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Topic: Elliot Goldenthal

	Filmtracks: Elliot Goldenthal
		In May 1954, Elliot Goldenthal was born in Brooklyn, New York, and as a child he studied piano.
		Arguably Goldenthal's most acclaimed project is 1996's "Fire Paper Water," an oratorio commissioned by the Pacific Symphony Orchestra in honor of the 20th anniversary of the Vietnam War; the Sony Classical recording of the piece featured soloist Yo-Yo Ma.
		After reuniting with Taymor on a limited New York stage adaptation of the Carlo Gozzi fable, "The Green Bird," Goldenthal was commissioned in 1997 by the American Ballet Theatre to compose a ballet inspired by Shakespeare's "Othello." It debuted at the Metropolitan Opera that year and was eventually released on DVD in 2003.
	www.filmtracks.com /composers/goldenthal.shtml (1698 words)

	"JULIE TAYMOR AND ELLIOT GOLDENTHAL: United in Their Love of the Outsider," by Don Shewey
		Goldenthal's scores for other movies; the idea was to approximate the rhythms and emotional tone that she wanted for each scene requiring music.
		Goldenthal said, "I wanted to compose music that could be played by the number of musicians who could fit in the room, as if they're serenading her.
		Goldenthal's melodic, guitar-based score is tuned to the intimacy of the characters' emotions rather than to the drive of the story's events.
	www.donshewey.com /arts_articles/taymor_goldenthal.html (1490 words)

	Heroic Fanfare: Elliot Goldenthal
		Composer and conductor Elliot Goldenthal is best known to film audiences for his stirring work on such action and suspense films as "Alien3" (1992), "Interview with the Vampire" (1994) and both "Batman Forever" (1995) and "Batman and Robin" (1997).
		Goldenthal's first brush with the film world came in the late 70s with a brief collaboration with Andy Warhol ("Blank Generation", "Cocaine Cowboys").
		Goldenthal has come to specialize in suspense and action films; his music is neither soaring nor intrusive, but integrated with background noises and actions.
	www.angelfire.com /film/batman/crew/goldenthal.html (540 words)

	Elliot Goldenthal on SONY BMG Masterworks
		Goldenthal's large scale symphonic piece, Fire Paper Water, a commemorative tribute created for the 20th anniversary of the Vietnam War, commissioned by the Pacific Symphony Orchestra, was released in April 1996 on Sony Classical, and features soloist Yo-Yo Ma.
		That same year, Goldenthal was commissioned by ASCAP to compose a work in celebration of Leonard Bernstein's 70th birthday.
		Goldenthal, a student of Aaron Copland and John Corigliano, earned both his Bachelor's and Masters Degree in musical composition at the Manhattan School of Music.
	www.sonybmgmasterworks.com /artists/elliotgoldenthal/index.html (646 words)

	Final Fantasy: The Spirits Within (Soundtrack) by Elliot Goldenthal - Original soundtrack review at Tracksounds
		The announcement of Elliot Goldenthal was met with the expected mixed reaction.
		Goldenthal's mainstay, dissonant, post-modern style has neatly divided those that have listened to his music into two camps: love it or leave it.
		With Goldenthal at the musical helm, this was just not going to be the case, further reason to consider his selection as composer a brave and bold move.
	www.tracksounds.com /reviews/finalfantasy.htm (1235 words)

	Elliot Goldenthal (Site not responding. Last check: 2007-11-04)
		Elliot went on to study at the Manhattan School of Music for his Bachelor's and Masters degrees in musical composition and orchestration, and became a student of both Aaron Copland and John Corigliano, who is perhaps best known for soundtracks to movies like The Red Violin.
		Elliot discovered the early possibilities of music technology while he was studying, and became excited by the sonic potential it could add to a composer's palette.
		Elliot Goldenthal clearly isn't afraid to explore any aspect of music and sound for new ideas, so towards the end of our conversation, I asked him what direction he thought film and orchestral music would take in the future.
	www.soundonsound.com /sos/Mar03/articles/elliotgoldenthal.asp (4235 words)

	the website for composer Elliot Goldenthal: about Elliot
		Elliot's follow-up project is the summer action-thriller, S.W.A.T. Goldenthal's large scale orchestral piece, Fire Water Paper, a Vietnam Oratorio commissioned by the Pacific Symphony Orchestra, created for the 20th anniversary of the Vietnam War, was released in April of 1996 on Sony Classical Records, featuring soloist Yo-Yo Ma.
		For the concert stage, Goldenthal was commissioned by the American Ballet Theatre to create a ballet of Othello, which debuted at the Metropolitan Opera in May of 1997.
		Goldenthal is also collaborating with Taymor on an opera of Grendel, based partly on the old English epic poem "Beowulf" and partly on John Gardiner's writings.
	goldenthal.filmmusic.com /about.html (798 words)

