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I am glad that you have found the recent download release of my new recording of the "Toccata" of Jerry Goldsmith.
There are two additional ones to follow over the next several days:
1. "Prelude for Laurindo" - Henry Mancini
2. "Ballad for a Westerner" - Alex North
These original compositions for guitar have not been heard or recorded for over 50 years until now...
Here is the scoop:
In the late 50's Brazilian guitarist Laurindo Almeida, a Capitol Records recording artist, commissioned these three composers just at the start of their illustrious careers to write something for the instrument. As both Mancini and Goldsmith studied with Mario Castelnuovo-Tedesco who wrote extensively for Andres Segovia and the guitar, there was a logical contact there. The result were these three pieces.
I think that you will enjoy the Mancini and North pieces - the Mancini is very much recognizable and the North is more in the generic Western style, but both boast great tunes and firm construction.
You can see these and other film scores thru the following link
http://www.amazon.com/s/ref=nb_ss?url=search-alias%3Ddigital-music&field-keywords=gregg+nestor&x=0&y=0
I am also in touch with a great biographer and researcher on Goldsmith. Here is his recent correspondence that might interest you:
(By the way, in a previous correspondence, he mentioned that Goldsmith in 2004 destroyed most if not all of his remaining unreleased concert works and manuscripts, so we may not know what else was there...)
Gregg:
I think you probably are right about the date. (referring to the album notes)The films mentioned in relation to Mancini, as you know, is from 1954 and 1958. A couple of years later and Breakfast at Tiffany's (1961) would probably have been mentioned. As well regarding Jerry, his (big) break in films was not until 1962 with Lonely are the Brave, and is here referred to mostly as a Tv-composer. But Toccata might have been written a bit earlier of course, depending if it was written for the recording or an earlier performance.
Anyway, all this is very interesting. I have never read or heard anything about this piece, and did not know it existed. I did know, by the way, that some chamber stuff of course was written, but never that I would get my hand on anything. Thanks to knowing Mark(composer Mark McKenzie), now I am very glad to know about it and have a wonderful recording of it, thanks to you.
A very typical trait of Jerry's technique, as you may know, is the use of pedal point, in all kinds of manners, and it is interesting to see that he also uses it in this piece. After spending some more time with the recording, I might get back to both of you, to see if you have any thoughts on the composition.
Interesting to hear that you had a connection with Clara Tedesco, and Rozsa! I looked briefly at the interviews and will return to them. Interesting also, to remember that Jerry was Rozsa's student for a couple of years at USC.
Jerry once said that the first note you write will never be a masterpiece, it's all just part of a long process. Interesting to think about regarding this piece, that this composer over time were going to give us magnificent works.
Thank you again, Gregg. I will stay in touch.
Hans Offerdal
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Posted: |
Jan 9, 2010 - 9:30 AM
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By: |
Trekfan
(Member)
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...JG was writing a Cello Concerto produced by James William Guercio (whoever he was)...
James William Guercio was a producer, most notably of the band Chicago's earliest albums (back when they were doing that great naturalistic rock/jazz thing, before the David Foster 1980s years and beyond) and Blood, Sweat & Tears - http://en.wikipedia.org/wiki/James_William_Guercio . I would pour through my parents' vinyl collection as a kid and especially as a teen and recalled that name on some of those albums - just reading he did 11 albums with Chicago in total.
Actually, Guercio's involvement with Goldsmith would have been interesting. I've seen a bit of old footage of Guercio working with Chicago, and interviewed, and based on what I've read from Chicago's band members, there was respect for Guercio as the "real deal" who helped to shape the band's sound and channel their energy and it was Guercio who had a distinct, almost "classical" vision for the albums (long instrumentals, tracks arranged in "suites", numbered albums only, no band photos just a logo, etc.).
