@ Mr. DavidInBerkeley: That is a wonderful documentary, and the score is not too shabby either. Really fired my imagination when I was a wee lad.
I understand that Stanley Kubrick, no less, approached the special effects supervisor while planning his Magnum Opus - 2001: A Space Odyssey.
Thanks for posting the clip.
Edit: just saw your other posts in "Music for Shorts". Yes, the score is wonderful.
Another tidbit: you may have noticed the logo in the upper left corner of the clip posted. That is the National Film Board of Canada/L'Office national du film (ONF). It is a government funded agency set up to promote Canadian film culture (yes, we are a near socialistic country, even if we like to pretend we are not ).
Yes, there is a quite prominent virtuosic passage in "Logan's Run" as Logan and Jessica start to survey the ice cave (I think "Ice Sculpture" may be the OST title). Also, there are some (tritone?) punctuations in 'Box's' theme, a sliding (two-part?) muted string thing.
Off-hand, I think Jerry Goldsmith used the celesta in A PATCH OF BLUE, MUSIC FOR ORCHESTRA, MAGIC, and THE ILLUSTRATED MAN, so yeah, he did use it a few times.
I think it's used a lot more than people might notice--Goldsmith was ingenious at doubling instruments to create unusual textures and I'm sure he integrated celeste into a lot of cues where it's not playing solo but as part of a larger fabric.
In the quiet immediately after the cacophonous splashdown in an alien lake, Goldsmith employs the celesta in dreamy runs through three variations of his E-flat serial row as the astronauts sleep chambers slide open and Taylor, Landon and Dodge come awake and begin to move about. Behind the celesta, celli harmonics doubled with a marimba create a disquieting "time-ticking" device on the E-flat pitch (while Emil Richards drums a barely perceptible E-flat on a tuned cowbell) and the violins murmur in their high registers.
To me, a perfect example of Goldsmith using the celesta.
Goldsmith used a Korg Wavestation synth celesta for Basic Instinct. Looking at a lot of the written scores that have been published, it appears that perhaps the great majority of scores recorded in Hollywood after 1985 or so that I though used celesta was in fact using a synth version (Home Alone, Batman Returns, etc).
In the quiet immediately after the cacophonous splashdown in an alien lake, Goldsmith employs the celesta in dreamy runs through three variations of his E-flat serial row as the astronauts sleep chambers slide open and Taylor, Landon and Dodge come awake and begin to move about. Behind the celesta, celli harmonics doubled with a marimba create a disquieting "time-ticking" device on the E-flat pitch (while Emil Richards drums a barely perceptible E-flat on a tuned cowbell) and the violins murmur in their high registers.
To me, a perfect example of Goldsmith using the celesta.
Excellent video from the world's only celesta manufacturer. Also... The Shining soundtrack featured Bartok's "Music for Stings, Percussion and Celesta"
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