Goldsmith later reflected that the piece was a result of much turbulence in his life, stating, "I was going through a divorce and my mother was seriously ill with cancer." Goldsmith continued, "All of my personal turmoil - pain, anger, and sorrow - went into writing 'Music for Orchestra' in strict dodecaphonic form." en.wikipedia.org/wiki/Jerry_Goldsmith
@13Orcun Holst's "The Planets" is one of my all-time favorite bodies of musical work. Personally, I don't think you should mention Hans Zimmer in the same breath with Holst, Williams, and Goldsmith. The man doesn't know the meaning of classical music. Besides a couple Holst-influenced cues in "Gladiator", Zimmer's music is primarily rock-oriented, synth percussion-saturated, woodwind-bereft, angsty, generic kitsch. I think he is example of all that is wrong with film music today.
How correct you are, Black Knight. One could also add the rumour that Zimmer can't even read or write music [employing his 'ghost writers' to do so for him].
what a wonderful piece of work from the late Jery Goldsmith. I haven't been much of a Goldsmith fan being more of a John Williams but I recently begun to appreciate more of Goldsmith's work. It's a shame I can't find anymore of Goldsmith's concertos and live concerts in the web. I would've love to see Goldsmith perform live.
@13Orcun Certainly there are obvious elements of Holst (as well as Wagner, Respighi and several other classical composers) in the works of Williams, Goldsmith, Danny Elfman, etc., but by the same token, Holst derived heavily from his own predecessors as did his predecessors before him. Music, like any art form, evolves by culling from antecedents.
I think Goldsmith was more influenced by Berg and Bartok with a touch of Stravinsky as well. I always found Berg the most successful of the three serialists as he was able to marry the system with a dramatic framework that translates to a more relatable listening experience. The middle movement of this work is haunting and very exquisite. I studied under James Tenney when I took composition in university and he was always pushing us to think about music outside of traditional conditioning.
Sorry to disappoint you, mate, but Jerry's "Planet of the Apes" is NOT the first completely [what do you mean by that?] 12-tone score for a motion picture. That honour goes to the British composer Elizabeth Lutyens for the Hammer film known as "The Terrornauts". In America, Leonard Rosenman holds pride-of-place for the M-G-M film, "The Cobweb".
@RogueRotting360 You know your scores! David Raksin used a 12-tone row at the beginning of 1951's "The Man With a Cloak" but didn't take any further than the main title sequence.
@Skull10 Jerry Goldsmith confirmed in an interview himself. A 12 tone score was allowed, because the film was dealing with mental patients. If you listen to it, it bares a lot in common with Schoenberg's Piano Concerto, Op. 42. Rosenman and North were a big influences on Goldsmith's early sound.
@RogueRotting360 Are you sure of this? I haven't seen the film/heard the score, but I see it was released in 1955. I find it difficult to believe that a studio picture in the 50's would allow the film's entire score to be composed in what was then a highly experimental, avant-garde technique. (12-tone was a pariah with popular audiences at this time.)
@Bobbotov I wasn't comparing this to Schoenberg, just pointing out that it was composed using the 12-tone system, which Schoenberg popularized among his contemporary composers.
Certainly everybody derive from others, past but, I think we must look degree of orginallity in music, i feel that Holst music's degree of orginallity is high undoubtly he derived from others, film music's degree of orginallity is low, they derived heavily from Holst. Anyway i m happy with film music and i like film music composers and thank you for your comments only i imagine that maybe holst's name is heard more i think it s heard very little in this matter, it would be fair
I couldn't help but compare this to a recent concerto work called "Soundings" by John Williams written for the opening of the Walt Disney Concert Hall in 2003. Just search it here on TH-cam.
@spacepatrolman I certainly enjoy and respect the 12-tone system of composition, but I must say, the prevailing thought among "serious" composers, during the mid to late 20th Century, that it was the ONLY true form of progressive composition, was nothing less than artistic fascism. Unfortunately, the pendulum of prejudice has swung the other way, and the system is now a black sheep (especially among film scorers).
This is great. It's so annoying to me that the concert work of film composers is so hard to find, even John williams', especially when it's as good as this.
@Xenofan29A Schoenberg's music was even more atonal. There are points in this piece that are almost tonal and melodic. And yes, I miss Goldsmith and his music. It seems most of the great film composers have died or are dying off. I fear that John Williams' remaining years are few. Fortunately, there are a few young composers who have done and admirable job of receiving the torch, Michael Giacchino being one of the best.
His work on the new Batman films are their only real flaw, in my opinion. As far as today's crop of up-and-coming film score composers is concerned, I think Michael Giacchino is the best. He's mastered the Williams/Goldsmith traditional style ("Cloverfield" overture/"Star Trek"/"Medal of Honor" video games) but can spice things up with his own jazzy and modernistic style ("Speed Racer"/"Alias" TV series).
That's one classification. However, the music of contemporary composers such as Philip Glass, John Adams, and Steven Reich is also considered "classical".