	A Chat With Elliot Goldenthal - DVD Town (Site not responding. Last check: 2007-11-04)
		Elliot Goldenthal: I was already very familiar with Latin-style music, but what I wasn't familiar with was certain regional, Mexican-styles like "jarocho" or "azteco" and the "corridos", so there were certain regional styles that I became more and more acquainted with as the project developed and sort of weaved into the fabric of the movie.
		Elliot Goldenthal: That was more of Julie's (Taymor) decision to actually have on-camera singing...in the movie, in terms of songs...there are about eleven songs and, let's see...one, two, three of them...four of them actually--five of them--are on-camera, where you actually see people singing.
		Elliot Goldenthal: Yeah, I think that when a director becomes comfortable with a composer and vice versa, it takes on a different dimension where you feel that you don't have to..."a)" the composer doesn't have to audition for the director and prove themselves and "b)" a director knows instinctively where they can take you.
	www.dvdtown.com /article/A_Chat_With_Elliot_Goldenthal/40 (1479 words)

	12/11/02: Elliot Goldenthal Julie Taymor and Frida
		Director Julie Taymor and her longtime partner/collaborator composer Elliot Goldenthal last collaborated on the multi-era adaptation of Shakespeare's Titus.
		We put original music from Elliot Goldenthal right from the beginning, which makes his music so organic to the picture.
		Elliot uses the same theme later when Diego is talking about her paintings at the final gallery scene.
	www.filmscoremonthly.com /articles/2002/11_Dec---Elliot_Goldenthal_Julie_Taymor_and_Frida.asp (1409 words)

	12/23/02: CD Review Elliot Goldenthal Frida
		As in his score to Cobb, Goldenthal again allows disparate musical elements to impact upon one another, but in Frida it's a collision of miniatures: emotive female vocals over electronic soundscapes, Stravinskian guitar strumming (itself a collision of concepts) coupled with acrid marimba textures, traditional accordion patterns mutated by slippery modern harmonies.
		Goldenthal exercises a carefully selected palette, because each one of these colors, no matter how outlandishly treated, has to retain a readily apparent connection to its Mexican roots.
		Goldenthal fans may not also be fans of Mexican folk music and may therefore find the coexistence off-putting.
	www.filmscoremonthly.com /articles/2002/23_Dec---CD_Review_Elliot_Goldenthal_Frida.asp (510 words)

	Elliot Goldenthal - Biography - AOL Music
		Composer Elliot Goldenthal was born May 2, 1954, in New York City, going on to study at the Manhattan School of Music under John Corigliano and Aaron Copland.
		Goldenthal returned to film in 1992 with his score to David Fincher's Alien 3, earning his first Academy Award nomination for his work on Neil Jordan's 1994 effort Interview with the Vampire.
		After reuniting with Taymor on a stage adaptation of the Carlo Gozzi fable The Green Bird, in 1997 Goldenthal was commissioned by the American Ballet Theatre to compose a ballet inspired by Shakespeare's Othello; in 1999, he also scored Taymor's first feature film, Titus.
	music.aol.com /artist/elliot-goldenthal/145391/biography (308 words)

	Elliot Goldenthal - film composer
		Actually, to call Elliot Goldenthal a Sci-Fi Cult specialist is a little unfair.
		The obvious temptation might be to go for a synth-based soundtrack to match the synthetic characters on the screen, but the orchestral colours give a warm human touch which adds considerably to audience involvement in the plot.
		Goldenthal has now won an oscar for his astonishing soundtrack to "Frida".
	www.mfiles.co.uk /composers/Elliot-Goldenthal.htm (331 words)

