Star Trek: The Motion Picture, "Body Meld" (rejected Jerry Goldsmith music)
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- Опубликовано: 5 окт 2024
- Jerry Goldsmith's magnificent score to Star Trek: The Motion Picture has been released on CD and LP by La-La Land Records, and the full orchestrations published as a beautiful bound book by Omni Music Publishing. The post-production to ST:TMP was so rushed and chaotic that Goldsmith composed four pieces of music that were never recorded by the orchestra in 1979-but the orchestrations have been included in Omni's book. One of them, Goldsmith's first attempt at scoring the climactic "Body Meld," was rejected on the scoring stage by Bob Wise as being "too romantic," as it featured the film's love theme ("Ilia's Theme") rather than the more cosmic, powerful progressions of Goldsmith's final version. Now, composer Joe Kraemer (Mission: Impossible-Rogue Nation, Jack Reacher) has created a synthesized "mock-up" of Goldsmith's original attempt so that fans can appreciate Goldsmith's intention.
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I kinda prefer this version. It's the perfect full-circle payoff to the Overture at the beginning of the film.
It's amazing how even Jerry Goldsmith's REJECTED music is still awesome when you hear it. I would like to hear a full orchestra version of this piece someday, but I give a hearty Thank You to Joe Kraemer for giving us a "what might have been" theme for this movie.
For me, this is one of the most beautiful love scenes in cinema.
I am in complete agreement with you! Not everyone may think so, but those who do will always appreciate the company.
The love theme sounds so adequate. With all due respect to the late Mr. Wise, to me it sounds totally appropriate to have the love theme at the climax, converging on the star trek theme. Love conquers all. Love leads to understanding and unity. This scene never made this clearer than now. Thanks so much for sharing this precious gem with us, Mr. Lukas Kendall.
This is extraordinary. No one has heard this music in over 40 years. Bravo, Joe Kraemer. Lukas, thank you for posting.
I like this version so much more ... Goldsmith 'got' that this was supposed to be a magnificent, positive moment, the 'unification' and 'realization of logic and intuition, male and female power, material and spirit .... the earthly love of Deckard and Iliya, unable to come to fruition, is finally realized in the great fusion .... A parable straight from a troubadour's song or a Sufi poets verse. And, as others have said, it perfectly places that 'love theme' so underused elsewhere as it's great leitmotif. ....
Well, everyone was running around like a headless chicken as this film neared its premiere and Goldsmith was still recording the music days beforehand so a rushed decision to give it a more 'sinister and ominous' character can be forgiven. Why Wise and Nimoy did not replace it into the 2003 special edition is a mystery but that must have a reason too. Anyone, thanks to ou we finally get to see it 'in action' so we are now well satisfied...
Thanks!
I like this more than the one that they used for the movie
Me too. I mean, it truly sounds like a message of "Love prevails" or "love leads to understanding and unity".
I love the blaster noise as the love theme bass, beginning on the shot of Ilia at 1:04, perfectly tying together Ilia, Decker and V’Ger.
"V'ger and the Creator will become One." This musical cue gives an impression of the meld of Decker and V'ger (and Ilia?) , with the end being, "We are the One."
Hi, Lukas. As an uber-Goldsmith diehard, I love this sort of thing, which keys into how his mind worked while he was making choices. The reason I prefer the version in the movie is the failure of the Decker/Illia love story to work. The characters were stiffs and I got nothing from their 'romance.' The movie's version of this focuses more on the wonder of V'ger's evolution, and that just makes sense.
Nice. I can see how this would have also been exceptional, but what I like about the version in the OST score was that it was unique from the other music in the film and had a beautiful ethereal build-up with the strings.
This is really good and ties everything together thematically. I would LOVE to hear this get orchestrated for real some day. I do agree with the reasoning for rejecting it though. An outright statement of the Ilia theme feels too romantic and removes some of the ambiguity over what's happening.
Wow. One of the great ' what ifs' truly realised here.
Incredible to hear how the emotional weight of the scene is dramatically altered here
Goldsmith got it right first time.
This is AMAZING!!! Ilia's theme is so beautiful, but under used. This really would have fit so perfectly, both from the perspective of the strength of their love and as a capstone for the film given the use of the theme in the overture.
The tagline of the film was "the human adventure is just beginning". They should have used THIS music. I mean, it's so much more... human.
Thanks, Lukas and Joe Kraemer! It's sure good to be able to hear it.
It's great that it kind of blends in the v'ger theme too.
It’s so cool when old, forgotten music is brought to life again.
What a treat! I love the final Meld/End Title combo as it feels like surging epic sci-fi wonder but enjoyed hearing this variation, leaning into the romance theme. Thank you!
It's always going to be difficult to judge any alternative music for a scene that's already very familiar. I prefer the film cue. To me it builds on the V'ger music and moves to a more lyrical and transcendent style. I always loved how Goldsmith's 'TMP' score was a bit more neutral and 'sober' in sound. But would I be saying the opposite, if this alternate cue was in fact the original cinema version and I was only now hearing the film version for the first time?
Wow. No words. Fantastic job, Joe Kraemer.
"Well, this is just... NEAT!"
- Spike, a Buffy the Vampire Slayer Halloween episode
I think the first time we see Riker and Troi meet on the Enterprise D. They would have played the Ileia theme to emphasize that these two new characters were simular to Decker and Iliea
Beautiful. Thank you, Mr. Kraemer.