@Skull10 For a good example of his flavor and style, I recommend his score to the "Medal of Honor: Frontline" video game. "Speed Racer" is an amazing score in that it seamlessly blends traditional orchestral score elements with John Barry/007 style jazz in an utterly fun and delightful fashion. Really like his operatic overture, "Roar", the only music composed for "Cloverfield", which plays during the end credits. The "Star Trek" score was repetitive and lacking an engaging theme, I thought.
"Classical" is one of the most subjective and vague terms used to describe music. Many consider the music of the Beatles and Led Zeppelin as literal "classical" music. You do realize, also, that much of the music now universally regarded as "classical" was considered by its contemporaries to be "popular" or "incidental" music. That's why I generally evade the term "classical", and refer to my music of choice as "orchstral" or "symphonic". "Classical" is a just a word for pretentious cliques.
Sorry, but that's utter nonsense. You have cast aside many types classical music which are neither orchestral nor symphonic: String quartets and for that matter all other chamber music! All solo works ever...I won't go on. Classical music is not a term for pretentious cliques any more than pop music, drum and bass, world music, jazz.... it's a completely valid term, and to refer to the massive world of classical music just as orchestral or symphonic is insulting. Boo. Boo I say!
don't forget this music owe to gustav holst. Almost all film musics which about war or like that stole many things from Holst music. John Williams, Jerry Goldsmith, Hans Zimmer etc... all of them would make different if Holst didn t live !!! i m only worried and surprised about why Holst's name isn't heard.
What I find even more annoying, is that film score composers are rarely taken seriously as composers of classical music, even when they have proven that they can compose masterful concert pieces, as have Williams and Goldsmith. Some of the best music from the 20th - and most of the best music from the 21st Century so far - has been composed for movies.
Goldsmith later reflected that the piece was a result of much turbulence in his life, stating, "I was going through a divorce and my mother was seriously ill with cancer." Goldsmith continued, "All of my personal turmoil - pain, anger, and sorrow - went into writing 'Music for Orchestra' in strict dodecaphonic form." en.wikipedia.org/wiki/Jerry_Goldsmith
@13Orcun Holst's "The Planets" is one of my all-time favorite bodies of musical work.
Personally, I don't think you should mention Hans Zimmer in the same breath with Holst, Williams, and Goldsmith. The man doesn't know the meaning of classical music. Besides a couple Holst-influenced cues in "Gladiator", Zimmer's music is primarily rock-oriented, synth percussion-saturated, woodwind-bereft, angsty, generic kitsch. I think he is example of all that is wrong with film music today.
How correct you are, Black Knight. One could also add the rumour that Zimmer can't even read or write music [employing his 'ghost writers' to do so for him].
Totally agree. It is the most overrated film music prominent composer !
It is definitely worth the purchase. A unique side to Goldsmith's composing style which Hollywood too rarely let him explore.
magnificent! a superb synthesis of artistic music from the entire 20th century
I just ordered this CD and from what I hear this sounds fantastic!
Long live Goldsmith!
LOVE GOLDSMITH !!!!!!!!!
what a wonderful piece of work from the late Jery Goldsmith. I haven't been much of a Goldsmith fan being more of a John Williams but I recently begun to appreciate more of Goldsmith's work. It's a shame I can't find anymore of Goldsmith's concertos and live concerts in the web. I would've love to see Goldsmith perform live.
Excellent to hear! I have been a fan of Goldsmith for over 30 years, since seeing Star Trek The Motion Picture at age 8.
The first fully 12 tone score was Leonard Rosenan's The Cobweb.
In the USA at least.
Nothing short of brilliant!Great music by the Master!
@13Orcun Certainly there are obvious elements of Holst (as well as Wagner, Respighi and several other classical composers) in the works of Williams, Goldsmith, Danny Elfman, etc., but by the same token, Holst derived heavily from his own predecessors as did his predecessors before him. Music, like any art form, evolves by culling from antecedents.
I think Goldsmith was more influenced by Berg and Bartok with a touch of Stravinsky as well. I always found Berg the most successful of the three serialists as he was able to marry the system with a dramatic framework that translates to a more relatable listening experience. The middle movement of this work is haunting and very exquisite. I studied under James Tenney when I took composition in university and he was always pushing us to think about music outside of traditional conditioning.
Love this! Sounds like the gates of hell opening.
@Kuplungmaster Yes. It is a shame Goldsmith never composed more concert pieces.
Sorry to disappoint you, mate, but Jerry's "Planet of the Apes" is NOT the first completely [what do you mean by that?] 12-tone score for a motion picture. That honour goes to the British composer Elizabeth Lutyens for the Hammer film known as "The Terrornauts". In America, Leonard Rosenman holds pride-of-place for the M-G-M film, "The Cobweb".
@RogueRotting360 You know your scores! David Raksin used a 12-tone row at the beginning of 1951's "The Man With a Cloak" but didn't take any further than the main title sequence.
@Skull10 Jerry Goldsmith confirmed in an interview himself. A 12 tone score was allowed, because the film was dealing with mental patients. If you listen to it, it bares a lot in common with Schoenberg's Piano Concerto, Op. 42.
Rosenman and North were a big influences on Goldsmith's early sound.
An excellent observation.
