karelm

You mean like Satyagraha?
 
 

Music in 12 Parts too.

Vaughan-Williams's Sinfonia Antarctica still looms most impressively over this. Vertigo licks notwithstanding.

I'd say the closest antecedent would probably be Herrmann's Vertigo prelude. It shares the contrary motion triplet arpeggios and the same unsettling feeling of creeping inertia or frozen time.
 
 
Here are a few passages from classical works that remind me of the Goldsmith cue, some more obscure than others.
 
 
^ I know the last one's a bit obvious, but I thought I'd throw it in there.

I kind of hear this in English elegiac pastoral music such as Finzi's "The Fall of the Leaf" as it reaches for a climax at 8:46 and then starts to die away.  A really beautiful piece so be sure to listen to the whole thing.
and Rachmaninoff's Isle of the Dead dies irae climax (give this a few minutes because the Rach is reaching one of his long lined climaxes that he's so famous for):
But remember that the late Maurice Murphy was the principal trumpet on all six LSO star wars films and is a huge legend in brass circles because of his big full tone so some of this is letting Maurice do his thing at that big climax but stylistically I find it similar to the Finzi elegy and Rach's Isle.
...which I believe is Stravinsky in full on French mode ala Debussy:
 

I kind of hear this in English elegiac pastoral music such as Finzi's "The Fall of the Leaf" as it reaches for a climax at 8:46 and then starts to die away.  A really beautiful piece so be sure to listen to the whole thing.
and Rachmaninoff's Isle of the Dead dies irae climax (give this a few minutes because the Rach is reaching one of his long lined climaxes that he's so famous for):
But remember that the late Maurice Murphy was the principal trumpet on all six LSO star wars films and is a huge legend in brass circles because of his big full tone so some of this is letting Maurice do his thing at that big climax but stylistically I find it similar to the Finzi elegy and Rach's Isle.
...which I believe is Stravinsky in full on French mode ala Debussy:
 

Very good.  Some nitpicks...the spicatto strings at around 0:40 are a little too machine-gunny.  Does your sample not have round robin?  Otherwise consider adding some very minor randomness to that section like changing the dynamics a bit (so a different sample is triggered) or quantizing it with some minor randomness to avoid the artificial repetition feel.  This is the only spot I noticed it.  The phrasing (use of legato) is really good on the melody line and I think your balance is excellent.  The wind and tuned percussion "sparkle" really blends in realistically as does the fortissimo horn phrase repeat at 1:14.  I assume this is a mix of a bunch of different libraries so you probably had to work on that balance...something I am struggling with at the moment.  I would like to hear more use of mod wheel in the tuba such as up to 0:26.  In the OST, there is a bit of crescendo in there.   The use of panning and occupying a 3D stage is advanced.  Awesome job! 

I really enjoy the very interesting and prolific Finnish composer, Kalevi Aho, and this brand new CD of his timpani concerto and piano concerto no. 1.  He was a student of
Einojuhani Rautavaara and I really don't think I've heard a work of his I dislike.  His early music is somewhat like Mahler/Shostakovich but his mid period and after is much more colorful.  His Finnish roots is very clear in much of his music such as Symphony No. 12 which is for orchestra and separate chamber orchestra along with vocalists as a sort of modern version of Richard Strauss's Alpensinfonie.
 
 
I believe he has written more concertos for diverse instruments than anyone else:
Violin Concerto No. 1 (1981) Cello Concerto No. 1 (1983–84) Piano Concerto No. 1 (1988–89) Tuba Concerto (2000–01) Piano Concerto No. 2 (for Piano and 20 Strings) (2001–02) Flute Concerto (2002) Concerto for Two Cellos & Orchestra (2003) Bassoon Concerto (2004) Contrabassoon Concerto (2004–05) Double Bass Concerto (2005) Clarinet Concerto (2005) Viola Concerto (for Viola & Chamber Orchestra) (2006) Oboe Concerto (2007) The Bells. Concerto for Saxophone Quartet & Orchestra (2008) Trombone Concerto (2010) Sieidi. Concerto for Percussion & Orchestra (2010) Trumpet Concerto (for Trumpet & Wind Orchestra) (2011) Horn Concerto (for Horn & Chamber Orchestra) (2011) Eight Seasons. Concerto for Theremin & Chamber orchestra (2011) Cello Concerto No. 2 (2013) Double Concerto for Cor Anglais, Harp and Orchestra (2014) Soprano Saxophone Concerto (for Soprano Saxophone & Chamber Orchestra) (2014–15) Timpani Concerto (2015) Tenor Saxophone Concerto (2015) Violin Concerto No. 2 (2015) Accordion Concerto (for Accordion, 20 strings and bassoon) (2015–16) Mearra. Chamber concerto for harp and 13 strings (2016) Double Concerto for Two Bassoons and Orchestra (2016) Triple Concerto for Violin, Cello, Piano and Chamber orchestra (2018)

He's the guy that is the "best of us" and doesn't understand orbital mechanics, explosive decompression, the intensive psychological profiling and screening that all astronauts go through for a 15 minute flight let alone a potentially one way trip to another galaxy. He was that guy with that sociopathic episode given his isolation that all astronauts are extensively screened for.

I like Inerstellar but it's no 2001 in any capacity. 
 
I like Christopher Nolan....but I don't love Christopher Nolan. I think his best film is Inception. I really liked Inception. I think Interstellar was miscast in a few places. Matt Damon showing up mid movie really threw me off. I also didn't love Anne Hathaway in this. Jessica Chastain however I thought was fantastic. 

None in wrappers; the light might be creating an optical illusion here. THE TEMPEST has a bit of worn booklets; probably because Goldenthal carried it around with him in a bag. He gave me this personally after an interview in Ghent a few years ago, so I've felt it was more important to keep it for that reason than to replace it with a pristine copy.
 
By the way, Robert Piaskowski (boss of Krakow FMF) posted a few pics of Goldenthal on his Facebook feed. Seems like he has landed in Krakow, and is hanging out with his hero Penderecki in spectacular surroundings:
 

 

Elliot Goldenthal's version of 20th century fox of course:

Love the denied resolution.

Elliot Goldenthal's version of 20th century fox of course:

Love the denied resolution.

Farewell to one of the most prolific and luminous figures responsible for bringing film music to life for many years.
 
 

Forget it Richard.  These kids won't understand the 70's if they don't remember it.

Fixed.

And crazy old cat man Peter Ustinov.
 
I like the film. And I like the score a lot.

If i remember right, there's also Farrah Fawcett. And of course the 'love shop' (that's what they call darkrooms in the future!)

Jenny Agutter isn't, she's absolutely beautiful!

John went through a notorious Rowlf the Dog phase in the late 60s and early 70s, as documented in my previous avatar.
 


 
 

Check out Night Crossings - a very fine early '80's score that is similar to his Star Trek music of that period.  Unfortunately it is sold out but maybe you can find it online:
http://store.intrada.com/s.nl/it.A/id.8754/.f?sc=13&category=-113

Powell is a very fine composer.  I am looking forward to hearing his contribution to the SW universe.  I'll bet he nails it.