Elliot Goldenthal Keyboards : Elliot Goldenthal

Elliot Goldenthal (born May 2, 1954) is an American composer of contemporary classical music. He was a student of Aaron Copland and John Corigliano, and is best known for his distinctive style and ability to blend various musical styles and techniques in original and inventive ways. He is also a film-music composer, and won the Academy Award for Best Original Score in 2002 for his score to the motion picture Frida, directed by his long-time partner Julie Taymor.
Life and career
Goldenthal was born on May 2, 1954, as the youngest son of a Jewish housepainter father and a Catholic seamstress mother in Brooklyn, New York City, where he was influenced from an early age by music from all cultures and genres. Both pairs of Goldenthal's grandparents emigrated to the United States from Bucharest and Iași, Romania.[1] Goldenthal lived in a multi-cultural part of town, and this is reflected in his works.[2] He attended John Dewey High School in Brooklyn where, at the age of 14, he had his very first ballet Variations on Early Glimpses performed; he continued to display his eclectic musical range, performing with rock bands in the seventies.[citation needed] He then studied music full time at the prestigious Manhattan School of Music, where he studied with composer John Corigliano (whom he greatly admired), to earn his Bachelor of Music degree (1977) and Master of Music (1979) in musical composition.[3][4][not in citation given]
He lives in New York City "happily unmarried", as he once put it,[5] with his partner Julie Taymor, whom he met in 1980 through a mutual acquaintance, who told him, "I know a person whose work is just as grotesque as yours"; they have an office/apartment where they both live and work.[6]
Goldenthal has written works for concert hall, theater, dance and film. His work includes music for films such as Alien 3, Michael Collins, Batman Forever, Heat and the Academy Award-winning score for Julie Taymor's "Frida", a movie in which Goldenthal had a small acting part as a "Newsreel Reporter". Incidentally he also had a small part in the stage show "Juan Darièn" as a "Circus Barker / Streetsinger".[7] See below for links to individual score pages; some with audio samples.
The Tony-Award winning carnival mass Juan Darièn (1988/'96) and The Green Bird (1999), based on a story by Carlo Gozzi, are a few of the composer's theater works.
In 2006, Goldenthal completed his original three-act opera with Taymor entitled Grendel an adaptation of the John Gardner novel which told the story of Beowulf from the monster's point of view. It had its world premiere in early June 2006 at the Los Angeles Opera, the role of Grendel performed by Eric Owens, with an audience containing the likes of John Williams and Emmy Rossum; the opus was added to the Los Angeles Opera's permanent repertoire and earned Goldenthal a nomination in April 2007 for the Pulitzer Prize for Music.[8][9]
In 2008 Goldenthal reunited with Michael Mann to score 1930s gangster movie Public Enemies and in 2009 he scored another Julie Taymor Shakespeare adaptation, The Tempest.[10]
He cites acclaimed Japanese composer Tōru Takemitsu as an influence and someone he styles his own career on; Goldenthal has said that the lines between traditional concert music and orchestral film score have become more blurred which is the way he thinks it should be.[11] He has also collaborated four times with Irish director Neil Jordan, scoring movies like Interview with the Vampire: The Vampire Chronicles and In Dreams.
