Interviewer: Mr. Goldenthal, Besides having expanded the runtime of the show, what else has changed from that previous production?
Elliot Goldenthal: Everything has changed. There was a fragment of some melody that was in the original production but everything, 99% is absolutely new. That Elliot Goldenthal is dead and buried in a parking lot somewhere under three feet of asphalt [Laughs]. That Elliot Goldenthal doesn't exist anymore.
yesterday I got the cd, listening to it right now for the third time. I don't want to sound disrespectful towards the estimable mr. Goldenthal, but I am only grateful that I paid "only" 8 pounds for these 25 minutes of atmospheric but aimless meandering. This is not going to make it in my cd collection, alas...a really underwhelming release.
The recording times aren't really relevant.....classical music having multiple recordings with varying (sometimes widely so) recordings dates on the same disc as a new release is hardly uncommon. Nor is different orchestras.
They are, however, both on Goldenthal's personal label (right?) which is why I asked that question. It's kinda a bummer.
I don't understand why it's a bummer? John Adams Pulitzer Prize and Grammy winning "On the Transmigration of Souls" is 22 minutes and priced as a full CD. It's quality in classical music.(or supposed to be). Philip Glass Seventh Symphony is like 33 minutes. In film music when they record often 90 plus minutes then only release 40 on album it was a great disappointment always. Nowadays that changed.
However in this case I'm happy to support these projects. Just bought that whole album at $11.99 on iTunes just for Horner's Double Concerto (I refuse to say Pas de Deux, dumb title). With film music the music album is a byproduct of something that's already recorded. In the case of these classical things, whether the recordings make money or not you have to pay the musicians tens of thousands of dollars. They almost never make their money back and if they do it takes years.
Totally. I think it's acknowledged in the liner notes but ultimately no different from Korngold using material from his film scores in his very famous Violin Concerto, Mahler re-using songs in his Symphonies like Nos.1 and 2, or again like Philip Glass taking "The Unutterable" from Powaqqatsi and using it in his Symphony No.7
I was glad to hear Final Fantasy explored and expanded in this way...the same thing with the bits from sphere. I always wondered what film composers would do if given more time and room for development.
Goldenthal's Symphony will have its Euro premiere with the Bruckner Orchester Linz in September.
Hey Smaug, there's this guy who uses bits of Goldenthal's music as samples in his work. Now does one need to get permission or whatever from the artist (Goldenthal in this case) first in order to publish those works online like ytube, soundcloud etc.?
As always, film composers aren't the owners (publishers) of their own music. I believe Demolition Man is Warner Bros.? And they do not seem to care about stuff like this.
