopefully support the albums highlighted in these trailers, too! These current albums are being released next week, with artwork, contents and sound samples appearing here this coming Monday eve, the 15th.
I thank all of you that helped us reach not only our Kickstarter goal for recording Bernard Herrmann’s On Dangerous Ground but also the additional stretch goal to record Alfred Hitchcock’s The Man Who Knew Too Much, also scored by Herrmann. This one will probably be the headline score due to the Alfred Hitchcock name. That director has his own followers, and deservedly so. I think he might be the most influential director there was in Hollywood, and likely the only director who’s name was literally the key selling point, no matter who the famous stars were that appeared within. Currently we have engaged our friend Mike Ross to be our man in the booth. Mike’s work for us on Herrmann’s Jason And The Argonauts remains my favorite of all the many projects we have done together with him. Herrmann’s music, typically written with orchestral color being vital, is probably best presented when recorded with that classic “Phase 4” sound that London utilized on all those Herrmann collections back in the day. That’s the sound we got with Jason, and we’re chasing that sound again for the above recordings. Anyone not quite sure what this is can be satisfied knowing primarily it means crisp, detailed, close mic recordings with an emphasis on the left and right channels over the center channel… and with mics placed everywhere you’ll hear just where the clarinets are seated, exactly where muted trumpets are sitting, where an oboe solo is coming from, that haunting viola d’amore, so on and so forth.
I’m also particularly excited about our brass requirements which will include eight French horns yelping their way through that virtuoso “Death Hunt” cue, supported by six trumpets, a battery of trombones… even two tubas! This should also make the “Prelude” for The Man Who Knew Too Much a sonic spectacular, especially when balanced with all that ferocious tympani. And speaking of percussion, getting that steel brake drum (or anvil) for On Dangerous Ground will surely add to the excitement. Okay, with all that power lined up, I am going to admit the single piece of music I am most excited about finally recording is that brief piece in The Man Who Knew Too Much, following the phone call James Stewart receives about his son being kidnapped. It’s a deceptively simple cue scored just for two vibraphones and violins. I’ve had it as an “ear worm” in my head for years. Now it’ll finally come out of my speakers! Anyway, we’ll keep everyone posted as these two scores are prepared for release.
View more at our INTRADA SOUNDTRACK FORUM