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 Posted:   Nov 4, 2014 - 9:01 PM   
 By:   Yavar Moradi   (Member)

Thanks Joan. I find that the more I listen to Goldsmith, the more I like him and the less I dislike the things that used to bug me. Kinda like Shostakovich in that way...I used to find much of his music very grating and now he's my favorite Russian composer. With other composers I find that over the years listening to their music more and more some of their stylistic traits annoy me. I can't help but be bored by some (not all by any means) of Barry's or Horner's scores and unlike with most Goldsmith works they don't reveal more of interest with subsequent listens. A lot of Tchaikovsky's music I still love, but some of his stuff now strikes me as less than brilliant. I guess it's a matter of taste in the end but I do believe some composers tend to reward relistening more than others.

Modern composers I most admire and don't get bored with or burnt out on include Beltrami, Giacchino, Powell, Newton Howard (okay, some of his stuff bores me but when he's ON I love him as almost as much as Goldsmith), Portman (like Howard dr can sometimes be on autopilot but listen a masterpiece like Never Let Me Go means she must be on the list), Shore, and Korzeniowski. Also in television Murray Gold's work for Doctor Who has often wowed me...


 Posted:   Nov 5, 2014 - 6:01 AM   
 By:   Smitty   (Member)

Yes, sooner or later I buy every new Goldsmith issue. I really got obsessed with him around 2002 or so, and it's only gotten worse since then. smile Back in the 90s I was just as much a fan of Williams or Horner or Elfman or the only composers who come close to my love of Goldsmith are Bernstein, Poledouris, and Rozsa (all three of which I've created similar threads for, I just unfortunately don't have cause to regularly update them because labels don't release their work nearly as often). Other composers on that level of obsession for me for whom I didn't make 'what's left' threads for are Golden-Agers Herrmann, Newman, Friedhofer, Waxman, Korngold, Webb, and Skinner...but their releases are so infrequent nowadays and so much of their music is lost that I have my doubts about whether listing all of their in expanded scores would have much of a point.

But Goldsmith has been my single favorite composer for quite some time now, so I'm glad that he at least is popular enough with so many others that the labels find it worthwhile to put out pretty much anything he ever did...except for a complete S*P*Y*S I


P.S. There are also a number of classical composers with whom I am as obsessed as I am with Goldsmith (ie. I am to own and appreciate their complete works): Shostakovich, Saint-Saens, Sibelius, Barber, Raff, Mahler, Dvorak, and a handful of others who are lesser-known...

You are certainly a learned listener, Yavar. Your enthusiasm is good for the hobby. It seems that many other collectors mostly stick to blockbusters and sci-fi stuff.

 Posted:   Nov 5, 2014 - 3:45 PM   
 By:   Yavar Moradi   (Member)

Hey, I'm very drawn to blockbusters and sci-fi stuff least I was until they all started sounding alike about 15 years ago! (I know, that's an exaggeration -- some composers definitely stand out, like Powell...or Giacchino with John Carter. But when a truly great composer like Patrick Doyle has to town down his style and fit in the "Remote Control mold" for his big blockbuster scores, it's a tragedy.)

You know where I think most people have a blind spot? We've got tons of people who love classical music. We've got tons of people who love current stuff, or stuff from what's called the Golden Age, Silver Age, or what I long ago termed the "Bronze Age" (for the return of Golden Age-ish writing, heralded by John Williams and Star Wars, which started in the mid-70s and in some ways lasted until at least the 90s, alongside music that was very much not in that vein).

What we don't have is people who are vocally enthusiastic about film music *before* the "Golden Age"...I am of course referring to original orchestral music written for silent films. It really surprises me just how many people think Max Steiner invented original Hollywood scoring in the 30s. He may have introduced some helpful developments, but before him there was Huppertz's great score to Metropolis, or (one of the first film scores,) Saint-Saens's Assassination of the Duke d'Guise, or this excellent music Florent Schmitt wrote for Salammbo, which our own Doug Adams was interviewed about:

I guess this kind of stuff tends to get lumped in with "Golden Age" if it's thought of at all, but man, there was a lot of awesome orchestral music being written for films long before Max Steiner ever showed up. I guess it's just a generational thing. "Golden Age" scores are selling less and less because the people who were around when the films came out have sadly been leaving us. Those who were around when the silent age of cinema was in full flower have already been gone for a while. But it feels like even when they were still alive the era was kinda being ignored. In the big film music renaissance of the 70s, it's not like Gerhardt or Bernstein included Florent Schmitt along with Korngold/Rozsa/Newman/Waxman/etc. in their surveys of old Hollywood film music....


 Posted:   Nov 5, 2014 - 4:05 PM   
 By:   joan hue   (Member)

I admit, Yavar, to being ignorant about silent movie scores. I've never really been able to sit through hours of silent movies. (On the other hand, I did watch all of Greed.) I think I associate music in silent films with mickey-mousing music because all the emotions are depicted by the music. My bad.

I certainly to agree with your statement that certain, "composers tend to reward relistening more than others." Some just provide me with layer after layer of new discoveries.

 Posted:   Nov 5, 2014 - 4:12 PM   
 By:   Yavar Moradi   (Member)

Hehe...I must admit to not being big on most silent movies; I mainly love the scores themselves! But then I often love scores to films I've never seen and probably won't ever see. I guess I'm kinda like Thor in that on album I'm able to view them as a completely separate, independent art form even though the music was originally subservient to a film (which isn't to say that there aren't many great scores I love in the films, sometimes more so than on CD).

Unlike Thor though I far prefer not to have a version of the music that's already been edited down for me. smile


 Posted:   Nov 5, 2014 - 9:03 PM   
 By:   Mr. Jack   (Member)

Mrs. Brisby continues to mourn the lack of a complete Secret Of NIMH...

 Posted:   Nov 6, 2014 - 11:06 PM   
 By:   Death Incarnate   (Member)

Rather amazing Gremlins 2 has still not been expanded. Although admittedly, the original Varese release has all the essential stuff.

I think Basic Instinct Jerry's masterpiece, and I don't like the mastering job on the Prometheus release. The best track, Games Are Over, is SO soft it's irritating.

 Posted:   Nov 18, 2014 - 9:55 AM   
 By:   Yavar Moradi   (Member)

I agree the Prometheus was a little lacking in the mastering dept. and it definitely could use better liner notes and art design! Since it's one of the few 90s titles that Varese apparently doesn't hold in perpetuity, I hope LLL tackles it at some point with Mike Mattessino, Jeff Bond, and Jim Titus doing what they do best! Plus then the unreleased film takes of some cues can finally be released.

As for Gremlins 2, I hope it's coming out in the recently announced December Varese batch! At least there's a decent chance of *some* Goldsmith title they control (because they did so many) getting the Deluxe treatment this year. Or maybe they'll do NIMH out of the blue...


 Posted:   Nov 18, 2014 - 10:31 AM   
 By:   solium   (Member)

Mrs. Brisby continues to mourn the lack of a complete Secret Of NIMH...

I continue to mourn as well.

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