This is just beautiful stuff. Entire Tadlow Team, Nic and Orchestra you truly honor Maestro Goldsmith with your superb performances and recordings! Thank you so much. I love you and appreciate you all!
4:53-5:12. Sounds like a heavy Bernard Herrmann influence here. It should be noted I know very little music theory, I don't even play an instrument. However, I love film scores, and I know what I like. Whenever I heard a score that I really enjoyed on TV in the late 50s and 60s I would watch the credits to see who composed the piece. No kid does that so I was deemed a little weird. The name Jerry Goldsmith would almost always appear. I really took notice when he did a 16th century-like piece for the Thriller episode, "The Closed Cabinet." I began seeing his name on many other TV shows and movies after that. The genre didn't matter---it could have been Thriller, The Twilight Zone, a western, or a spy episode, there was Jerry Goldsmith. I followed him throughout his career. Bernard Herrmann preceded him, but as an even younger kid I didn't stick around for TV credits. But one time I did. It was after a Twilight Zone episode. The closing credits had this sad and melancholy feel about it that made you want to linger. It had an almost hypnotic "into the wee hours" feel to it and then ended with this deep dooms day bass. I saw the name Bernard Herrmann, and at first I had this odd feeling about how the last name was spelled, like it had too many unneeded letters, and how someone could screw up the spelling on a spelling bee contest. I didn't see "The Day the Earth Stood Still" until it was already about a decade old. That very weird sound-music that became an iconic sound for early sci-fi flicks was there. The composer? Well, there was a familiar name, one that I recognized, Bernard Herrmann. I would see this name on countless other films and TV episodes. And so it was. Jerry and Bernie got me all started with a life long passion for film scores. Thanx for the above presentation.
Hey, You are not weird man! I did the same as a kid, In fact after years of doing that I could easily tell who was behind a movie soundtrack well before looking at the credits, every author has his own signature sound. And you are right, that bassoon part clearly shows Hermann's influence.
2:54. Don't know what you call them so I'll make up a name: telegraphy-phones. Those dual tap-tap Morse-code like thingys the drummer has in his lap reminds me so much of the snare drum rhythms used in the conclusion of Ravel's "Bolero."
