A Night of Surprises at the Hollywood Bowl
by Guy Reid
Great show at the Hollywood Bowl Friday, September 21st, with John Mauceri
conducting the Hollywood Bowl Orchestra is some startling good performances
set to film.
The concert began with a recorded version of the main titles from 'Forbidden
Planet', immediately followed by a captivating rendition of Herrmann's,
'The Day the Earth Stood Still'. Concluding the introductory portion of
the concert the orchestra put as much uumph as they could muster into Goldsmith's
end titles from 'Star Trek V', including the Klingon march (thought the
tempo was slower than I would have preferred).
Mr. Mauceri then delved into an amusing discussion about sci-fi and
the logistics of conducting to film, finally remarking that the majority
of the music on the program was by Jerry Goldsmith...who...as it just so
happened...was in the audience! At that news, the crowd erupted in excited
applause as the pony-tailed one stood up under the spotlight and waved
his appreciation. It suddenly dawned on me that I was the totally unprepared
fanboy . No CD to sign and no camera. What a bone head! (Even I don't read
FSM Daily on a daily basis.) More later...
Mauceri's conducting of Goldsmith's 'Planet of the Apes' was particularly
invigorating, and all the more thrilling to listen to when accompanied
by the film sequences themselves (with dialogue and sound effects); including,
the scarecorw sequence, the "Clothes Snatchers" and "The Hunt", (though
they excised the difficult solo piano interlude). The last time I saw POTA
on a big screen, and the first time I ever took notice of a Goldsmith score,
was way back in 1973, so what a thrill it was to know that the composer
was in the audience at the very same time!
After a thunder of approval, the conductor launched into Danny Elfman's
main titles from the lesser POTA. Though I'm not particularly enamored
of the music, the Bowl orchestra acquitted themselves considerably with
all that Sturm und Drang.
Following another round of applause, Mr. Mauceri launched into an effective,
atmospheric interpolation of 'The Shaft' from Alien; again, accompanied
by the film sequence. What struck me is how Goldsmith's music slithers
in the background.....even then, hearing it live, the drama of the music
doesn't overplay the visuals. I suppose some in the audience might have
wondered what the point of performing a piece with no discernable rhythm
or melody might have been but, geez, if you can get involved and creeped
out from a 5 minute film sequence, I'd say the composer is doing a damn
good job.
Next, onto a lighter note with John Williams rapturous CE3K, complimented
by selected scenes from the film.
Intermission
So, here I am. Jerry's over there. What do I do? All anxious and befuddled
because my fav composer is a stone's throw away. I feel the fool. Last
year's concert was a let down...all prepared...CD's in hand...just to find
out that he wasn't even going to be signing anything that night.
OK, so I wanna have a smoke anyway. I'll just mosey on down the aisle
and see what happens. So, off I go. I see the pony tail. I see the crowd.
Pause for a moment. Surmise the situation. Not a chance. The 'great one'
has got attention seekers on all sides and he seems a little peturbed at
what to do about it. Fine. I'll have my smoke and come back...take my chances
that his handlers get things under control before Mr. Mauceri comes back
on stage.
Puff, puff, puff.
Ahhh...there's now a line of devotees. But, it's not too long. Maybe
there's a chance. I settle into place. Damn, no pen! Damn, nothing to write
on! Pull out my wallet and all I got is money. And then it's my turn, and
I've forgotten that speech I had for such an occassion (what a fanboy,
geez). "Hello, Mr. Goldsmith, it's a great pleasure to meet you..blah,
blah, blah...you wanna sign a five dollar bill"? Slightly bemused, he chuckles
and says, "It's illegal you know...but there's a first time for everything."
I thank him, shake his hand and then I notice an elderly man sitting in
the same box. Why, that's Robert Wise I say to myself, and ask one of Mr.
Goldsmith's courtiers if Mr. Wise would mind being bothered. "Not at all,"
she says. I do the fanboy thing again, this time greeting, complimenting
and shaking the hand of the man who edited 'Citizen Kane'. I wander back
to my box and settle in to muse over the scrawl on Lincoln's back where
Jerry (I can't quite make out the last part) Goldsmith signed his name.
Lights down. Out comes the conductor - decked out in a Starfleet uniform
(the red ones) and introduces a 20 minute cross section of ST:TMP accompanied
by sequences from the 'Director's Version'. Very, very cool. First there's
the 'Orbiting Space Station', then 'The Enterprise', 'Spock's Walk', plus
a good chunk of 'Inner Workings' (new special effects shots) and 'Vejur
Speaks', but with all of 'The Meld' and 'A Good Start' (new special effects
shot). WOW. I was in Trekkie heaven. It gave me goosebumps. I might as
well have been 14 again, seeing the film and hearing that marvellous music
for the first time.
Following that were two selections, both set to film, from '2001: A
Space Odessey. The moon shuttle landing supported by the very retro 'Blue
Danube' and the admittedly overlong star voyage/LSD trip backed by Ligeti's
'Atmospheres'.
The show came to a rousing close with John Williams thunderous 'Last
Battle' and 'Throne Room' from Star Wars (with film). Once more, I was
left with a sort of lump in my throat. Truly, it was like being that kid
again. Wonderstruck.
Some people had the Beatles. Some still the Stones. I got Goldsmith
an'Williams rattlin my bones...
Encore 1: Cantina Band
Encore 2: John Morris' 'SpaceBalls' (with film clips).
My sincerest thanks to John Mauceri and the Hollywood Bowl Orchestra
for an evening of very rewarding memories. And, naturally, a heartfelt
thanks to Mr. Goldsmith and Mr. Wise for having the time for fools like
myself.
Guy Reid
Venice, CA
MailBag@filmscoremonthly.com
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