Elliot Goldenthal has been called by film-music collectors the "thinking man's composer" and a generally more cerebral choice for film makers and fans of film music alike.[12][13] He is known for his often intense experimentation, intelligent nuances and willingness to try new and unconventional techniques and processes (For two good examples of this, see Alien 3 (soundtrack) and Titus (soundtrack)). This experimental approach has led him to score movies in almost every genre from horror to action to Shakespeare adaptations;[14] the only type of film he has not yet scored is comedy, but at the same time he has composed comedic motifs for several films such as Demolition Man and the more colorful Batman sequels, which are considered tongue-in-cheek types of movies in the first place. It is this openness to try his hand at anything which has gained him a lot of respect in the music and film communities and with fans. He is not as well known, or popular, as other film composers such as the "household names" John Williams or Hans Zimmer but he is widely appreciated among film score fans for his sheer musical abilities and distinctive style; a style, which though artistically appreciated among film music enthusiasts, some have said can be too experimental or inaccessible to the mainstream listener because of Goldenthals passion for defying the norms of contemporary classical music.[15][16][17][18]
Atonal and brutal in his action music, sometimes in underscore and tends to use very fast French horn bending tones/whining; although Goldenthal himself has said that he doesn't "hear" atonal and tonal, rather "...I don't have any differentiation in my head between tonal and atonal, I either hear melody or I hear sonority — I don't hear atonal or tonal so much."[11]“ Every project we do requires a different approach, but one thing that's always consistent is the framework that Rick provides. In essence, he's giving me all these new instruments to work with. He keeps coming up with surprising combinations of sounds. ”
—Goldenthal (March 2003), on Richard Martinez[19]
Goldenthal often works with a team he assembled after the soundtrack for Drugstore Cowboy: Teese Gohl as supervising producer, Robert Elhai as orchestrator, Joel Iwataki as sound engineer and Richard Martinez as electronic music producer.[19] According to Martinez, "a lot of composers want to focus on writing their music, and that's what [his] team allows Elliot to do."[19]
At the website filmscoremonthly.com, a former classmate of Goldenthal's replied to a piece on the Sphere score from 1998 saying that when he and Elliot were both studying at the Manhattan School of Music in the '70s Elliot was already experimenting with unusual techniques and when studying trumpet once, Elliot asked him to "buzz into the wrong end of the mouthpiece and sing into it as well", he thought he was crazy but looking back after a decade or so of Goldenthals film and concert music he said that he "...was just way ahead of the rest of us."[20]
Respected cultural historian and critic Piero Scaruffi found fit to mention Goldenthal in lists of honour and general overview of film music on his website,[21] placing three of Goldenthal's theatre works in a "Brief history of music through its milestone compositions"[22] and putting his score for Drugstore Cowboy at number 27 in a list of "Best musicals of all time".[23]Lists of worksFilm works

  • 1979 - Cocaine Cowboys
  • 1980 - Blank Generation
  • 1989 - Drugstore Cowboy
  • 1989 - Pet Sematary
  • 1991 - Grand Isle
  • 1992 - Alien 3
  • 1993 - Demolition Man
  • 1993 - Golden Gate score

  • 1994 - Interview with the Vampire (Oscar Nomination)

  • 1994 - Cobb
  • 1995 - Batman Forever
  • 1995 - Heat
  • 1996 - Michael Collins (Oscar Nomination)
  • 1996 - A Time to Kill
  • 1997 - The Butcher Boy
  • 1997 - Batman & Robin (score not commercially released)
  • 1998 - In Dreams score
  • 1998 - Sphere score
  • 1999 - Titus score - film directed by Julie Taymor
  • 2001 - Final Fantasy: The Spirits Within score
  • 2002 - Frida (Oscar Winner) - film directed by Julie Taymor
  • 2002 - The Good Thief score
  • 2003 - S.W.A.T. score
  • 2007 - Across the Universe soundtracks - film directed by Julie Taymor
  • 2009 - Public Enemies
  • 2010 - The Tempest - film directed by Julie Taymor
    Concert music works
  • 1980 - Brass Quintet No. 1, Brass Quintet No. 2 (No. 2 has been recorded recently by Extension Ensemble, New York)
  • 1988 - Pastime Variations
  • 1990 - Shadow Play Scherzo
  • 1996 - Fire Water Paper: A Vietnam Oratorio (recorded in 1995, featuring Yo Yo Ma)
  • Theatre works
  • 1984 - Play, "The King Stag" (production of Carlo Gozzi's play by Andrei Serban)
  • 1985 - Musical, "Liberty's Taken" (an original musical co-created with David Suehsdorf and Julie Taymor)
  • 1986 - Musical, "The Transposed Heads" (adapted by Sidney Goldfarb and Julie Taymor from the novel by Thomas Mann)
  • 1988 - Play (Commedia), "The Serpent Woman" (production of Carlo Gozzi's Commedia)
  • 1988 - Musical, "Juan Darien: A Carnival Mass" (off-Broadway, reworked and recorded for Broadway in 1996; Co-bookwriter, lyricist, arranger of the Latin text.)
