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Posted: |
Apr 17, 2016 - 4:15 PM
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By: |
RoryR
(Member)
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I wouldn't call him a genius, no (I reserve that description for some very few), but he was a master of his craft, no doubt. Especially in the 60s and 70s. Funnily, though, I enjoy his 90s soundtracks the most in terms of sheer listening pleasure -- a time when he nurtured more mainstream sounds and had lost some of his "edge".
Name your geniuses. I will try, patiently, to explain to you why they're not. (Half joking  )
In terms of film music?
Hmmm. Well, John Williams is one. Maybe Elliot Goldenthal. Vangelis. And although I'm not a hardcore fan, Bernard Herrmann. Not many else that I can think of right now.
(there are also those who tap into genius territory on occasion -- like Ennio Morricone, James Horner or Hans Zimmer -- but where I perhaps wouldn't apply the label to them as a whole).
For most of his career, Goldsmith was an excellent craftsman, first and foremost. But then he reached high ambitious and artistic levels on occasion (POTA, PATTON, ALIEN etc.). But a genius, he was not (IMO).
I agree with Thor, mostly because I can't imagine Goldsmith agreeing that he was a genius. I also don't think John Williams would call himself one either.
You guys are silly.
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Goldsmith was a musician's musician, whose work was probably better appreciated by other musicians rather than listeners. Certainly he was one of the most imitated people in his field, and his influence resonates through an entire generation of film composers. Lukas Kendall astutely observed "He was the original Howard Shore, the original Thomas Newman, the original Danny Elfman". And you can hear his influence in the scores of many others -- Horner, Kamen, Silvestri, Young, Poledouris, Beltrami, etc.
I don't know if Goldsmith was a "genius" (I haven't seen his I.Q. test results), but he was certainly venerated by a lot of very fine (and discriminating) musicians.
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Posted: |
Apr 17, 2016 - 11:13 PM
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By: |
Amer Zahid
(Member)
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Goldsmith was a musician's musician, whose work was probably better appreciated by other musicians rather than listeners. Certainly he was one of the most imitated people in his field, and his influence resonates through an entire generation of film composers. Lukas Kendall astutely observed "He was the original Howard Shore, the original Thomas Newman, the original Danny Elfman". And you can hear his influence in the scores of many others -- Horner, Kamen, Silvestri, Young, Poledouris, Beltrami, etc.
I don't know if Goldsmith was a "genius" (I haven't seen his I.Q. test results), but he was certainly venerated by a lot of very fine (and discriminating) musicians.
Agreed. He was an extraordinary craftsman who understood the business of making movies and music together. He wrote great and outstanding music but also wrote mediocre music too- that was his genius! He always rose to the occasion. His volume of works today speak of his ingenuity. We are still buying and listening to his music, after all. Its as if he never left us.
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Posted: |
Apr 18, 2016 - 1:54 AM
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By: |
Thor
(Member)
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Goldsmith really didn't influence anything in a major way, although you could argue that there are elements in his music that inspired particular composers or smaller trends (like the 'sex thriller' sound following BASIC INSTINCT). He was, however, part of a scene -- especially in the late 60s -- that pushed the envelope beyond the 'classical'.
And it could be argued that Pino Donaggio (with Dressed to Kill and others scores) and some of the other Italian composers in the 1970s established that "sex thriller" sound long before Goldsmith used it for Basic Instinct.
Yeah, but I was not talking about the sex thriller genre in general (with sleazy saxophones and so). That's a genre (and a score genre) that predates Donaggio by decades. I'm talking a specific 90s sound with those chilly, icy synths and drawn out chords and weird arpeggios. You could hear that in a number of sex thrillers in the next 5-6 years, before it went out of fashion.
But that's a minor trend in the scheme of things. There are a couple of other examples, as well as composers mimicking Goldsmith's rhytmic action figures (like McNeely's SOLDIER) and such.
But beyond that? No, I can't see any big Goldsmith influence the way composers like Steiner, Herrmann, Williams (with STAR WARS), Zimmer etc. influenced the whole approach and even industry as such. I would be curious to hear what Heath had in mind in that department?
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