I add my voice to the chorus of those wishing that this music had made its way to the film. In fact, now that we have the TMP DE, the absence of this music from the climax is what I most lament about the picture. As others have noted, Jerry's original cue lends itself to the notion that STAR TREK is, ultimately, and as the film's tagline attested, "the human adventure" -- one in which love does conquer all. Given the emphasized tenor of the Overture, to which the later cue would have served as a satisfying callback/reprise/bookending coda, the composer obviously thought that the film's humanity/love story was the crucial element. Accordingly, his rejected music would have been most appropriate *thematically* -- with the Overture serving not only as an introduction, but also as an incisive harbinger of the conclusion.
Wise made the right call with "The Enterprise." Here, though, Jerry was the one whose musical sense was correct.
Awesome job, it’s fascinating how it changes everything
In my opionion the very question is this: how is it possible that a single unused track of Jerry Goldsmith' Star Trek TMP score (even in a synth reconstruction) is so astounding, majestic, moving and rich in such a manner that, if expanded, it could be used to score an entire contemporary sci-fi movie?
Wonderful...truly wonderful!
Hello, Lukas. Awesome! Kudos to Joe and to you! Thank you for sharing.
Spectacular Score indeed !.
Was thinking of doing this, but was beat to the punch; bravo!
Awesome! One of my favorite scores, I still remember hearing it and seeing the movie as a young kid in the theaters back in the 70s and have loved it since then. Will you be recorded the other unused cues in the book too? Please? :)
You should really do a set that includes all his unused projects like Intrada does with their re recordings, would be awesome. I always hoped to listen Babe, the Gallant Pig. Great job here
Would love to, but that would be quite the ambitious project!
@@lukaskendall oh yes, but would be actually awesome because I think the material exists somewhere, and i can't imagine all the support that fans would give to a project like that. By the way, i'm a big fan of the FSM editions :). Cheers!
70年代SFって（特に後期の）、こおいう「キラキラ粒子」画像効果が好きでしたよね！！
これも「ロバート・エイブル」の仕業なのかしらん？
Man, i gotta know what synths joe was using to make this, sounds great
Wow! Thanks!
Once again… proof that Robert Wise didn’t have a clue what he was talking about. This is just incredible as a climax to all the themes present throughout the film. Don’t get me wrong, I love “The Meld” as a piece of music, but in isolation; it doesn’t bring everything together like this does.
Remember, if Robert Wise hadn't voiced his objections to some of Goldsmith's early compositions, the theme that is now legendary would never have been. So don't be so quick to claim Wise didn't have a clue what he was talking about.
@@tompinkerton8099even a stopped clock is right twice a day.
It’s a happy coincidence that Wise’s objection to the original score culminated in the theme we know and love… not a triumph by design.
The original Enterprise theme is much stronger and more cohesive than the one which made it to the movie.
To my Knowledge according to Mike M...11 Cues were not written by Jerry Goldsmith, There were so many problems with getting the Visuals right to Star Trek: The Boring Picture. Fred Steiner was Hired to Clean Jerry also wrote many cues hthat were rejected. Remember Jerry also was on Alien..Jerry just came off scoring Six Films for 1978...Which, if I recall..Star Trek was suppose to be release in Summer of 1979, after cost and runs and redos, and getting the Visuals together, Star Trek was suppose to be ready Christmas of 1978. But what truly frustrated Jerry, was the lack of film to compose ..because Douglas Trumbull and his team were very slow producing Visuals. August of 1979 Jerry started to compose Star Trek, which now had a new release of Dec, 1979...and in fact ..when finished, Goldsmiths last cue recorded was just Seven Days ??? Before release.
Most of that is correct. But in all honesty, Trumbull’s team worked round the clock for months straight to deliver the effects shots. He was hired to practically come in and save the film because the original effects team (Magicam, Abel & Associates) wasted months and millions and never produced any usable footage. Paramount essentially was out of time and Trumbull came on to finish the effects in roughly 6 months. The ordeal was so grueling that it put Trumbull in the hospital after it was over.
This is the same information I've read as well. On the flip side, even some of the cues that Goldsmith didn't fully write were based on fairly complete sketches he had done.
Wow ❤ @ 2:00 mins
Man for a movie with this many production problems they sure did a lot of meddling with the one fricken thing that worked lmao
Wise was right. As much as I love the Ilia theme this has way too much focus on the romance instead of the epic wonder of Vger finally achieving its destiny.
Sorry everyone, but Mr Wise really lived up to his name on this one!
A Major Correction...This is an Earlier Work of Star Trek, that Jerry Goldsmith Composed on An Electric Keyboard...NOT FULL ORCHESTRA.
To be clear, Jerry Goldsmith did compose this piece for full orchestra (it was orchestrated by Arthur Morton). Presumably Robert Wise heard a rehearsal and asked for changes, and the piece was never recorded in 1979. The rendition heard in this video was newly created and performed by Joe Kraemer for computer "mock ups" so that fans can hear an approximation of what it was meant to sound like, without the massive expense of an orchestra.
That’s a terrible reason to call it “A Major Correction.” This wasn’t rejected for being “Composed on An Electric Keyboard” because this recording wasn’t the one played for Robert Wise in 1979, but rather an electronic mock-up of what it would’ve sounded like had it been recorded for a full orchestra. You’re paying too much attention to how it was recorded and not enough to the music, but I guess you just can’t help yourself.
The moment in heterosexual marriage
NAH. I'll stick with the original version. I feel more emotion with that one.