  • 1998 - Ballet, "Othello" (a ballet with choreography by Lar Lubovitch)
  • 1999 - Musical "The Green Bird" (on Broadway production of Carlo Gozzi's work) Stage director: Julie Taymor
  • 2006 - Opera, "Grendel" (opened June at Los Angeles Opera; not released on CD yet as of October 2012)
  • Libretto: Julie Taymor and J D. McClatchy, after the novel Grendel by John Gardner, and the poem Beowulf
  • Stage director: Julie TaymorAwards and nominations
  • (2007) Pulitzer Prize for Music in Music Nomination for his acclaimed "Grendel" opera
  • (2004) Emmy Awards Nomination, "Great Performances: Dance in America" - Outstanding Music Composition for a Miniseries, Movie or a Special (Dramatic Underscore)
  • (2004) ASCAP Film and Television Music Awards Win, "S.W.A.T." - Top Box Office Film Score
  • (2003) World Soundtrack Awards 2003 Win, "Frida" - Best Original Soundtrack of the Year
  • (2003) World Soundtrack Awards 2003 Win, "Frida" - Soundtrack Composer of the Year
  • (2003) World Soundtrack Awards 2003 Nomination', "Burn It Blue" from "Frida" - Best Original Song Written for a Film
  • (2002) Academy Awards Win, "Frida" - Best Original Score
  • (2002) Academy Awards Nomination, "Frida", "Burn It Blue" - Best Original Song
  • (2002) Golden Globes Win, "Frida" - Best Original Score
  • (2002) World Soundtrack Awards 2002 Nomination, "The Dream Within" from "Final Fantasy: The Sprits Within" - Best Original Song Written for a Film
  • (1999) CFCA awards Nomination, "The Butcher Boy" - Best Original Score
  • (1998) ASCAP awards Win, "Batman & Robin" - Top Box Office Film Score
  • (1998) Chicago Film Critics Awards Nomination, "The Butcher Boy" - Best Original Score
  • (1998) Los Angeles Film Critics Association Awards 1998 Win, "The Butcher Boy" - Best Original Score
  • (1997) Tony Awards Nomination, "Juan Darien: A Carnival Mass" (Broadway Production) - Best Original Musical Score
  • (1997) ASCAP awards Win, "A Time to Kill" - Top Box Office Film Score
  • (1997) Grammy Nomination, "Defile and Lament" from "A Time to Kill"
  • (1996) Academy Awards Nomination, "Michael Collins" - Best Original Score
  • (1996) Golden Globe Nomination, "Michael Collins" - Best Original Score
  • (1996) ASCAP awards Win, "Batman Forever" - Top Box Office Film Score
  • (1995) Grammy Nomination, "Batman Forever" - Best Instrumental Composition
  • (1995) ASCAP awards Win, "Interview with the Vampire" - Top Box Office Film Score
  • (1995) Golden Globe Nomination, "Interview with the Vampire" - Best Original Score
  • (1994) Academy Awards Nomination, "Interview with the Vampire" - Best Original Score
  • (1994) ASCAP awards Win, "Demolition Man" - Top Box Office Film Score
  • (1990) Edinburgh Festival Critics Choice Award Win, "Juan Darien: A Carnival Mass" - Best Music (1990) American Academy of Arts and Letters Richard Rodgers Award Win, "Juan Darien: A Carnival Mass" - Best Music (1988) Obie Award Win, "Juan Darien: A Carnival Mass" (Original Production) - Best Music
    Among others including the Arturo Toscanini Award, the New Music for Young Ensembles composition prize, the Stephen Sondheim Award in Music Theater and a New York Foundation for the Arts fellowship.[24]Quotes
  • “ "Copland would sit down at the piano and play through his scores very slowly, stopping to explain any harmonic or rhythmic changes I inquired about. I had the good fortune to be with John, who was my `formal' instructor, at a time he was developing into a major composer." -- on studying under Copland & Corigliano.[25] ”“ "I love working with English musicians, especially the strings. They don't play with excessive vibrato. Strings use too much vibrato in the States" -- 1997, on recording in London.
