Once

The new website looks fantastic. I look forward to having the time to really browse through all the content. Even though it's not complete yet, the "Works"-pages are gonna be a great resource, I feel. I love that recording dates are included and also the easy overview of recordings of his classical work.

I concur with Thor; this score is a masterpiece which I grew up with. Unfortunately, the Varese album is only about half the score and leaves off a great deal of the darker material that I like better. But try this cue on for size, for something really lovely:
 
Yavar

Joel McNeely has a direct email address on his site so he was an easy pick for a contact attempt, now he responded with "Wow, that’s unbelievable. How do they get away with this? I’m forwarding on to some people."

The new website looks fantastic. I look forward to having the time to really browse through all the content. Even though it's not complete yet, the "Works"-pages are gonna be a great resource, I feel. I love that recording dates are included and also the easy overview of recordings of his classical work.

Top 10:
 
1. VALLEY OF SHADOWS (for Norwegian director Jonas Matzow Gulbrandsen)
2. The Secret Garden
3. Bleu/Rouge/Blanc (I see them as one work)
4. La Double Vie de Veronique
5. Dekalog
6. The History of Eternity
7. It's Not Too Late (another non-film work)
8. Olivier Olivier/ Europa Europa
9. The Beautiful Country or Aberdeen (both for Norwegian director Hans Petter Moland -- my neighbour! -- and equally good)
10. Fairy Tale: A True Story (the theme here was famously used in the A.I. - ARTIFICIAL INTELLIGENCE trailer)
 
For starters. You might want to pick up his concert work "Requiem for My Friend" too, dedicated to his late collaborator Kiewslowski and used stunningly in TREE OF LIFE, for example.

Amazingly, I couldn't find a previous thread for this composer, who is my 5th favourite of all time, and IMO the greatest European film composer currently living and working in Europe.
 
Anyways, he has a new non-film album out today, but apparently it's only available on his own streaming platform. Haven't seen it so far on Spotify or YouTube, for example. Maybe later. But from the samples, it sounds gorgeous!

https://store.preisner.com/melancholy

I have one because I'm fat and I want to give some semblance of a jawline.

He believes he's talking about Maurizio, but I think in reality he's talking about his past self and just projecting that onto someone else.

My first memory of Goldsmith's music is taping the end credits of Gremlins 2 off the TV with a cassette recorder. Must have been around 1991 (when I was 12), I had an original VHS copy of the film that I watched constantly. That was before I became aware of the name Goldsmith, or even consciously realised that the music in films was written specifically for the films. (I also taped the Ghostbusters end credits (for the song), and I remember being deeply impressed by Rosenman's dramatic music after the charge of the Rohirrim in Bakshi's LOTR, before Gandalf shows up, and - again, not having realised that films had original music - thinking it must be Mozart or something).
 
Then 1994 came and I discovered John Williams and did an instant 180° turn in what music I listened to. I quickly started collecting Williams and some other film music and lots of classical music (as far as my then budget allowed - classical music was easier, because I could pick up Naxos albums (not really good at that time, but I didn't notice that yet) and lots of classic DG recordings for what today is less than €6 at Vienna's then many classical music shops.
 
I didn't really know Goldsmith yet though and didn't care much for what I knew. I remember disliking his take on Courage's Trek fanfare and much preferring Eidelman's rhythmically different version. I did like the First Contact theme when I discovered it in 1997 (around the same time I got The Lost World and was convinced it was the best score ever), but the rest still didn't click much. I also wasn't a fan of synths at that time, least of all in an orchestral setting.
 
Then I watched The Great Train Robbery (probably in 1998) and instantly became a Goldsmith fan. By 2001 I was flying to London on my own to see him conduct the LSO and get together with FSM/MM.com people I'd never met before (hi Jim! ). Goldsmith also helped a lot to broaden my musical horizon, because a lot of his more avant-garde stuff took some getting used to when I first encountered it. Poltergeist took a few listens before I started to like it (it's one of my favourites now). I'm still convinced that POTA contributed to me getting sick for a few days right after I bought it - and Alien and The Wrath of Khan and a fourth score I can't remember now. TWOK helped me get better quickly, and by the time I was healthy again I liked Alien, too. POTA took more time.
 
 
Goldsmith crept up and probably past Williams for me throughout the 2000s, but I've also long "officially" classified them as a tie because it doesn't really make sense to even try and pick one over the other. Though with Williams's prolific output over the past 10 years or so, I think he's probably got the edge again for now.

So minimal recall, then.

That's an easy one for me.  The Secret of NIMH!
 
Alright, technically, I did grow up with the Star Trek films in my childhood, and I liked TMP well enough, but I wasn't able to really appreciate it until much later, into my adulthood.
 
NIMH was a film that I only remember seeing once in my childhood.  I was sick with something, and was watching the film in French for some reason.  (Mrs. Brisby saying "Merci...  boucoup" as Mr. Ages slammed the door in her face was the only thing I remember from that viewing.)
 
Somewhere in my teenage years, I revisited the film, watching it pretty much for the first time.  The prologue was so haunting, and then the Main Title was so majestic!  But the horns at 0:48-0:57 here...  man, I could feel that in my heart!  Such beauty!  And that was only the first bit of the score that would make me feel that way!
 
