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Hi A&C
so true, during the last 3-4 years i digitized old albums and reevaluated scores like this and had the same impression.
good example: "Take a hard ride", own all releases and like it, but now it ranks so much higher, its a pure gem and surely the album with my most relistenings in the last 3 years, so much energy and fun, there are cues that gets 3-4 repeat listenings, never had this on the first release. In fact it had something to do with more understanding and listening experience of music.
Indeed! There is so much delight in re-discovering older works. In reality, I'd be tempted to call it "discovering" because even though we may listened to the music in the past without it leaving much of an impression, we've finally reached a (the) point where we can appreciate it fully, seeing it (hearing it) seemingly for the first time (and as an added bonus, getting the same kind of thrill we've had for other works - a delayed "falling in love at first sight" of sort).
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I am really digging this score, and one of the primary reasons is JG's use of the triangle, an instrument for which I have an undying appreciation (any score with heavy triangle will attract me like bees to honey). To hear a triangle prominently used in a score from the 90s is kind of amazing to me. For the most part it seemed to me that after a long and wonderful reign in film music of the 70s, the triangle more or less died out from film scores in the 80s and forward. It's really cool to hear it in The Public Eye! The score overall is really enjoyable.
Thank you, Intrada for putting this out there to be treasured!
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I was struck by the same thing! In The Goldsmith Odyssey's soon-to-be-published Soundtrack Spotlight podcast, I called out the use of the triangle and how cool it was to hear almost two decades after its prominent usage in Shamus, the immediately previous Goldsmith premiere put out by Intrada...
Yavar
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I am really digging this score, and one of the primary reasons is JG's use of the triangle, an instrument for which I have an undying appreciation (any score with heavy triangle will attract me like bees to honey). To hear a triangle prominently used in a score from the 90s is kind of amazing to me. For the most part it seemed to me that after a long and wonderful reign in film music of the 70s, the triangle more or less died out from film scores in the 80s and forward. It's really cool to hear it in The Public Eye! The score overall is really enjoyable.
Thank you, Intrada for putting this out there to be treasured!
It's funny you should mention because the use of solo colors, whether it's a triangle or an oboe seems be a lost art. Now there just seems to be three instruments: Brass, strings, percussion. Okay in fairness there's piano solo sometimes.
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It's true, Kev. Panu Aaltio is another currently active composer who's amazing at writing for solo instruments -- Tale of a Forest awakened me to his incredible talent, and it has plenty of beautiful moments that focus on a single instrument.
I think Roger is indeed speaking about typical scoring for mainstream Hollywood films, these days. That's where the landscape has substantially changed (for the worse) since the 90s. But in foreign films, documentaries, video games, and sometimes more under-the-radar or independent fare in the US, things are not as dire as Roger describes.
And while I love the triangle usage in this score, I want to add that, for me, the solo instrumental color that *really* marks Goldsmith's rejected score for The Public Eye as unique is his use of the double bass. As soon as I listed to the Main Title that's what *really* made me sit up and take notice.
Yavar
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In related news, I picked up Mark Isham's used score, errrr, used on ebay for a fiver this past weekend.
I remember liking it in the film, but never got around to picking a copy up.
I've always enjoyed the film music of Mark Isham. Always something of interest going on.
By far my favorite Isham score. Better than the Goldsmith score, actually!
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Careful, mate.
You're gonna get run out of town with talk like that around here, Shaun.
 This Goldsmith nut doesn't read Shaun's post as putting down the Goldsmith score at all; the Goldsmith is only losing to the Isham because it's his #1 favorite Isham! (And Isham is a superb composer even if he doesn't have the stature of Goldsmith -- but few do, after all.)
Yavar
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Perhaps we should flog him anyway -- to be on the safe side.
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Perhaps we should flog him anyway -- to be on the safe side.
Yes. Best to take the safe route.
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Careful, mate.
You're gonna get run out of town with talk like that around here, Shaun.
This Goldsmith nut doesn't read Shaun's post as putting down the Goldsmith score at all; the Goldsmith is only losing to the Isham because it's his #1 favorite Isham! (And Isham is a superb composer even if he doesn't have the stature of Goldsmith -- but few do, after all.)
Yavar
Did the poster come to this conclusion by comparing the scores side by side, or by comparison with the samples? I'm asking because while one could easily, effortlesssly, surmise the superiority of Mr. Goldsmith's score from a few samples it would absolutely NOT work the other way around.
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Maybe he's comparing how Isham's score WORKED within the film against his opinion of THE VANISHING.
Nah!
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Am I the only person who really likes this Goldsmith theme FAR better in this score than either Gladiator before it or The Vanishing after it?
Yavar
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A&C said:
Did the poster come to this conclusion by comparing the scores side by side, or by comparison with the samples? I'm asking because while one could easily, effortlesssly, surmise the superiority of Mr. Goldsmith's score from a few samples it would absolutely NOT work the other way around.
Are you saying that a few samples would not give one the full brilliance of Isham's score? That one should hear the whole thing as a whole piece? If so, I have to agree, and while one might find enough in Goldsmith's samples to prefer him, if one was so predisposed by natural musical lovings, I think what you said of Isham's is also true of Goldsmith's if the samples didn't impress. It plays, and feels, best as a whole thing. It's not a little collection of themes and motifs, the sampling of which can give one a reasonable sense of the score, but a proper composition.
I think both of these scores are that. It may be one of the most novel examples of two scores for the same film, both mostly right for it, because they are so similar in some ways, the vibe, the feel, but also so clearly from different musical minds.
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Yeah, I want to say that this is the case of Goldsmith writing one of two existing scores for a film (whether he did the rejected or the replacement score) where the two scores were nearest each other, in quality. (Previously I might have said 13th Warrior of all things since I really like Revell’s approach. And I like Tyler's Timeline well enough too.)
Yavar
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