	Elliot Goldenthal COMPOSER OF MUSIC FOR THE MOVIES by D'Lynn Waldron,PhD
		Elliot Goldenthal is a scholarly composer who spent over a year researching the music of Mexico, Brazil, Cuba and Spain in preparation for the score of Frida.
		Elliot Goldenthal is a very pleasant, youthful man who generously shares his knowledge of music and scoring films with young composers.
		Elliot Goldenthal has mastery of a wide variety of styles and types of instrumentation, which has made him the choice to score movies in many genre.
	www.dlynnwaldron.com /ElliotGoldenthal.html (467 words)

	Elliot Goldenthal - AwardAnnals (Site not responding. Last check: 2007-11-04)
		She was famous as both artist and model, infamous as political revolutionary and social libertine, and Frida Kahlo’s controversial life couldn’t help but seem the stuff of great musical theater.
		Her story is brought to the screen by director Julie Taymor, whose musical compatriot here is also her husband; Elliot Goldenthal, student of both Copland and Corigliani, shrewdly sublimates his modernism in service of the rich, evocative music and songs of Mexico and Central America.
		Elliot Goldenthal’s score perfectly captures the mood of the film, from the opening notes of “Libera Me” to the reprise of “Born to Darkness” at the end.
	www.awardannals.com /wiki/Elliot_Goldenthal (270 words)

	Final Fantasy: The Spirits Within - The ScoreRealm (Site not responding. Last check: 2007-11-04)
		Goldenthal's music, on the other hand, is often bleak and unforgiving; in his film scores and concert works he strives to portray, musically, the dark recesses of the human soul.
		Even Goldenthal's lyrical pieces differ from Uematsu's; while Uematsu's themes are generally graceful and confident, Golenthal's are often reserved, infused with a romantic hesitancy that makes them all the more poignant and real.
		The rich, unusual chord progressions of Goldenthal's composition give the song a surprising depth, and the lyrics, while vague and new-agey, are also appropriate and unpretentious.
	www.scorerealm.ca /final_fantasy_spirits.htm (1285 words)

	Titus - Elliot Goldenthal (Site not responding. Last check: 2007-11-04)
		This adaptation starring Anthony Hopkins, no less and directed by Julie Taymor (Mrs Elliot Goldenthal) looks as though it could be a wonderful production (visually at least), although apparently nobody went to see it.
		Elliot Goldenthal, unlike say Patrick Doyle, is not someone who is likely to do anything too traditional and indeed Titus is the most eclectic score I've heard since, well, the last Elliot Goldenthal score.
		It is only when a saxophone solo in Tribute and Suffrage turns into a saxophone duet and then a swinging jazz number is it clear that the rules are going to be ditched in favour of a flight of musical fancy.
	www.soundtrack-express.com /osts/titus.htm (766 words)

	Frida by Elliot Goldenthal @ Cinemusic (Site not responding. Last check: 2007-11-04)
		Goldenthal's style has always kept him on the fringe of popular film music, with his fans dutifully praising his work and others lamenting it.
		Elliot also contributes to two great songs, the opener "Benediction and Dream", with powerhouse vocals by Lila Downs and "Burn It Blue", my favorite track from the album.
		Goldenthal fans no doubt already own and enjoy their copy of this album, which should prove to be a good one for warm summer nights.
	www.cinemusic.net /reviews/2002/frida_a.html (920 words)

	Filmtracks: Demolition Man (Elliot Goldenthal)
		The stupidity of the film is oddly compensated for by its purely tongue-in-cheek zaniness, proving that ridiculously dumb movies can indeed catch you watching them whenever they come on late night cable television (though, of course, violations of the verbal morality code lose all their punch on family-friendly channels).
		Goldenthal is, more than any other contemporary composer, known by film music collectors as the "thinking man's composer," an artist whose intellect with orchestral composition has led him to create a phenomenally unique and smart series of scores and live performance pieces.
		Goldenthal seems inclined to use this trilling brass whenever he concludes a finale or crescendo that requires the rest of the ensemble to perform in harmony, and it would go on to downright ruin the title statement in Batman Forever.
	www.filmtracks.com /titles/demolition_man.html (920 words)

