For about a decade, I was a rabid movie soundtrack fan, collecting CD’s of as many movie soundtracks as possible. I believe there were a certain group of movie soundtrack creators that have had influence on how we see movies, not really understanding how much the music is part of and can make a movie.
Today’s Soundtrack Composer: Jerry Goldsmith.:
Jerrald King “Jerry” Goldsmith (February 10, 1929 – July 21, 2004) was an American composer and conductor most known for his work in film and television scoring.
He composed scores for such noteworthy films as The Sand Pebbles,”Logan’s Run”,”Planet of the Apes, Patton, Chinatown, The Wind and the Lion, The Omen, The Boys from Brazil, Night Crossing, Alien, Poltergeist, The Secret of NIMH, Gremlins, Hoosiers, Total Recall, Basic Instinct, Rudy, Air Force One, L.A. Confidential, Mulan, The Mummy, three Rambo films, and five Star Trek films. He was nominated for six Grammy Awards, nine Golden Globe Awards, four British Academy Film Awards, and eighteen Academy Awards. In 1976, he was awarded an Oscar for The Omen.
He collaborated with some of film history’s most prolific directors, including Robert Wise (The Sand Pebbles, Star Trek: The Motion Picture), Howard Hawks (Rio Lobo), Otto Preminger (In Harm’s Way), Joe Dante (The Gremlins Duology, The ‘Burbs, Small Soldiers), Roman Polanski (Chinatown), Ridley Scott (Alien, Legend), Steven Spielberg (Twilight Zone: The Movie), and Paul Verhoeven (Total Recall, Basic Instinct, Hollow Man). However, his most notable collaboration was arguably that of with Franklin J. Schaffner, for whom Goldsmith scored such films as Planet of the Apes, Patton, Papillon, and The Boys from Brazil.
Style and influences
Goldsmith was greatly influenced by movements of early 20th-century classical music, notably Modernism, Americana, Impressionism, Dodecaphonism, and early film scores. He has cited Igor Stravinsky, Aaron Copland, Miklós Rózsa, Bernard Herrmann, Béla Bartók, and Alban Berg, among others, as some of the main influences to his style of composition.
His composition style has been noted for its unique instrumentation, utilizing a vast array of ethnic instruments, recorded sounds, synthetic textures, and the traditional orchestra, often concurrently.
Jerry Goldsmith has often been considered one of film music history’s most innovative and influential composers. While presenting Goldsmith with a Career Achievement Award from the Society for the Preservation of Film Music in 1993, fellow composer Henry Mancini (Breakfast at Tiffany’s, The Pink Panther) said of Goldsmith, “…he has instilled two things in his colleagues in this town. One thing he does, he keeps us honest. And the second one is he scares the hell out of us.” In his review of the 1999 re-issue of the Star Trek: The Motion Picture soundtrack, Bruce Eder highly praised Goldsmith’s ability, stating, “…one of the new tracks, ‘Spock’s Arrival,’ may be the closest that Goldsmith has ever come to writing serious music in a pure Romantic idiom; this could have been the work of Rimsky-Korsakov or Stravinsky — it’s that good.” In a 2001 interview, film composer Marco Beltrami (3:10 to Yuma, The Hurt Locker) stated, “Without Jerry, film music would probably be in a different place than it is now. I think he, more than any other composer bridged the gap between the old Hollywood scoring style and the the [sic] modern film composer.”
In 2006, upon composing The Omen (a remake of the Goldsmith-scored 1976 film), Marco Beltrami dedicated his score to Goldsmith, which also included an updated arrangement of “Ave Satani” titled “Omen 76/06”. Likewise, when composer Brian Tyler was commissioned in 2012 to update the Universal Studios logo for the Universal centennial, he retained the “classic melody” originally composed by Goldsmith in 1997, opting to “bring it into the 21st century.”
A sample of Mr. Goldsmith’s work