As for what capacity Guercio would have "produced" Goldsmith's work from an artistic sense, I suppose the whole "album" concept - maybe more in the promotion and "big event" advisement with getting it out there, how to conceptualize the work for album release, that kind of thing. He did have experience producing those Chicago albums which included the aforementioned instrumentals or suites. Guercio is still alive, maybe somebody will ask him at some point more about what was planned. 
From "Billboard" magazine, April 27, 1974 ( http://books.google.com/books?id=dAkEAAAAMBAJ ):
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Posted: |
Jan 9, 2010 - 11:44 AM
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By: |
mrscott
(Member)
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...JG was writing a Cello Concerto produced by James William Guercio (whoever he was)...
James William Guercio was a producer, most notably of the band Chicago's earliest albums (back when they were doing that great naturalistic rock/jazz thing, before the David Foster 1980s years and beyond) and Blood, Sweat & Tears - http://en.wikipedia.org/wiki/James_William_Guercio . I would pour through my parents' vinyl collection as a kid and especially as a teen and recalled that name on some of those albums - just reading he did 11 albums with Chicago in total.
Actually, Guercio's involvement with Goldsmith would have been interesting. I've seen a bit of old footage of Guercio working with Chicago, and interviewed, and based on what I've read from Chicago's band members, there was respect for Guercio as the "real deal" who helped to shape the band's sound and channel their energy and it was Guercio who had a distinct, almost "classical" vision for the albums (long instrumentals, tracks arranged in "suites", numbered albums only, no band photos just a logo, etc.).
As for what capacity Guercio would have "produced" Goldsmith's work from an artistic sense, I suppose the whole "album" concept - maybe more in the promotion and "big event" advisement with getting it out there, how to conceptualize the work for album release, that kind of thing. He did have experience producing those Chicago albums which included the aforementioned instrumentals or suites. Guercio is still alive, maybe somebody will ask him at some point more about what was planned.
From "Billboard" magazine, April 27, 1974 ( http://books.google.com/books?id=dAkEAAAAMBAJ ):
I forgot that the title of the work was Quadrants. Guercio should be asked what happened to the unfinished work before it is too late. Perhaps he has access to any sheet music that might still exist. I remember that it was Variety that published the notice and did not see it in Billboard. If you research JG you will find also that he took a battle with Union appointed attorneys all the way to the Supreme Court to void out a payment issue in which they demanded long term money based on his ongoing earnings. As to the issue of his concert works sounding like specific film music I can only site Planet of the Apes and Christus Apollo. However every concert work he did sounded like it came from somewhere in his film music canon. When visiting his office and home I found no evidence that he showed any interest in displaying references to any non film music works while everywhere were film posters from his movies. I pointed out elswhere how proud he was of his Patton poster signed by Franklin Schafner. Not a single concert works item was on display in the public area of his office or in his working studio upstaris. When all is said and done I think concert works was an area he was expected to be involved in to be considered a "serious composer" but not the life he wanted to lead. Being the best there was or might ever be should have been enough. Perhaps the general lack of recognition by the Oscar folks hurt more than we think. After his death when the Oscar's did their annual review of industry figures who have passed on I remember both JG and Elmer Bernstein only getting light polite applause. I was ashamed of the folks in the audience. Even Roy Rogers wife Dale Evans star of many a film and TV show received more applause when she departed the scene. Dale deserved the applause but to shirk people of the importance and talent of JG and EB was shameful. Hope I didn't go to far off course. I am having lots of senior moments.
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I look forward to this becoming available outside the continental US.
Try AMAZON.UK, I think you can download from there if you live in Canada...
Try it and let me know.
Ford A. Thaxton
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Disco version? Link us up, man.
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Posted: |
Jan 9, 2010 - 7:03 PM
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By: |
Mr Drive
(Member)
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I'd like to see some examples cited of Goldsmith's concert works being "arrangements of his film works."
