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Forgive me if I misunderstood you, but are you saying that complexity is a measure for how great a score is ?
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Well of course it is just an opinion but I felt GEORGES DELERUE, did great stuff throughout his career. But some of my favorites were from the last 10 years of his life. AGNUS OF GOD, SALVADOR-A SUMMER STORY-JOE VS THE VOLCANO- FRENCH REVOLUTION-CRIMES OF THE HEART-HER ALIBI ETC ETC
Actually, his later music was much more streamlined than his early to mid-career works. I find his pre-Hollywood scores MUCH more interesting.
A composer whose music got more sophisticated in his later years was Max Steiner.
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Forgive me if I misunderstood you, but are you saying that complexity is a measure for how great a score is ?
For me personally, I gravitate towards more complex writing and I think it takes more skill. The end results are generally more pleasurable to me. I also have a greater admiration for the work. That is not to say a simple piano theme is "less". I can appreciate a "sketch", but it is not as glorious as a "painting".
when you say "complex" writing to what you're refering?
orchestration? counterpoint? harmony? melody?
because a single piano piece can be complex too..
or a piece for a smaller group of instruments than a LARGE orchestra..
Listen eg. to Arlington by Williams (from his JFK score).
Only strings orchestra (except for the horn introduction), but yet so complex in harmony, counterpoint etc..
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John Williams. I do not really care for his early stuff, but JAWS hit and he has been pretty steady since. I will not start the thread, but how about "Composers Who Got Worst Later In Their Careers?" I have one composer in mind, but I do not want to steal Yor's thunder.
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Master Jerry Goldsmith surely got better with time.
Too bad he was not called to score so many great movies as he was in the past...
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I agree with Morricone there.
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To me one of the most obvious examples is John Williams. I don't think he did anything remarkable before the The Reivers and Images. His TV music for Irwin Allen was fair but nowhere near as good as the stuff Goldsmith, Schifrin, Fried or Fred Steiner were doing for TV in the 60s. None But The Brave is decent but not among the best film music of the 60s. Williams's disaster movie scores have their moments, but the real turning point in his career is Jaws - which he composed when he was well into his 40s.
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Posted: |
Jul 28, 2013 - 7:05 PM
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By: |
Bill Finn
(Member)
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A subject that I've given more than a little thought to. As much music as film composers
need to write just to sustain their careers, it's a wonder that any of them have anything left
after a certain age. Many brilliant composers seem to spend their final years of composing, just
kind of repeating things that they already did much better, when they were younger.
The first composer that I remember noticing his 'career trajectory' was Alfred Newman. I don't
suppose that I'm the biggest 'golden age' fan out there, but it's kind of where I began, And I don't remember any 'golden age' composer or even any 'silver age' composer, going out with the bang that Newman seemingly had. I mean c'mon, TGSET, HTWWW, Counterfeit Traitor, Nevada Smith and then AIRPORT? The guy just never seemed to stop improving as a composer in my opinion.
And this was following a MAJOR career of scoring pictures. I'm consistently in awe of Newman's ability to improve his composing.
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