JERRY GOLDSMITH

It's funny, but I love to see orchestras playing scores: all the session videos that are displayed on YouTube, etc, I try to watch these.

But this DVD/CD release format for me is not something I want to buy. Maybe one or the other. Even I can't explain why I feel this way. And I'd usually prefer to listen to the originals rather than a concert version.

Maybe you had to be there?

MASADA
Composed and Conducted by JERRY GOLDSMITH
Parts III and IV Composed and Conducted by MORTON STEVENS

INTRADA Special Collection Volume 171

Composer Jerry Goldsmith rarely sought out specific assignments; usually directors or producers came to him. But Masada (1981) was an exception -- this was a score he was passionate about writing. Universal was willing to invest heavily in the score, including sending Goldsmith to Israel on a 10-day trip to research ancient music for the project. Goldsmith initially signed on to score the entire four-night, eight-hour miniseries, but production fell behind schedule and other projects called, necessitating bringing in Morton Stevens, at Goldsmith's suggestion, to conclude the scoring of parts three and four.

Goldsmith wrote three major themes, two for the Jews and one for the Romans. The primary Jewish theme, which would become known as the Masada theme is a hora-style anthem for the indomitable spirit of the Jewish people, its dance-like rhythms reminiscent of happier times and the hope of more to come. A second theme reflects the darker side of the Jews of that First Century, the sadness and seemingly endless struggle against domination and enslavement by other peoples. For the Romans, Goldsmith wrote a march that was designed to suggest the might of Imperial Rome, with military precision and prominent parts for brass and percussion. Relentless, even pompous in its simple, decisive, might-makes-right character, it recurs in many forms throughout the miniseries.

In 1981, Goldsmith re-recorded 38-minutes in London for the superb MCA album, but curiously omitted his fierce action cues as well as many other sequences. This is the premiere release of the recording sessions from the miniseries. Intrada had access to all of the original scoring session elements stored in the Universal vaults plus studio paperwork and engineering notes for this release. As with other recording projects done at Universal, the actual sessions were made partially on 2” 24-track tape and partially on ½” 4-track tape, depending on session dates, orchestra size and other engineering needs. Virtually all of these elements survived in perfect condition, from the largest set-pieces to the smallest Roman fanfares and commercial bumpers. As a result, Intrada is able to present the complete score for the entire miniseries, including music not used, on this 2-CD set with crystal clear stereo sound. Everything is included, from largest powerhouse set-piece to smallest Roman fanfare. Each part plays as an individual program, introducing unique credit music and new material while working with ideas from previous parts, then concluding with familiar Masada end credits.

The story of the siege of Masada in 72 A.D.—in which a hardy band of Jewish Zealots held off 5,000 Roman troops for months in a mountaintop fortress—is one of the most remarkable in the annals of world military history. Peter Strauss was cast as Eleazar ben Yair, the charismatic, intense commander of the Zealots. Peter O’Toole was cast as Cornelius Flavius Silva, the complex, brilliant Roman general in charge of the Tenth Legion.

This album is limited to 5000 copies.

INTRADA Special Collection Vol. 171
Retail Price: $29.99
AVAILABLE NOW
For track listing and sound samples, please visit
http://store.intrada.com/s.nl/it.A/id.7115/.f

I had only heard about this as an anonymous Goldsmith title in his filmograhy untill they played an excerpt at a Goldsmith concert here in Oslo a couple of months ago. Well, it sounded interesting, like hyper-orchestrated klezmer music or something.

Of course, this 2CD holds little interest for me, but if there is a 40-minute album program out there, that might certainly be worth checking out now that I'm more familiar with the music. Maybe the price plummets on that now that this is out?

It's a much smaller orchestra than the re-recorded original album, I believe. Much thinner orchestrations too. I've said for years that I don't know why anyone would actually want this if they have the old album, but, like a moth to the flame, my pointer is heading towards the "Add to cart" button. It's like I have some kind of mental condition.

I remember the TV score being thin compared to the rerecording.

Is it like the difference between the album and film recordings of Capricorn One?

Morton Steven's contributions are strong.

And remember CAPRICORN ONE. There was a time when Goldsmith did more with less heavy orchestrations. (Oh, I see Kevin made the point too!)

I'll be interested to hear your review of this? Besides a couple of tracks I don't really like it much.

http://sdtom.wordpress.com/2011/07/12/b … goldsmith/
My take on the Bad Girls

For those that want EXPLORERS you've got EXPLORERS.

http://store.intrada.com/s.nl/it.A/id.7064/.f

Meh.

I understand it is already sold out

I loved the Explorers-theme from the moment I heard it! I found it bothersome that it didn't had more exposure on the Varèse-cd, so this expansion was a immediate buy for me.

Sleeping with the Enemy and Forever Young at 3000 seems a bit, ahum, optimistic; as was Bad Girls. Don't tell the cult of Jerry-guys, but both scores are not in so much need of expansion to me. Both are serviceable albums and nothing much more. (Funny how even MV mentioned Sleeping with the Enemy is "a fine addition to any self-respecting Goldsmith Cult Member’s collection." -- basically saying it's more for Goldsmith's bottle cap collectors then anyone else.)

I figure they both will be around for a while, perhaps even after every holy grail has been released and I'll get them then. Or in their next incarnation. Or in mine.

It's not sold out!

http://store.intrada.com/s.nl/it.A/id.7064/.f

-Erik-