	Goldenthal: Sphere (Site not responding. Last check: 2007-11-04)
		One of its key assets is its score by the ever-reliable Elliot Goldenthal.
		Goldenthal's score has two functions - first, it builds tension and draws you in - then, it scares the shit out of you.
		Goldenthal never writes any uninteresting music and has such a commanding musical personality - two qualities shared by the very best film composers.
	www.moviewave.net /titles/sphere.html (422 words)

	Elliot GOLDENTHAL Titus: Film Music CD Reviews-October 2000 (Site not responding. Last check: 2007-11-04)
		Elliot Goldenthal has written a wild, bold, iconoclastic score which on CD is a thrilling, exhilarating ride.
		Of course it helps that Goldenthal is working not with a tame Hollywood director, but an innovative New York stage-hand, Julie Taymor.
		I have to say that after due consideration I began to feel that, even though the merits of Goldenthal's Titus music are considerable, it tends to be that just bit too eclectic and too clever; and, dare I say it, a tad monotonous and repetitive before the end.
	www.musicweb-international.com /film/2000/Oct00/goldenthal_titus.html (972 words)

	Final Fantasy by Elliot Goldenthal @ Cinemusic (Site not responding. Last check: 2007-11-04)
		Why Elliot Goldenthal has never achieved the stardom in the world of film music fandom that some other composers have is beyond me. That should all change with FINAL FANTASY: THE SPIRITS WITHIN.
		Elliot Goldenthal is a film composer with true style - in each and every single score he has written there is zero doubt that each note was poured from the recesses of his mind.
		Elliot Goldenthal writes in a short note that he wanted his music to relate to a human audience, despite the synthetic images they were seeing on screen.
	www.cinemusic.net /reviews/2001/final_fantasy-a.html (1244 words)

	ScoreTrack.Net - Music for The Movies: Elliot Goldenthal
		Elliot Goldenthal is a scholarly composer who spent over a year researching the music of Mexico, Brazil, Cuba and Spain in preparation for the score of Frida.
		Elliot Goldenthal has for twenty years been 'happy unmarried' (as she puts it) with Julie Taymor the brilliant and innovative director.
		Elliot Goldenthal’s film career began in 1979 with the score for ‘Cocaine Cowboys'.
	www.scoretrack.net /egoldenthal.html (390 words)

	Movie Music UK - Elliot Goldenthal
		American composer Elliot Goldenthal attended the prestigious Manhattan School of Music where he was a student of both Aaron Copland and John Corigliano.
		Elliot Goldenthal is, without a doubt, one of the most original, innovative and avant-garde composers working in film today.
		Recently, Goldenthal has been developing an original opera “Grendel”, based on the classic story of Beowulf, and which is scheduled to debut in 2006.
	www.moviemusicuk.us /goldenth.htm (473 words)

	Alien 3 (Elliot Goldenthal) (Site not responding. Last check: 2007-11-04)
		But Elliot Goldenthal manages to neither scare nor excite me with his effort.
		Perhaps Goldenthal was hoping to make the music edgy by doing this, but he doesn't succeed.
		Goldenthal is a talented film composer, of that there is no doubt, but Alien 3 is one that should be stricken from the record.
	www.moviewave.net /titles/alien3.html (348 words)

	Othello - Elliot Goldenthal (Site not responding. Last check: 2007-11-04)
		Of course, Goldenthal is primarily a composer of film music, although with assignments such as Demolition Man and Batman and Robin, one can't help but feel he should spend a little less time at the scoring stage and more time in the concert hall.
		This recording of Goldenthal's ballet version of Othello is one of the better known of his concert pieces and it is remarkably accesible.
		Anyone who enjoys Goldenthal's film music will find much to savour and even casual listeners (myself included) will certainly find much of it thrilling and a good way to start accessing modern music, but without having to listen to endlessly tuneless drivel which often passes for classical music these days.
	www.soundtrack-express.com /osts/othello.htm (525 words)

	The Superhero Hype! Boards - Elliot Goldenthal VS. Danny Elfman
		Goldenthal melds the threatening orchestral atmosphere with interpolations of Batman's fanfare.
		Elliot Goldenthal is a good composer and has done a good job in films like Frida.
		Goldenthal's theme was good for BF but by the time BandR came around and overused it evertime Batman did something you just get plain sick of it.
	www.superherohype.com /forums/printthread.php?t=159352 (5921 words)

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