Goldsmith apparently didn't always get much positive response to his concert works. 'Fireworks' is an example. Also Goldsmith was very disappointed with the lack of attention his 'Bajo Fuego' received (the 5 minute re-working of the guitar led cues from near the end of 'Under Fire'). Leonard Slatkin was an admirer and promoter of Goldsmith's non-film music.
Goldsmith wrote a memorable score for the Twilight Zone episode "The Invaders" (1961), which also had a twist ending (sort of the opposite of "Planet of the Apes"), and is also available on Varese Sarabande.
Goldsmith was just as talented as Williams but Goldsmith was a modernist composer and his experimental avant garde side didn't always sit well with the average film goer but I love his music.
Nice! I have this one as well. I used to play this in my high school classroom during work time as well as Leonard Rosenman's atonal score for "Fantastic Voyage" from '66. The latter disturbed them; they couldn't put their finger on just why...but I certainly knew why!
Once again, a gem! Goldsmith has a sound, and it is amazing to hear the PLANET OF THE APES horn swoops in TORA! TORA! TORA! (You need not watch more than the first few minutes to hear "aping" of the APES score.) Also, and not to take anything away from Goldsmith, the percussionist and his array of percussion instruments was not scored, per se. Goldsmith knew the percussionist had a garage full of "intstruments" (including cooking ware), and Goldsmith told the percussionist to bring them in. And he did. And magic! And to offer credit where its due, Leonard Rosenman composed a 12-tone score for THE COBWEB in 1955; eleven years before POTA.
Agree with everything you just said. Also (to quote a short essay I once wrote on the musical score): “…it manages to capture the mood and action of every scene to perfection. This is especially true in the first quarter of the movie, when the lead characters, having been freshly marooned in unfamiliar surroundings, have little to do but trudge through countless miles of desolate landscape in their search for water, food, and vegetation on what, to them, looks to be an unfamiliar-if earth-like, planet. Throughout their long, brutal trek, the soundtrack music follows the three travelers, highlighting and commenting on the action and the surroundings, and adding an eerie psychological dimension to the whole thing. In short, it becomes almost like a fourth character, and de facto narrator. Without it, the long, drawn-out spectacle of the three men hiking through various stretches of desert, scene-after-scene, could have come off quite static, if not downright dull. But with it, the whole thing takes on a palpable sense of excitement and foreboding tension that leaps right off the screen.” Goes back to a comment you made early in your video about a good score elevating what you see on-screen.
Another candidate for greatest film score recordings ever… Jerry Goldsmith’s score for Patton. Name me another film score where you can identify exactly what it is in the first two seconds!
I came to orchestral music through film music - especially sci-fi and horror - so atonal music was never a challenge to my ears. And it's why l can't understand why Wozzeck isn't as popular as La Boheme.
Jerry Goldsmith was a GREAT composer. Wish he wrote more concert music.
Goldsmith apparently didn't always get much positive response to his concert works. 'Fireworks' is an example. Also Goldsmith was very disappointed with the lack of attention his 'Bajo Fuego' received (the 5 minute re-working of the guitar led cues from near the end of 'Under Fire'). Leonard Slatkin was an admirer and promoter of Goldsmith's non-film music.
@CaminoAir His Music for Orchestra is one of my faves.
I love this score. But I’m biased because I loved just about everything Goldsmith did. Even if the movie was dull his scores were wonderful listening.
I've always maintained that this film score was Goldsmith's best ever. So imaginative and original. Just perfect for the film.
I love that you have recognized this remarkable film score. I watch this great film often and each time I marvel at the music
Goldsmith wrote a memorable score for the Twilight Zone episode "The Invaders" (1961), which also had a twist ending (sort of the opposite of "Planet of the Apes"), and is also available on Varese Sarabande.
I wish they'd do more tributes to Goldsmith and other earlier film composers, and not just endless concerts of John Williams' music.
Goldsmith was just as talented as Williams but Goldsmith was a modernist composer and his experimental avant garde side didn't always sit well with the average film goer but I love his music.
Nice! I have this one as well. I used to play this in my high school classroom during work time as well as Leonard Rosenman's atonal score for "Fantastic Voyage" from '66. The latter disturbed them; they couldn't put their finger on just why...but I certainly knew why!
Yes! A brilliant score that begot quite a few others by others.
Once again, a gem!
Goldsmith has a sound, and it is amazing to hear the PLANET OF THE APES horn swoops in TORA! TORA! TORA! (You need not watch more than the first few minutes to hear "aping" of the APES score.)
Also, and not to take anything away from Goldsmith, the percussionist and his array of percussion instruments was not scored, per se. Goldsmith knew the percussionist had a garage full of "intstruments" (including cooking ware), and Goldsmith told the percussionist to bring them in. And he did. And magic!
And to offer credit where its due, Leonard Rosenman composed a 12-tone score for THE COBWEB in 1955; eleven years before POTA.
Yes, but no one cared. What matters is not who does something first, but who does it best (or most appropriately).
Agree with everything you just said. Also (to quote a short essay I once wrote on the musical score):
“…it manages to capture the mood and action of every scene to perfection. This is especially true in the first quarter of the movie, when the lead characters, having been freshly marooned in unfamiliar surroundings, have little to do but trudge through countless miles of desolate landscape in their search for water, food, and vegetation on what, to them, looks to be an unfamiliar-if earth-like, planet.
Throughout their long, brutal trek, the soundtrack music follows the three travelers, highlighting and commenting on the action and the surroundings, and adding an eerie psychological dimension to the whole thing. In short, it becomes almost like a fourth character, and de facto narrator. Without it, the long, drawn-out spectacle of the three men hiking through various stretches of desert, scene-after-scene, could have come off quite static, if not downright dull. But with it, the whole thing takes on a palpable sense of excitement and foreboding tension that leaps right off the screen.”
Goes back to a comment you made early in your video about a good score elevating what you see on-screen.
Funny that you say the "Planet of the Apes" score sounds "alien", because Goldsmith also did the score for the movie "Alien"
At last !! One of the best classical score eveeeeer !!
Another candidate for greatest film score recordings ever… Jerry Goldsmith’s score for Patton. Name me another film score where you can identify exactly what it is in the first two seconds!
I came to orchestral music through film music - especially sci-fi and horror - so atonal music was never a challenge to my ears. And it's why l can't understand why Wozzeck isn't as popular as La Boheme.
Maybe because the story is so disturbing.
it should be !
Some of the best atonal music Evvaaa....
Dave, what do you think about China’s NCPA orchestra new Bruckner cycle? Do you think it’s going to be worth the listen?
I have no idea.