Author
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Topic: Leonard Rosenman
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Tom Scofield
unregistered
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I'm not quite sure how to answer this. I remember Goldsmith getting the award very vividly, but not the song performance itself that well.I'm not sure it was "performed" as a song, per se. It seemed to me that a somewhat modified version of the "Ave Satani" was played by the orchestra and chorus while what we actually saw was a dance number choreographed to the music. I have no idea who Tony Vivante (considering the subject matter, that sounds like a fake name to me) is, he may have been a dancer portraying Satan. But I certainly couldn't swear to it. What I remember most vividly is the still youthful-looking, impeccably dressed Goldsmith, with his shock of white hair, sitting next to his very attactive wife/girlfriend (?) jumping up and striding forward to pick up his Oscar.
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posted 02-19-2000 12:44 AM PT (US) ip
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Dr.Evil
Oscar® Winner
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If youi wanna see Goldsmith getting his Oscar, look after for KARLIN/TILFORD PRODUCTION, Film Music Master a Box Set with book and VHS.
Great stuff, nice interviews, good to see Goldsmith conducting!
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posted 02-19-2000 09:04 AM PT (US) ip
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Marcelo Ferreyra
Oscar® Winner
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I would like to add my feelings about Mr Rosenmann.
I think that he have a distinctive sound
with all the piramid chords,12 tones techniques and pandiatonocism etc.
But other composers uses the technicques that Mr Rosemann does and they don't have the same sound.
Moving on,we can deduce that he have a well earned place in the New sounds on music.
That doesn't mean that You have to like him.
In my particular case,and I'm sorry if anybody feels bad about this,I love this kind of sound with few melodies that he is up to.
I think that his work in COMBAT is unique;
that so that I would like to see a CD released.
Also unique are FANTASTIC VOYAGE,EAST OF EDEN and REBEL WITHOUT A COUSE.
Even when the type of writting in this two
last ones was common practice at that time,but they have the Rosenmann signature.
Please,dont missunderstand me,I love
romantic scores too;I love Korngold,
Waxman and Rosza to name a few;
but what can I do?
It just happens that I like the Rosenmann
compositions.M.F.
[This message has been edited by Marcelo Ferreyra (edited 19 February 2000).]
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posted 02-19-2000 09:54 PM PT (US) ip
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Tom Scofield
unregistered
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You have it exactly, Marcelo. Why is it considered strange to anyone that a person can enjoy both large scale works in the romantic/nationalistic tradition of the 19th Century AND ALSO exciting works written with the most modern compositional techniques, including the 12-tone system of Shoenberg, atonality, extreme dissonance, pentatonic and other scales, microtonality and non-western rhythmic patterns, in addition to the use of electronics and advanced studio production methods? A precious few greatly talented film composers had embraced this extremely fluent musical vocabulary long before any of the academics finally chose to do so.
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posted 02-20-2000 12:56 AM PT (US) ip
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Tom Scofield
unregistered
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Viva la differance! Sorry French speakers.[This message has been edited by Tom Scofield (edited 20 February 2000).]
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posted 02-20-2000 01:09 PM PT (US) ip
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mlw
Oscar® Winner
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nothing since 1997 (Levitation?)
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posted 03-03-2000 10:10 AM PT (US) ip
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Lou Goldberg
Oscar® Winner
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Nic Zwar--Right on Wagner. Plus he was a huge anti-semite and a big influence on Nazism. In fact, Hitler once said: "To understand Nazism, you must first understand Wagner." This quote being re-told in Peter Cohen's amazing documentary The Architecture of Doom.
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posted 03-06-2000 02:34 AM PT (US) ip
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SBD
Oscar® Winner
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I'm pretty sure I've signed my own death warrant, but to me, Leonard Rosenman isn't that bad. I like his work, particularly Star Trek IV, Lord of the Rings and RoboCop 2... that is until I get to the (shudder  )
overture. For that alone, I just gotta say...
WHO THE FUDGE DOES THIS GUY THINK HE IS AND WHY THE HELL IS HE FREE TO WALK THE EARTH, LET ALONE COMPOSE FILM MUSIC?!
But other than that, I like his work.NP - The Carl Stalling Project Vol. 1
*****/*****
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posted 03-06-2000 05:43 AM PT (US) ip
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Nicolai P. Zwar
Oscar® Winner
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I still cannot get over the fact that so many of you do not like "Robocop 2" and especially the overture? What's wrong with it? Rosenman composed a musically coherent, powerful, and funny overture for what was a fairly undeveloped, poor, boring, and overlong sci-fi flick.
Years ago, when I first saw the movie at a theater, I felt I got my money's worth just for the end title sequence.
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posted 03-06-2000 10:18 AM PT (US) ip
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