I think I was referring to this:
www.jerrygoldsmithonline.com/works_concertworks&ballet.htm
I'm not sure if Goldsmith was actively involved in any of these, from the liner notes of Telarc's Christus Apollo it's not really clear:
For the theater, Goldsmith's music has graced three ballets. Othello premiered in 1971 and is now in the permanent repertoire of the National Ballet of Australia; A Patch of Blue was choreographed for the San Francisco Ballet in 1970; and in the spring of 1989 his score for Capricorn One was adapted and presented by BalletMet in Columbus, Ohio.
Though this seems to indicate something, if it's true:
Mr. Goldsmith's accomplishments have not been limited to his successes in Hollywood. His "Music for Orchestra" was premiered during the 1971-72 season of the St. Louis Symphony under the direction of Leonard Slatkin and performed again by Esa-Pekka Salonen and the Los Angeles Philharmonic on subscription programs in March 1998. For the theater he has written two ballets: "Othello," premiered in 1971 and now in the permanent repertoire of the Australian Ballet, and "A Patch of Blue," choreographed for the San Francisco Ballet in 1970.
- from www.tourdates.co.uk/jerry-goldsmith
Another one:
Goldsmith also wrote a cantata, Christus Apollo, with words by the science fiction novelist Ray Bradbury, and was commissioned by the Los Angeles Philharmonic for Fireworks: A Celebration of Los Angeles (1999). He was often a guest composer with notable orchestras. He lectured at UCLA's Music Department and adapted three ballets from his music: Othello (1971), now in the repertoire of the National Ballet of Australia; A Patch of Blue (for San Francisco Ballet, 1970) and Capricorn One (for BalletMet, Colombus, Ohio, 1989).
- from www.telegraph.co.uk/news/obituaries/1467705/Jerry-Goldsmith.html
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Posted: |
Jan 9, 2010 - 7:24 PM
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By: |
mrscott
(Member)
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I'd like to see some examples cited of Goldsmith's concert works being "arrangements of his film works."
I think I was referring to this:
www.jerrygoldsmithonline.com/works_concertworks&ballet.htm
I'm not sure if Goldsmith was actively involved in any of these, from the liner notes of Telarc's Christus Apollo it's not really clear:
For the theater, Goldsmith's music has graced three ballets. Othello premiered in 1971 and is now in the permanent repertoire of the National Ballet of Australia; A Patch of Blue was choreographed for the San Francisco Ballet in 1970; and in the spring of 1989 his score for Capricorn One was adapted and presented by BalletMet in Columbus, Ohio.
Though this seems to indicate something, if it's true:
Mr. Goldsmith's accomplishments have not been limited to his successes in Hollywood. His "Music for Orchestra" was premiered during the 1971-72 season of the St. Louis Symphony under the direction of Leonard Slatkin and performed again by Esa-Pekka Salonen and the Los Angeles Philharmonic on subscription programs in March 1998. For the theater he has written two ballets: "Othello," premiered in 1971 and now in the permanent repertoire of the Australian Ballet, and "A Patch of Blue," choreographed for the San Francisco Ballet in 1970.
- from www.tourdates.co.uk/jerry-goldsmith
Another one:
Goldsmith also wrote a cantata, Christus Apollo, with words by the science fiction novelist Ray Bradbury, and was commissioned by the Los Angeles Philharmonic for Fireworks: A Celebration of Los Angeles (1999). He was often a guest composer with notable orchestras. He lectured at UCLA's Music Department and adapted three ballets from his music: Othello (1971), now in the repertoire of the National Ballet of Australia; A Patch of Blue (for San Francisco Ballet, 1970) and Capricorn One (for BalletMet, Colombus, Ohio, 1989).
- from www.telegraph.co.uk/news/obituaries/1467705/Jerry-Goldsmith.html
Hey, next time you are at www.jerrygoldsmithonline.com be sure to check out the Spotlight section and you can read my articles on Nightcrossing and Small Soldiers. Lots of pix too. I am looking for the Planet of the Apes Disco link version. I think it was used in Saturday Night Fever. I remember wearing my disco suit (which I still have but only wear nowadays to weddings and the mall) and taking my 1st disco steps to this piece. It might have been by the BeeGees.
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