The music of Jerry Goldsmith is often associated with the big screen. From Star Trek: The Motion Picture to Alien to The Omen, from Rambo: First Blood to The Mummy, his scores have become classics. The concert will feature music from these films as well as from Superman, Star Trek, The Mummy, Rambo: First Blood, Star Trek & Supergirl, Basic Instinct, and more. He also uses 12-tone techniques in his concert music. A number of movies have been commissioned after his music, including Star Trek, Alien, and Poltergeist.
Starship Enterprise soundtrack
The original Starship Enterprise score lacked a theme, and was ultimately unsuccessful. Goldsmith was asked to write a new theme, but he declined, and instead, arranged his main theme for the Enterprise. Courage’s work was ultimately used for two sequences in the Captain’s Log, and the result is a subdued version of the original. In this case, the subdued version suited the tone of the movie and its tone.
“V’Ger” begins with a cyclic glissando, and then a brilliant ascent. The piece culminates in a triumphant, horn-laden climax. It ends with a noble rendition of the Enterprise variant of the Star Trek March and “A Good Start.”
Although Jerry Goldsmith’s score for the movie was a huge hit, the franchise itself has remained a popular choice for music. He worked closely with two other composers for this film and enlisted Lionel Newman to supervise the recording sessions. Goldsmith, who had spent much of his life working on the “Star Trek” series, also reflected on his experience in composing the music for the film.
As well as Craig Huxley’s composition “Blaster Beam,” Goldsmith’s Starship Enterprise soundtrack features an entirely original musical piece, “The Enterprise.” Its theme is an evocative, romantic piece reminiscent of a ballet, and Goldsmith’s music makes this film a great listen. There are a number of memorable moments throughout the film that evoke feelings of longing and hope.
The first Star Trek film score, “The Motion Picture,” featured Goldsmith’s signature twist on traditional orchestral fanfares to create a deeply layered, science-fiction score. Goldsmith’s score is comparable to his work on the Planet of the Apes. A notable feature of this score is the use of the “Blaster Beam,” a massive metallic instrument, heard during a Klingon battle. This instrument also underscores the mechanical nature of V’Ger.
If you are looking for a visceral soundtrack for a horror movie, then look no further than Jerry Goldsmith’s Alien Original Motion Picture Soundtrack. Often credited as one of the most visceral soundtracks ever, Goldsmith’s music has the power to elicit a sense of fear and dread. His sweeping, soaring symphonies are as visceral as the film itself.
The score of Alien is arguably one of the most famous and influential scores in cinema history. Although the composer himself did not see his score as being memorable, director Ridley Scott was intrigued and retained some of Goldsmith’s themes from his previous films. During the final scene of the film, Goldsmith uses excerpts from his music from his previous film, Freud, as well as his earlier work for Shaft.
Goldsmith’s use of electronic sounds and tribal drums in the score is unique. While the score in Planet of the Apes (1968) was designed to give the alien civilization a sense of identity, Alien is very different. The music in Alien contains dissonant passages, exotic instruments, and even a ram’s horn. It is a great showcase of Goldsmith’s talent as an experimenter in the film’s music.
The main theme from the movie is also a memorable piece from Goldsmith. It represents the alien world as an unknown space, with hints of sinister undertones. The opening piece of the soundtrack opens with a sustained dissonant chord, and then a solo trumpet motif emerges. The trumpet solo is accompanied by sparse accompaniment and is infused with a sense of wonder. Goldsmith’s original composition also includes a trumpet motive that signals the Alien’s arrival.
This movie is a masterpiece of cinematic music and, thanks to its composer, it has become a classic. The score of Basic Instinct was composed by Jerry Goldsmith and has become one of his most recognizable works. Goldsmith’s sensual rhythm and main theme establish the film’s classic status and set the stage for a thrilling climax. The movie’s theme can be heard in the film’s underscore cue.
The score of this 1993 crime thriller, directed by Paul Verhoeven, is one of Goldsmith’s most memorable. In addition to evoking sex and suspense, the music also captures the subtleties of lust. Even the most explicit scenes of the movie are given orchestral proportions and Goldsmith does a masterful job in making them musical. He also rearranged the musical score to make it more palatable to the audience.
Invisible Man is the lesser of two Goldsmith/Verhoeven collaborations, but is nevertheless a thrilling update of the classic Invisible Man story. The score is an example of Goldsmith in his late stage of career, returning to the turbulent sound of the seventies. The resulting score lends a brooding danger to Verhoeven’s flawed film. Moreover, the main theme of Basic Instinct is heard throughout the movie, accompanied by an icy piano.
Although the film features gratuitous sex and violence, Goldsmith’s score is edgy, sharp, and evocative. Though the film remains manipulative and intense, Goldsmith’s score does not deviate from Tramell’s web. And while the movie is a masterpiece of cinematic art, its score remains the foundation of its success. Jerry Goldsmith’s score inspired many copycats, and he also wrote the music for two sequels.
A review of Jerry Goldsmith’s Poltergeest reveals his unique take on the music for the 1982 supernatural horror film. Goldsmith’s score was lyric and complex in comparison to the film’s corresponding score, THE SECRET OF NIMH. Goldsmith himself explained the process of scoring the film for CinemaScore. Here are some of his best works. Listed by composer, they are:
Unlike Steven Spielberg’s E.T., Spielberg had a hand in making Poltergeist. He developed the concept and managed production aspects of the movie, but he also hired Tobe Hooper as the director. The movie tells the story of a suburban family that is terrorized by demonic spirits. The story of the family’s desperate attempts to rescue their daughter are reminiscent of other Spielberg films, as are the various elements of the film’s genres.
Unlike many horror film soundtracks, the Poltergeist score includes several memorable themes. The first is Carol Anne’s Theme, a poignant melody that begins the score and closes it. While it doesn’t appear often in the film itself, the theme is a perfect fit for a Spielberg Cinematic Universe film. Other pieces include the choral application of the theme in “The Tree,” which contrasts with the main theme.
The film’s score has evolved over the years into one of the most outstanding horror scores in history. Jerry Goldsmith was one of Hollywood’s most renowned composers at the time, and his reputation has only grown with each film. Poltergeist is another example of a movie soundtrack with a distinctively modern style. Goldsmith’s score is stunningly complex and gripping. It is a masterpiece, and a must-have piece for every horror fan.
The musical score on the Mr Baseball DVD features an intriguing main theme that has a catchy rhythm. The track starts with an organ-like 6 note fanfare before launching into a frenetic rock number that features guitar, synth drums, and various electronic effects. A lively Japanese secondary theme is then featured. Although the score is not very original, it still makes the film enjoyable and engaging to listen to. Here are some of the highlights of the soundtrack.
Despite the odd choice of style, Mr. Baseball is not a bad album, and it is a welcome change from Goldsmith’s usual fare. Despite its unconventional structure, the film’s soundtrack is an admirable reflection of the differences between the American and Japanese cultures that are featured on screen. As a result, this soundtrack is divided into two distinct parts, both based on different musical styles. Consequently, the disc is characterized by two distinct scores, with the latter suffering from a combined, disappointing half.
The film follows an aging American baseball player who tries to revive his career in Japan. While playing baseball in the two countries, he encounters two very different cultures, and swings and misses often enough to land back in the minor leagues. In addition to the contrasting cultures, Mr. Baseball is a semi-charmer, albeit flawed, character. The film was produced by Fred Schepisi, Gary Ross, and Kevin Wade, with Tom Selleck and Aya Takanashi starring as two of its leading roles.