This to me was always one of Goldsmith's little known treasures. Scored for chamber ensemble, it conveyed that high-brow world that the characters were entrenched in. His writing in this score is probably the closest he got to concert styled approach in his film scores, at least in the latter part of his career. I like how the music modulates back and forth from classical to jazz. It's a really splendid score although I don't care for the dialogue on the soundtrack. Hope some label releases a better version of this fine score someday.
This to me was always one of Goldsmith's little known treasures. Scored for chamber ensemble, it conveyed that high-brow world that the characters were entrenched in. His writing in this score is probably the closest he got to concert styled approach in his film scores, at least in the latter part of his career. I like how the music modulates back and forth from classical to jazz. It's a really splendid score although I don't care for the dialogue on the soundtrack. Hope some label releases a better version of this fine score someday.
I also think this is an underrated little gem. I have been hoping for a re-release, of course without the dialogue.
Isn't the dialogue on separate tracks from the music? Pretty easy to avoid. I like this score, but it's only fifteen minutes, so I can see how including dialogue was the only way to pad it to any sort of album length.
If one listens closely, Goldsmith used some of the same rhythmic figures as in his bigger action scores. I'm not saying he copied himself, but more to those who might not like this score- try it again and see if you can hear the stylistic similarities between this and his broader scores. It's there.
The dialogue completely ruined this otherwise interesting album. This is a very short score, so it needs to be paired with something else when/if they do it again.
One thing I came away with from watching the film was the absolutely perfect way the very end of the movie was scored. I do think Goldsmith was writing against the grain in some of his later scores where he would shift into jazz; I sometimes think he did it because especially in end credits (like The Edge) he could just set a tempo and let the players improvise and that would fill up five minutes. And there was usually a reason for it (the shift back from the wilderness to civilization in The Edge for example) but it didn't seem to reflect the culture otherwise but more an effective shortcut and Goldsmith doing his own thing.
