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Cameron McCasland |
Wolfman 1941 trailer music or soundalike |
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Wondering if anyone knows what the music cue for the 1941 Wolfman trailer is called or who composed it. I assume its still copywritten. I am actually looking
for something public domain or soundalike for some new shorts if anyone has suggestions.
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Ted Newsom |
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Hans Salter composed it, yes, the music in the trailer is from the film. It's mostly the opening title and the closing title.
The score was rerecorded, beautifully and perfectly, about ten years ago for a CD, arranged by John Morgan and conducted by Bill Stromberg. The disc is available, and I always found Marco Polo, the record producers, very easy to deal with. |
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Whatsallthis |
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That's a great CD- it also has music from SON OF FRANKENSTEIN and THE INVISIBLE MAN RETURNS on it. I wish someday that Morgan and Stromberg would do that 8
minute piece used in THE INVISIBLE MAN (was it by Heinz Roemheld?)and record it on to CD somehow.
"How can I handcuff a bloomin' shirt??!?"
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Cameron McCasland |
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very good. can someone point me in their direction?
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TServo4 |
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You can buy the recording here. While obviously a lot of work
went into it, I'm no fan of the fluctuation of the tempo. Some tracks are like listening to the scores on Valium. The Universal Fanfare should be played
maetoso not legato. The first cut is way too slow, but the fanfare for THE WOLF MAN is more like it.
J. Theakston
The Central Theater, Passaic, NJ
Last Edited By: TServo4
06/12/09 10:48 PM.
Edited 1 times.
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Ted Newsom |
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I don't agree on that album, but it's certainly true in spades on the first one they did, GHOST/HOUSE. That wasn't conducted by Bill Stromberg, and
it was played at a funereal pace on both of the scores. And I think the object on the two variations of the Universal logo was to duplicate not only the
familiar one, but also the earlier version, the one that's on SON OF FRANKENSTEIN.
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Ray Faiola |
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Yes, the 1937-39 fanfare had much more prominent pizzicato strings and a more deliberate tempo. There were several variations on the number of stings leading
to the final chord. The recordings done post-'39 (I think there were two - one with a more prominent horn intro) were more balanced with a bit more
"cascade" to the performance.
Mr. Chudnow could elucidate on this far better than these aural impressions. |
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TServo4 |
Re: Fanfare | ||
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Yes, I am aware of the differing arrangements of the fanfare.� I just find on many of these recordings, it's always a bit slow.� My personal favorite is
this one from around 1940, with faster tempo, more color in the trumpets, eight triplets at the end, and the snare drumroll rather than tympani hit:
J. Theakston
The Central Theater, Passaic, NJ |
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Ray Faiola |
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That's a 1937 recording. It's probably from one of the Durbin pictures (they're the only 35mm Universals from '37 that are around on disc or
tape). It's also a different photographic image. The star clusters are much more dense than in the post-'38 filmed globe.
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TServo4 |
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The logo came from NIGHT KEY.
J. Theakston
The Central Theater, Passaic, NJ |
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Ted Newsom |
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Just noticed something that gives a little clue as to the big mystery, "How dey do dat?" The wider "A Universal Picture" letters which
circle the globe are matted in, a separate element. You can tell from the slight shadow on either extreme end as they revolve. I never noticed this before on
later logos, possibly because Fulton (or someone) made come corrections.
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bobzilla |
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Son of Frankenstein and the Wolf Man music are so wonderful (to me anyway). Always gives me a warm feeling of growing up watching these movies. Still makes the
blood pressure rise with excitement.
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Ray Faiola |
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Ted Newsom wrote: And to think they did it all over again for the SPANISH logo (A PELICULA UNIVERSAL). I have this logo on my print of SIN TOWN (English track; Spanish subs). Really something. |
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