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Working my way through the 12 new ones in my collection. That'll take me about a year. My inane comments on THE SILVER CHALICE (which I haven't heard yet) and ISLANDS IN THE STREAM will follow in due course. I'm afraid I can only offer total enthusiasm for the FSM Goldsmith CD. I can hear many influences in it, not really from any film scores but rather from classical works - off the top of my head there's some Britten in there (one of his "Four Sea Interludes" appropriately). Are there really direct quotes from Herrmann's G AND MRS M? Point them out to us please, WA. It's all part of my learning curve.
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Working my way through the 12 new ones in my collection. That'll take me about a year. My inane comments on THE SILVER CHALICE (which I haven't heard yet) and ISLANDS IN THE STREAM will follow in due course. I'm afraid I can only offer total enthusiasm for the FSM Goldsmith CD. I can hear many influences in it, not really from any film scores but rather from classical works - off the top of my head there's some Britten in there (one of his "Four Sea Interludes" appropriately). Are there really direct quotes from Herrmann's G AND MRS M? Point them out to us please, WA. It's all part of my learning curve.
There's a descending melodic line that is almost identical to the same in G&MM. He even puts it through the same scalar variations, including Bernard's diminished minor incarnations. In other words, even the transformations of (more than one of) the themes follows in line with what Bernard was doing in that early (and in regard to the bulk of his mid-to-latter era music somewhat atypical for him) score. To be fair (to a great film composer like Goldsmith), he might have wanted exactly that: to express his admiration on a deeper level musically. The overwhelming majority of casual listeners might not notice it at all (and there's nothing wrong with that).
I know you probably listen attentively, however give the CD another try and listen for it. It's recurs, as do some other obvious nods. Try them back to back; one of the reasons they were so obvious to me is because I lengthily pored over the G&MM score and scholarly work regarding. It's one of my favorite scores, and I believe even Bernard might have liked that one best.
I should mention, if Jerry did mean it as an homage, there's absolutely nothing wrong with that either. I love Bernard's music, and Islands in the Stream was certainly nautical. The music fit either way...I just expected more of Goldsmith's unique, idiosyncratic themes as well as his gift for different (and at times seemingly magic-making orchestral coloring).
I wanted Goldsmith being Goldsmith (see "QB VII", as expressive and representive a work as there is in the art world imo). That said, for what it is, it's a tremendously well orchestrated, arranged, and conducted piece that I certainly couldn't blame anyone for liking. It's not what I like.
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Hmm, interesting. I'm pretty sure though that even if I do find the "borrowings" from Herrmann's score, it won't make me suddenly go off ISLANDS IN THE STREAM. I'd never mistake any of it for the work of someone else, despite the channelings or homages or however we wish to call it.
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Hmm, interesting. I'm pretty sure though that even if I do find the "borrowings" from Herrmann's score, it won't make me suddenly go off ISLANDS IN THE STREAM. I'd never mistake any of it for the work of someone else, despite the channelings or homages or however we wish to call it.
There's nothing wrong with liking what you like. I'd never tell anyone that. You asked me in the spirit of education (forgive me if those aren't the exact words) and I told you.
No one wants you to stop liking what you like. The truth (from a purely musical and not subjective perspective) is the truth. From a subjective perspective, I just don't like it.
No, I don't think people will necessarily notice the homage (after all, we score lovers are a minority in this music world today). Even I don't have a problem with it, it just wasn't what I was looking for from the (obviously amazing) Jerry. I love Jerry for his musical personality, and can't enough of that (especially since Yavar's reccomendations of QB VII and Blue Max, which imo are terrific...and yes I love the old horror stuff too!  ).
Like what you like, Graham...music's there for everybody
I'm 99% sure you already knew at least most of what I wrote, so again forgive me for redundancy my friend.
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No problems here with anything said. On with the show!
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SHERLOCK s.4
STRANGER THINGS s.2
add
DEXTER THE FINAL SEASON (actually Dec )
APOCALYPSE NOW
STAR TREK FIRST CONTACT
for me , this is a splurge!
b
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Poltergeist. Never heard this one outside of the (bizarrely unscary but good) movie. Really getting more into maestro Jerry now, so looking forward.
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You found the FSM edition, I hope?
Yavar
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You found the FSM edition, I hope?
Yavar
I wish. Just the old Rhino. I had to give in on this one: the prices were simply too exorbitant, and I am thinking about that Treasury more and more (before it's too late).
In the meantime, can't thank you enough about the QB VII recommendation. Hollywood, Breaking Up, Wailing Wall, Papa's Funeral...that's quite the range of emotions there. This is a superb score which I believe came out during a whole year of great scores.
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Hodet Over Vannet - (EP with music from Norwegian movie from 1993, one track of score composed by Kjetil Bjerkestrand)
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