In the mid-80s Goldsmith made a number of recordings in Budapest, with the Hungarian State Opera Orchestra. No doubt because of budget issues the movie producers had, not because he actually would have WANTED to record there.
Among the scores recorded in Budapest were Hoosiers, King Solomon's Mines, Lionheart & his own re-recording of Islands in the Stream.
The thread title could also refer to a stylistic "Hungarian phase", specifically the big influence of composer Bela Bartok on many of his 60's and 70's scores. This influence decreased somewhat during the following decades.
The thread title could also refer to a stylistic "Hungarian phase", specifically the big influence of composer Bela Bartok on many of his 60's and 70's scores. This influence decreased somewhat during the following decades.
I was thinking the same thing. I missed the more prominent Bartók influence in Goldsmith's scores in later years, but he did return to it more fully in TOTAL RECALL, his film score "Concerto for Orchestra".
I don't think there was a specific Bartók phase in Goldsmith's career. The influence of the great Hungarian composer is evident in all of his music, in scores like ALONG CAME A SPIDER as much as in his earlier work.
Oh. I was thinking of style of music. Recording in Hungary went over my head, for some reason.
I'm in a minority on this, but I enjoy EXTREME PREJUDICE greatly. The performance is pretty good, too. KING SOLOMON'S MINES is another fine score/performance.
