There's really no similarity there - or just about the same as in countless other 20th century works. Personally I've never heard that J.G. referred to ST:TMP as his "Vaughan Williams score", and it seems utterly ludicrous to me. I've been a admirer of both composers for more than 20 years, and it never ever occurred to me that there's a connection (nor did I come across any prior film music scholarly writing indicating that much) - not even in the Main Title of "The Illustrated Man".
Now, John Williams's WAR HORSE and Vaughan Williams - THERE's a connection.
I've heard that Goldsmith called it his "Vaughan Williams" score, it's been quoted around this board oft times. Whether the quote is true or where it originally comes from I do not know.
Perhaps someone who knows more can enlighten on this?
Great piece of Vaughan Williams that! Big influence on a lot of Goldsmith scores (POLTERGEIST, FIRST KNIGHT...). We all know the Debussy and Ravel stories, but I think Ralph should be claiming for a bit more recognition among score fans in mid-to-late-career Goldsmith appreciation.
Great piece of Vaughan Williams that! Big influence on a lot of Goldsmith scores (POLTERGEIST, FIRST KNIGHT...). We all know the Debussy and Ravel stories, but I think Ralph should be claiming for a bit more recognition among score fans in mid-to-late-career Goldsmith appreciation.
Didn't Goldsmith himself stated then during writing Star Trek he was 'going through a Vaughan Williams-period' (or words to that effect)?
