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| | 7/29/04: Jerry Goldsmith |
 | | Goldsmith's music for the epic QBVII was the equal of his feature work, encompassing memorable love themes, driving action, a rousing fanfare, and chilling music for the concentration camp sequences (musically much more harrowing than anything in Williams' Schindler's List score, which Goldsmith was a fan of), and won him yet another Emmy. |
 | | 1980 was painfully devoid of new Goldsmith features, but 1981 brought such goodies as The Final Conflict, with its superb main theme and its dazzlingly scored foxhunt, one of the greatest cues in the Goldsmith canon, and the dark and exciting Outland. |
 | | Goldsmith's score was famously brief, only a half hour of music in a three hour film, but that 30 minutes encompassed a rich variety of themes and a stunningly original approach, deftly musicalizing a complex, true life figure and introducing the echoing trumpet sound which would become a much parodied motif. |
| www.filmscoremonthly.com /articles/2004/29_Jul---Jerry_Goldsmith.asp (6613 words) |
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