Personally I have a far greater fondness for the scores Goldsmith took and "concert-ized" not to have synths.
I love the purely orchestral versions of his "Twilight Zone" end title heard on numerous compilation albums and the incredibly lush, passionate symphonic version of his "Russia House" theme (not a fan of sax and synth so the original's just not for me), or the orchestra-only overture from "Supergirl" without the annoying synth whooshes plaguing the rest of the score.
I still think his best overall singular piece must be his "Agony and the Ecstasy" prologue music. It's an absolute masterwork - So decadent, elegant, classically-rich, passionate and well-structured. Sounds like something Ottorino Respighi might have written, and yet it's still clearly "Jerry".
Wow Bob -- I also happen to think that's the greatest and most perfect composition he ever wrote, though I can't say I hear a lot of Respighi in it (though maybe a hint of Rozsa).
As far as orchestral adaptations, I'd love a new complete recording of Under Fire, with orchestral alternatives supplanting the majority of the synths.
Wow Bob -- I also happen to think that's the greatest and most perfect composition he ever wrote, though I can't say I hear a lot of Respighi in it (though maybe a hint of Rozsa).
As far as orchestral adaptations, I'd love a new complete recording of Under Fire, with orchestral alternatives supplanting the majority of the synths.
Yavar
Yavar, check out Respighi's Trittico Botticelliano if you haven't heard that piece, or some of his neo-baroque compositions... You'll hear it, just an influence, but it sure sounds like it's cut from the same clothe to me.
