Nicaragua - Muziek

Jerrald King Goldsmith February 10 1929 – July 21 2004 Was An American Composer And Conductor Most Known For His Work In Film And Television Scoring. He Composed Scores For Five Films In The Star Trek Franchise And Three In The Rambo Franchise As Well As For Logan's Run Planet Of The Apes Patton Chinatown Poltergeist Gremlins Hoosiers Total Recall Air Force One L.A. Confidential Mulan And The Mummy. In May 1997 With The Release Of The Lost World Jurassic Park He Gained More Popularity With His Fanfare Of The 1997 Universal Studios Opening Logo And The Short Version Of The Fanfare For Its Television Arms Which Would Be Among The Most Iconic Studio Logo Music Of All-Time. He Collaborated With Some Of Film History's Most Accomplished Directors Including Robert Wise Howard Hawks Otto Preminger Joe Dante Richard Donner Roman Polanski Ridley Scott Michael Winner Steven Spielberg Paul Verhoeven And Franklin J. Schaffner. His Work For Donner And Scott Also Involved A Rejected Score For Timeline And A Controversially Edited Score For Alien Where Music By Howard Hanson Replaced Goldsmith's End Titles And Goldsmith's Own Work On Freud The Secret Passion Was Used Without His Approval In Several Scenes. Goldsmith Was Nominated For Six Grammy Awards Five Primetime Emmy Awards Nine Golden Globe Awards Four British Academy Film Awards And Eighteen Academy Awards Winning In 1976 For The Omen . He Composed The Paramount Pictures Fanfare Used From 1976 Through 2011. The American Film Institute Respectively Ranked Goldsmith's Scores For Chinatown 1974 And Planet Of The Apes 1968 No. 9 And No. 18 On Their List Of The 25 Greatest Film Scores. He Is One Of Only Five Composers To Have More Than One Score Featured In The List Including Elmer Bernstein Bernard Herrmann Max Steiner And John Williams. Goldsmith Was Born February 10 1929 In Los Angeles California. His Family Was Romanian-Jewish. His Parents Were Tessa Née Rappaport A School Teacher And Morris Goldsmith A Structural Engineer. He Started Playing Piano At Age Six But Only "got Serious" By The Time He Was Eleven. At Age Thirteen He Studied Piano Privately With Concert Pianist And Educator Jakob Gimpel Whom Goldsmith Would Later Employ To Perform Piano Solos In His Score To The Mephisto Waltz And By The Age Of Sixteen He Was Studying Both Theory And Counterpoint Under Italian Composer Mario Castelnuovo-Tedesco Who Also Tutored Such Noteworthy Composers And Musicians As Henry Mancini Nelson Riddle Herman Stein André Previn Marty Paich And John Williams. At Age Sixteen Goldsmith Saw The 1945 Film Spellbound In Theaters And Was Inspired By Veteran Composer Miklós Rózsa's Soundtrack To Pursue A Career In Music. Goldsmith Later Enrolled And Attended The University Of Southern California Where He Was Able To Attend Courses By Rózsa But Dropped Out In Favor Of A More "practical Music Program" At The Los Angeles City College. There He Was Able To Coach Singers Work As An Assistant Choral Director Play Piano Accompaniment And Work As An Assistant Conductor. Jerry Goldsmith Has Often Been Considered One Of Film Music History's Most Innovative And Influential Composers. While Presenting Goldsmith With A Career Achievement Award From The Society For The Preservation Of Film Music In 1993 Fellow Composer Henry Mancini Breakfast At Tiffany's The Pink Panther Said Of Goldsmith "... He Has Instilled Two Things In His Colleagues In This Town. One Thing He Does He Keeps Us Honest. And The Second One Is He Scares The Hell Out Of Us." In His Review Of The 1999 Re-Issue Of The Star Trek The Motion Picture Soundtrack Bruce Eder Highly Praised Goldsmith's Ability Stating "...One Of The New Tracks 'Spock's Arrival ' May Be The Closest That Goldsmith Has Ever Come To Writing Serious Music In A Pure Romantic Idiom This Could Have Been The Work Of Rimsky-Korsakov Or Stravinsky — It's That Good." In A 2001 Interview Film Composer Marco Beltrami 3 10 To Yuma The Hurt Locker Stated "Without Jerry Film Music Would Probably Be In A Different Place Than It Is Now. I Think He More Than Any Other Composer Bridged The Gap Between The Old Hollywood Scoring Style And The The Modern Film Composer." In 2006 Upon Composing The Omen A Remake Of The Goldsmith-Scored 1976 Film Marco Beltrami Dedicated His Score To Goldsmith Which Also Included An Updated Arrangement Of "Ave Satani" Titled "Omen 76/06". Likewise When Composer Brian Tyler Was Commissioned In 2012 To Update The Universal Studios Logo For The Universal Centennial He Retained The "classic Melody" Originally Composed By Goldsmith In 1997 Opting To "bring It Into The 21st Century." Goldsmith Was Greatly Influenced By Movements Of Early 20th-Century Classical Music Notably Modernism Americana Impressionism Dodecaphonism And Early Film Scores. He Has Cited Igor Stravinsky Aaron Copland Miklós Rózsa Bernard Herrmann Béla Bartók And Alban Berg Among Others As Some Of The Main Influences To His Style Of Composition. His Style Has Been Noted For Its Unique Instrumentation Utilizing A Vast Array Of Ethnic Instruments Recorded Sounds Synthetic Textures And The Traditional Orchestra Often Concurrently. When Asked About His Inclination For Embracing New Techniques And Constantly Shifting His Musical Palette Throughout His Career Goldsmith Said "It Seems Like It's Me And That's That! Certain Composers Are Doing The Same Thing Over And Over Again Which I Feel Is Sort Of Uninteresting. I Don't Find That You Grow Very Much In That Way. I Like To Keep Changing Trying To Do New Things. Basically I'm Saying The Same Thing With A Little Different Twist On It. Once You Get Caught Up In The Creative Process Something Inside Takes Over And Your Subconscious Just Does It For You." One Reason For The Consistency Of Goldsmith's Aural Resonance And Signature Sound Is His Long Time Professional Association With Orchestrator Arthur Morton. Their First Collaboration Was On The Film Take Her She's Mine. In 1965 Goldsmith Was Tapped To Score The Features Von Ryan's Express And Morituri. He Recruited Morton To Serve As His Orchestrator. Their Bond For A Unique And Expressive Sound Was Borne And Their Friendship Flourished. Goldsmith Went On To Compose The Soundtracks For Our Man Flint The Trouble With Angels With Frank De Vol The Blue Max The Sand Pebbles And Stagecoach All In 1966. Morton Was There Providing His Orchestration Services Assisting Goldsmith In Attaining His Visionary Sounds. Their Partnership Endured For Over 30 Years And Included The Notable Scores For Planet Of The Apes 1968 Patton 1970 Tora! Tora! Tora! 1970 Papillon 1973 Chinatown 1974 The Omen 1976 MacArthur 1977 Capricorn One 1978 Alien 1979 Star Trek The Motion Picture 1979 Poltergeist 1982 First Blood 1982 Under Fire 1983 The Russia House 1990 . The Final Score That Arthur Morton Orchestrated For Goldsmith Was L.A. Confidential 1997 . Goldsmith Died At His Beverly Hills Home On July 21 2004 From Colon Cancer At The Age Of 75. He Was Survived By His Wife Carol And His Children Aaron Joel Who Also Died Of Cancer On April 29 2012 Carrie Ellen Edson And Jennifer Grossman. read less