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Posted: |
Apr 18, 2013 - 1:27 PM
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By: |
DavidCorkum
(Member)
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I'm definitely driven to hear all of his work and if that makes me a bottle cap collector so be it--that doesn't mean I adore every bottle cap, I'm just fascinated by finding out how each bottle cap fits into the larger portrait.
(This thread has gone off topic, but anyhoo...) I've collected everything released of Goldsmith's and while I certainly find some scores more entertaining than others, I've become so accustomed to his musical "voice", that hearing it from every slightly different direction, having it applied to different subjects, is always at least interesting, if not necessarily involving. Regardless of how one perceives his shifts in styles or complexity, he remained consistent in his ability to find the right voice for every movie. From Patton to Angie, he always wrote the right score.
I think the lack of respect he might have had in scoring light dramas and comedies might have stemmed from the fact that he had peers in other composers that could handle the subject matters as well, as opposed to action and films with odd combination of elements (I was just thinking the other day, Man I wish he had done Westworld), where he had few or any peers. Lots of people could have scored IQ, but nobody else could have come up with Planet of the Apes. But technically he scored each as well.
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And one correction--on Lawrence of Arabia, apparently the tapes aren't lost, they've just been in legal limbo forever--so until that changes, the Tadlow rerecording is still the best option for experiencing the complete score outside the movie.
Jeff, I got the Soundtrack CD in the LAWRENCE blu-ray box set, and it's all-too-obvious it was transferred from later-generation sources. I just find it hard to believe that Sony would go to the Nth degree to restore LAWRENCE digitally, but wouldn't pony up for the score session masters. But whadda I know?
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Unfortunately audiences often feel the same way and reject music that's done in the way we collectors might want it to be done in--they're used to listening to other kinds of music, not orchestral music, and so to them it sounds old fashioned or overly manipulative whenever they hear a melody or an expressive instrumental performance.
I think the Golden and Silver Age stuff is still considered too "canon" by contemporary audiences and more than a few composers. We aficionados of the '50s-'70s scores have done very well at creating a genre bubble for ourselves where continual remastering keeps peeling off layers of sonic mud.
If Korngold and Steiner were considered passe by audiences by the late '50s, I'd say Goldsmith, Jarre, Barry and J. Williams have, over the past two decades, been shunted into the same category by newer audiences that have heard way too many pastiches of their work.
But we're still close to the beginning of a cycle of reassessment with all the hi-def remasterings of both films and scores of the Golden and Silver Age. I think there will be a concomitant reinvigoration of future work as the younglings grasp what we've given up since then.
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