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Posted: |
Jan 16, 2018 - 5:59 AM
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By: |
Tall Guy
(Member)
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Although Jerry Goldsmith died in 2014. Its as if he never left.
Just proved your point, Amer!
Jim, I can help. I was once a bit like you, back in the days of LPs, when there seemed to be a new Goldsmith every five minutes. It was impossible to keep up with it all - MacArthur one minute, The Omen the next, Tora Tora Tora popping up etc etc. But I had a remarkable stroke of luck, which was to see the James Caan Rollerball. It introduced me to Shostakovich, and the scales fell from my ears, so to speak. There was all the pounding, pulsating action music in his symphonies that I could ever want. All the tension, all the tragedy. The more I heard the more I realised that this was The Truth played by a symphony orchestra. Nothing less.
I still loved the John Barry style of action music, but here was something more filmic than film scores and that would live forever. Moreover, it emerged that Shostakovich’s story was the story of the 20th century and not just a narrow slice of a pampered Hollywood existence. This is important music that stands up in its own right, not just a supporting part of someone else’s vision.
Follow in my footsteps, my son, and although you might be going cold turkey for a short while, you’ll find something that will make you realise the true definition of genius. This gift that I give to you is freely bestowed on all. Learn it now, before it’s too late.
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"This is not the Goldsmith you are looking for!" It is too late, there is no turning back!
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Although Jerry Goldsmith died in 2004. Its as if he never left. Every year, since then we have new expansions, re-issues and some new unreleased music. Truly a mark of his never ending legacy and 'LEGEND'. We live in good times.
I've jumped aboard relatively recently. Blue Max, Poltergeist, QB VII, PotA...it's so easy to go on.
He had a unique style; Jerry's counterpoint was not as learned/rigid as some of his forebears and contemporaries. He often would stick countermelodies and fugato in his compositions in a way that made his scores unmistakable, his orchestration was also very idiosyncratic (I'm assuming the orchestrators he used were mostly copy editors, please both forgive and correct me if I'm wrong; and yes I do know that he used F. Steiner as a ghostwriter for some of the developments of his themes).
I've also noticed that Goldsmith seemed an especial expert at the martial as well as the adventurous, the former was in evidence even before Patton.
It's also awesome that he had a large repertoire; plenty of rewarding music...almost a lifetime full of great relistenings! That was Maestro Jerry imo.
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