 
I remember thinking, during that first proper watch of the film, "Hmm, this music [the water mill shots during Allergic Reaction/Dragon Encounter] definitely stands out...  but I doubt I'm gonna get obsessed with it or anything."  I thought the same thing about the music for Kingdom Hearts, and yet here I am, loving both scores.
 
I was actually afraid to look up NIMH's soundtrack for awhile (because of the tremendously powerful effect it has on me), but when I did finally look up the OST on YouTube, I had a few...  encounters I'm less than fond of with the uploader of the OST.  Mostly the younger, immature me complaining about the presentation of the music, which the uploader had no control over.  Blech.
 
Of course, the uploader also claimed that every piece of music heard in the film was on the OST, which I knew for a fact wasn't true.  The "Rough Complete Score" videos I did for NIMH were pretty much me trying to show that guy that he was wrong about the OST containing all of the film's music.
 
Later, I found Alien on Intrada's website, which advertised it as being a complete Jerry Goldsmith score.  Since my only other Goldsmith was NIMH, I really wanted to have something complete from Jerry.  And I watched the film around that time and liked it.  So I jumped on it, and I got myself a second Goldsmith score.
 
I later properly got into TMP, first through downloading the 3-CD LLL (It was out of print by then), then through properly buying the 2-CD reissue when it finally came out.  And later after that, I got the Intrada TFF.  And that's...  pretty much it when it comes to my Goldsmith collection.
 
Hmm...  NIMH's a score that I really only save for special occasions.  Now might be a good time for it.

Coming from Intrada 3/19, James Horner’s The Lady In Red:
 
https://www.facebook.com/share/p/64zQFVpBo5RNFzg7/?mibextid=K35XfP
 

Nice find! Just found the full speech in better quality HERE.
He looks great. I too was worried when he didn't appear in tonight's broadcast.

 

I've honestly never felt like he's gotten remotely as close to winning as he was for Memoirs. That was in the bag.
 
 
Seems fine here
 

That was a weird In Memoriam with all the different visual formats and the escalating focus on the singers over the montage

The fact that Gunn is a writer and doesn’t keep re-editing in post would make a collaboration much more interesting than with most Hollywood directors nowadays.

Another excerpt from Carrie Goldsmith‘s biography of his father “Deconstructing Dad: The Unfinished Life and Times of Jerry Goldsmith”:
“Did your parents always call you ‘Jerrald’?” I asked.
“Always.  But my father did call me ‘Jerry’ a couple times towards the end of his life; it sounded too weird.”
To his friends in school and later at work, he was always “Jerry.”  However, when he and my mother took his parents with them to the premiere of his first movie, 1956’s Black Patch, his mother was livid about the “Jerry” Goldsmith credit she saw on the screen.     
She complained so much about him using a shortened version of his name, that Dad tried to appease her by using “Jerrald” for his Dr. Kildarecredit.
“But people would come up to me and ask, ‘Are you really Jerrald?’” Dad said.  “And that was it.  That put an end to it.”
Dad paused and grinned caustically:  “Maybe I should have done the John Williams thing and stuck to changing my name from ‘Jerry’ to ‘Jerrald.’  He changed his name from ‘Johnny’ to ‘John’.”
“Maybe,” I said.
“And don’t forget your old boyfriend; he went from ‘Jamie’ to ‘James’, and look what that did for his career.”
  Dad was talking about composer James Horner, who I’d known in high school through a friend of mine he was dating…Dad loved to exaggerate my one outing with Jamie Horner into boyfriend proportions…“

It would definitely be funnier if it's true
 
This is the kind of summarizing that drives me absolutely bonkers in these mass media pieces. LET US READ THIS!!!
 
 

I like this comment from the Variety article:
 
I wish this article was published before Oscar voting ended. It sounds like many rediscovered how great he really is.

I like this comment from the Variety article:
 
I wish this article was published before Oscar voting ended. It sounds like many rediscovered how great he really is.

I like this comment from the Variety article:
 
I wish this article was published before Oscar voting ended. It sounds like many rediscovered how great he really is.

I like this comment from the Variety article:
 
I wish this article was published before Oscar voting ended. It sounds like many rediscovered how great he really is.

“…The fact that he is so kind and generous and brings that spirit to his music-writing capabilities — I think that’s why it’s so connective with people, because he does bring that element of his personality to his scores.” - Chris Columbus
 
A genial genius. The work is its own reward, and for the rest of us, a huge and ongoing cultural legacy to enjoy. We are so lucky to have him. 
 
I really enjoyed reading this lovely, celebratory article.

I think he is asked so much that large stretches without anything rarely come up.  He talks about the tuba and viola concerto being somewhat spontaneous.  Heartwood probably the same.  I wonder how much the piano concerto is him and how much Ax asking.  
 
I do think that he loves the popular vein of composing more than he realizes or at least sometimes lets on.  Jumping at the ESPN thing the way he did and the comments in this interview point to him wanting more than just concert-hall composing.  
 
50 years from now, musicologists are going to be dumbfounded that he pulled off a lifetime worth of work for the concert hall and a lifetime worth of work for movies (and a hell of a lot of occasion pieces to boot).   
 
He seems so balanced.  His comments on Goldsmith and others being unhappy due to their career frustrations is so perceptive.  He found the recipe for a lifetime of happiness as a composer--something that very, very few composers (from Mozart to Beethoven to Goldsmith) have pulled off.  

The man looks and sounds GREAT in this