richardburton84
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Jerry Goldsmith is one of the most popular film composers of all time. You might recognize him for his score and theme to Star Trek: The Motion Picture. Or his thundering score for Disney’s Mulan. The echoing trumpets of Patton that lead into one of the most memorable marches in any war film. The soaring theme for Disneyland’s California Adventure’s most popular ride, Soarin’. Or his Oscar-winning choral/orchestral score for The Omen. Overall, he scored more than 250 projects.
Due to his popularity, nearly every film score Goldsmith composed has been released in some form. But at least two works remain unreleased for the simple reason that the original recordings are missing. One is his first theatrical film score, the western Black Patchfrom 1957. The second is The Man from 1972, about America’s first black president. These are noticeable gaps in his discography and the only way to fill those gaps is through new recordings of the scores.
This is where Intrada … and you … come in. Intrada is one of the foremost record labels focusing exclusively on film music and has enjoyed a long and productive relationship with the composer and his legacy. Since 1985 (that’s 36 years for those counting), we’ve been releasing soundtracks from composers from all periods, featuring all types of music and genres. We even have a series of recordings in which we meticulously restore and authentically re-create film scores of the past. This series, in fact, started with Jerry Goldsmith. Back in the 1980s, Goldsmith himself spearheaded an Intrada recording of his favorite score, Islands in the Stream, and then, a few years later, Rio Conchos, a mid-’60s western recorded with the London Symphony Orchestra. Both releases were quite successful. Over the ensuing decades Intrada has made new recordings of scores by Bernard Herrmann, Miklós Rózsa and Dimitri Tiomkin.
Our latest recording, the Kickstarter-funded Dial M for Murder from director Alfred Hitchcock,was done in 2018, with renowned conductor William T. Stromberg leading a striking and passionate performance by the Royal Scottish National Orchestra. Simon Rhodes engineered, and Douglass Fake produced. The recording was enthusiastically received by Kickstarter patrons, critics and soundtrack collectors alike. For this new proposed project, we are reassembling the same dream team with plans to record this fall.
Let’s dig a little deeper into each of these scores.
Black Patch (1957) is the Warner Bros. western film that introduced Jerry Goldsmith’s feature film scoring talents to the world. The assignment gave the young composer the opportunity to demonstrate to everyone that his talent for scoring westerns resulted in music that was both melodic and fresh. Composed for orchestra without trumpets, the music is rich with inventiveness. The absence of trumpets results in an overall darker sheen to the music, befitting the somber, dark-edged storyline of the film. The absolutely ravishing centerpiece of the score is the haunting minor-key love theme, introduced in a quiet manner and richly developed into one of the composer’s finest early themes. The lean black-and-white film, set right after the Civil War, was directed by Allen Miner and written by Leo Gordon, who plays one of the protagonists in the film, alongside stars George Montgomery and Diane Brewster, with Sebastian Cabot playing a delightfully “Frenchified” villain.
Listen to a few minutes from Black Patch taken directly from the film soundtrack.
The Man (1972) is a fictitious political drama that starts when a freak accident makes the president pro tempore of the U.S. Senate, played by James Earl Jones, the first African-American president of the United States. This time Jerry Goldsmith not only uses trumpets but deploys them in fanfare-like passages drawn from the richest and most splendorous Americana mode! Taking his inspiration from Aaron Copland, Goldsmith fashioned a brief but powerful score befitting the extraordinary images of the Washington Monument, the Lincoln Memorial and the magnificent portrait gallery of past U.S. Presidents. The film was produced by ABC Circle Films and intended for television but ultimately deemed of such superior quality that Paramount Pictures released it into theaters instead. Rod Serling penned the script, drawn from a bestselling Irving Wallace novel. Joseph Sargent helmed the picture and kept the primary story in focus with little distraction.
Listen to a few minutes from The Man taken directly from the movie soundtrack.
Leigh Phillips is reconstructing both previously unreleased scores—Black Patch from Jerry Goldsmith’s own surviving scores and The Manfrom the film print. Leigh was essential in our presentation of Jerry Goldsmith’s 1977 score forDamnation Alley, having re-performed the missing electronic overlays that allowed us to present the entire score back in 2017.
William T. Stromberg, veteran of numerous classic film score recordings for both the Marco Polo label and his own Tribute Film Classics label, follows up on his magnificent and authentic interpretation of Dimitri Tiomkin’s Dial M For Murder score by again stepping up to the podium and leading the orchestra in this splendid new performance of two Jerry Goldsmith film scores being newly presented by Intrada!
Having said all this, we can’t do this project without your help. So please join us on this journey to making two of the last Goldsmith scores to see the light of day available to everyone. We hope the many different rewards tiers are enticing.
Thank you in advance for your support!