WOW!
@RogueRotting360 Are you sure of this? I haven't seen the film/heard the score, but I see it was released in 1955. I find it difficult to believe that a studio picture in the 50's would allow the film's entire score to be composed in what was then a highly experimental, avant-garde technique. (12-tone was a pariah with popular audiences at this time.)
The particular piece is "Music for Orchesta", but it's included with "Fireworks" on the album "Christus Apollo", featuring the title piece.
@Bobbotov I wasn't comparing this to Schoenberg, just pointing out that it was composed using the 12-tone system, which Schoenberg popularized among his contemporary composers.
Maybe in parts. But this is not "a 12-tone piece."
@@michaelericksonmusic It is, it just uses "tone clusters" within the dodecaphony.
Certainly everybody derive from others, past but, I think we must look degree of orginallity in music, i feel that Holst music's degree of orginallity is high undoubtly he derived from others, film music's degree of orginallity is low, they derived heavily from Holst. Anyway i m happy with film music and i like film music composers and thank you for your comments only i imagine that maybe holst's name is heard more i think it s heard very little in this matter, it would be fair
This reminds me of the soundtrack in dragonslayer
I couldn't help but compare this to a recent concerto work called "Soundings" by John Williams written for the opening of the Walt Disney Concert Hall in 2003. Just search it here on TH-cam.
@spacepatrolman I certainly enjoy and respect the 12-tone system of composition, but I must say, the prevailing thought among "serious" composers, during the mid to late 20th Century, that it was the ONLY true form of progressive composition, was nothing less than artistic fascism.
Unfortunately, the pendulum of prejudice has swung the other way, and the system is now a black sheep (especially among film scorers).
Never liked Schoenberg; neither did Clifton Williams, my composition teacher.
Man, that's so fucking true.
This is great. It's so annoying to me that the concert work of film composers is so hard to find, even John williams', especially when it's as good as this.
@Xenofan29A Schoenberg's music was even more atonal. There are points in this piece that are almost tonal and melodic.
And yes, I miss Goldsmith and his music. It seems most of the great film composers have died or are dying off. I fear that John Williams' remaining years are few.
Fortunately, there are a few young composers who have done and admirable job of receiving the torch, Michael Giacchino being one of the best.
To which I add Alexandre Desplat.
Alomost? It is. This ain't 12-tone.
His work on the new Batman films are their only real flaw, in my opinion.
As far as today's crop of up-and-coming film score composers is concerned, I think Michael Giacchino is the best. He's mastered the Williams/Goldsmith traditional style ("Cloverfield" overture/"Star Trek"/"Medal of Honor" video games) but can spice things up with his own jazzy and modernistic style ("Speed Racer"/"Alias" TV series).
Toe-may-toe.. toe-mah-toe.. but I hear you. ;)
@Skull10 maybe you are right about hans zimmer because i don t know his all music but you didn t say clearly about others.
A wonderful work. Is it called "Chistus Apollo" or "Music for Orhcestra"? I'd love to find a recording of it. Thanks for posting it.
That's one classification. However, the music of contemporary composers such as Philip Glass, John Adams, and Steven Reich is also considered "classical".
@Skull10 For a good example of his flavor and style, I recommend his score to the "Medal of Honor: Frontline" video game. "Speed Racer" is an amazing score in that it seamlessly blends traditional orchestral score elements with John Barry/007 style jazz in an utterly fun and delightful fashion. Really like his operatic overture, "Roar", the only music composed for "Cloverfield", which plays during the end credits. The "Star Trek" score was repetitive and lacking an engaging theme, I thought.
"Classical" is one of the most subjective and vague terms used to describe music. Many consider the music of the Beatles and Led Zeppelin as literal "classical" music. You do realize, also, that much of the music now universally regarded as "classical" was considered by its contemporaries to be "popular" or "incidental" music. That's why I generally evade the term "classical", and refer to my music of choice as "orchstral" or "symphonic". "Classical" is a just a word for pretentious cliques.
Sorry, but that's utter nonsense. You have cast aside many types classical music which are neither orchestral nor symphonic: String quartets and for that matter all other chamber music! All solo works ever...I won't go on. Classical music is not a term for pretentious cliques any more than pop music, drum and bass, world music, jazz.... it's a completely valid term, and to refer to the massive world of classical music just as orchestral or symphonic is insulting. Boo. Boo I say!
This sounds more like Edgar Varese to me than Schoenberg
It's spelt EdgarD Varese. He was the greatest composer of the 20th-century in my opinion.
Goldsmith was influenced by Bartok, Berg and for POtA Varèse for sure.
don't forget this music owe to gustav holst. Almost all film musics which about war or like that stole many things from Holst music. John Williams, Jerry Goldsmith, Hans Zimmer etc... all of them would make different if Holst didn t live !!! i m only worried and surprised about why Holst's name isn't heard.
What I find even more annoying, is that film score composers are rarely taken seriously as composers of classical music, even when they have proven that they can compose masterful concert pieces, as have Williams and Goldsmith.
Some of the best music from the 20th - and most of the best music from the 21st Century so far - has been composed for movies.