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I could never get into Legend because of the synth farts. I've listened to a few tracks and gave up. Lionheart also has annoying synths. I generally dislike the way Goldsmith uses them with a few exceptions. Pretty much a complete wash for me.
For once we agree. Goldsmith's terrible synth use in the 80s, in particular, is a pet peeve of mine (and I keep ruffling feathers around here every time I mention it). But I like some of the electronic things he did in the 60s and 70s.
Ugh! Graced once again with the same tired, unsubstantiated, "scholarly" remarks, for the 100 000th time (at the very least).
The "ignore" function is your best friend.
The synth farts in Legend are fleeting and honestly not very impactful on the work as a whole. Plus they are completely contextual.
If people concern themselves with such superficial matters, it speaks more about them than the work. And frankly, they are missing out. Their loss, not ours.
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Feel free to ressurect any of them, and I'll go into detail about my misgivings about Goldsmith's 80s synth use.
And I may join you.
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The "ignore" function is your best friend.
Yes, God forbid we speak negatively about any aspect of Goldsmith'music in this here forum. The outrage! The humanity! I didn't find the thread I was thinking about, and I didn't want to derail Kev's thread, but here are a couple of threads about the issue:
https://www.filmscoremonthly.com/board/posts.cfm?threadID=58280&forumID=1&archive=0
https://www.filmscoremonthly.com/board/posts.cfm?threadID=35735&forumID=1&archive=1
Feel free to ressurect any of them, and I'll go into detail about my misgivings about Goldsmith's 80s synth use.
I haven't put anyone on Ignore btw on the off chance they might have some good insights on a subject. Even you Thor- because on rare occasions, our listening tastes do align and I like to read your perspectives on Tangerine Dream or whomever. I don't care if everyone doesn't love Legend. I personally think they are missing out on one of the best, most refined scores we will ever see for mainstream film, but that's my viewpoint.
The kind of writing Goldsmith pulled off for Legend is not easy. Most of us could spend our entire careers working hard as we can and never come close to that level of brilliance. to be able to balance the harmonic density with transparency in the orchestration is remarkable. The manner in which he moves in and out of key centers, through chromatic modulations is as assured as Ravel. Even his use of folk song elements recalls Mahler's earlier symphonic work or Bartok's for that matter.
Anyhow, that's my perspective- and I must say, while I enjoyed Legend in the early 90s when it was first released by Silva, I've only recently become enthralled with it after years of studying and analyzing stage works of Stravinsky, Ravel, and Bartok. In many ways, Legend would have made a superior ballet as its fantastical elements would be better served outside the film world.
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I think LEGEND is a fantastic score (and hugely underrated film). I've had the Silva CD since the 90s. I just don't like the electronic elements.
Thumbs up
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Posted: |
May 9, 2021 - 2:13 AM
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By: |
Nono
(Member)
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If people concern themselves with such superficial matters, it speaks more about them than the work. And frankly, they are missing out. Their loss, not ours.
Its says not everyone likes the same things as you. Oh the horrors.
David pointed out some objective points about the composition itself, not just his likes and dislikes.
Jerry Goldsmith is not the equal of Maurice Ravel, though:
https://www.youtube.com/watch?v=nGb4jFJ47oo
https://www.youtube.com/watch?v=KgH1Sodg_Ho
It's the classical references in LEGEND which make Jerry Goldsmith's score, and even the film, so special.
There are many, all admirably unified by a composer who was at the peak of his art.
There is nothing like that in LIONHEART, even if it's an excellent score.
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Not buying into the contest except to say the LEGEND would be considered one of the greatest scores of all time if the film itself had lived up to its potential. As it stands the Darkness scenes are mesmerizing but the rest of the film is twee, campy and choppily edited. Why this wasn't obvious to all involved is a mystery. Methinks they should have been true to the original vision in which Darkness rapes the princess.
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If people concern themselves with such superficial matters, it speaks more about them than the work. And frankly, they are missing out. Their loss, not ours.
Its says not everyone likes the same things as you. Oh the horrors.
David pointed out some objective points about the composition itself, not just his likes and dislikes.
Jerry Goldsmith is not the equal of Maurice Ravel, though:
https://www.youtube.com/watch?v=nGb4jFJ47oo
https://www.youtube.com/watch?v=KgH1Sodg_Ho
It's the classical references in LEGEND which make Jerry Goldsmith's score, and even the film, so special.
There are many, all admirably unified by a composer who was at the peak of his art.
There is nothing like that in LIONHEART, even if it's an excellent score.
I think Goldsmith is every bit the equal to concert composers from the 20th century. Remember that while Ravel and his brethren had the luxury of months if not years to write their masterpieces, film composers have mere weeks or maybe a couple months to write the same amount of music. Now, would Legend exist without Daphnis et Chloe? Maybe not. But what is so compelling about it is that Goldsmith wrote original music in the style of French Impressionism rather than just quote notable concert repertoire that other composers might or would have (no names but there’s a couple that come to mind).
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If people concern themselves with such superficial matters, it speaks more about them than the work. And frankly, they are missing out. Their loss, not ours.
Its says not everyone likes the same things as you. Oh the horrors.
No one has to agree on everything but those who would dismiss a score because of an element that constitutes 1% of its totality is short changing themselves not only in this case but for other scores they might really dig if they get into them.
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Jerry Goldsmith is not the equal of Maurice Ravel…
Well, all things considered, I'd say Goldsmith is more the equal of Ravel than either Scott is to Nijinsky or Sheinberg is to Diaghilev.
Juxtaposing the two composers is an inherently false premise because, at the end of the day, Ravel always had the luxury of being his own master, and certainly never once having had to face the prospect (or the insult) of his score being put through the thresher by likes of a Rawlings.
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By the way, I wouldn't call "luxury" the working conditions of most of the classical composers.
Who did?
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