  • ”“ "I think every film score that I do is the best film score that I've ever composed. I will say that in terms of strong film scores that I've composed that Cobb, Michael Collins, The Butcher Boy, Drugstore Cowboy, Alien 3, and Titus are the ones that stand out." -- 1999, on his own perception of his best score.[5] ”“ "I say we've spent 20 years being happily unmarried. Julie's late father used to refer to me as his 'son-out-law.' Actually, I think of us as Ozzie and Harriet." -- 2002, on his marriage after collaborating with Taymor on Frida.[5] ”“ "Bring Fellini back from the dead, and let me work with him!" -- 2000, expressing his love of Federico Fellini.[4][5] ”Trailer music
    A number of Goldenthal's cues (as is common with a lot of composers) have been used for trailer music, below is a list of known uses up to 2004.[26]
  • Interview with the Vampire (1994)
    Copycat (1995) - Theatrical Trailer
    Alien III (1992) was used in:
    The Animatrix (2003) - Theatrical Trailer The Matrix Reloaded (2003) - TV Trailer The Matrix (1999) - Theatrical Trailer The Matrix (1999) - TV Trailer The Village (2004) - Theatrical Trailer
    Batman Forever (1995) was used in:
    Batman & Robin (1997) - Theatrical Trailer Batman Forever (1995) - Theatrical Trailer
    Demolition Man (1993) was used in:
    Evolution (2001) - Internet Trailer Men in Black (1997) - Theatrical Trailer Men in Black II (2002) - Teaser Trailer
    Final Fantasy: The Spirits Within (2001) was used in:
    The Manchurian Candidate (2004) - Teaser Trailer Sky Captain and the World of Tomorrow (2004) - Teaser Trailer
    Heat: (1995) was used in:
  • Composer Elliot Goldenthal creates works for orchestra, theatre, opera, ballet and film. He most recently scored Julie Taymor’s feature film adaptation of Shakespeare’s The Tempest, starring Helen Mirren, Russell Brand, Djimon Hounsou and Alfred Molina, which will be released by Touchstone Pictures on December10th, 2010. A soundtrack album of his original music for THE TEMPEST will be the maiden release on Goldenthal’s Zarathustra Music label. Previously, Goldenthal composed the original score for Michael Mann’s Public Enemies, starring Johnny Depp, Christian Bale and Marion Cotillard
    In 2003, Goldenthal was honored with the Academy Award® and a Golden Globe for Best Original Score for Frida, which starred Salma Hayek as the Mexican artist Frida Kahlo. A double Oscar® nominee that year, Goldenthal also received an Oscar® nomination for Best Original Song (“Burn it Blue” performed by Caetano Veloso). The score was released on the Decca/UMG Label and was on Billboard’s World Music Chart and Latin charts for over 40 weeks. His other recent film work includes Across The Universe, which earned him his third Grammy nomination.
    In 2006, Goldenthal’s original 2-act opera Grendel, directed by Julie Taymor, premiered at the Los Angeles Opera, becoming one of the most successful productions in their history. It had its east coast debut as the centerpiece of the Lincoln Center Festival in New York, and was added to the Los Angeles Opera’s permanent repertoire. Goldenthal was named one of the two finalists for the 2006 Pulitzer Prize in music for his work on Grendel.
    Goldenthal's large-scale symphonic piece, Fire Water Paper, a commemorative tribute created for the 20th anniversary of the Vietnam War, commissioned by the Pacific Symphony Orchestra, was released in April of 1996 on Sony Classical Records featuring soloist Yo Yo Ma. It debuted at the Pacific Symphony Orchestra and was later performed in critically acclaimed performances at Carnegie Hall and at The Kennedy Center, with Seiji Ozawa conducting the Boston Symphony Orchestra.
    In 1995 Goldenthal was commissioned by the American Ballet Theater to create a new 3-act ballet of Othello, which debuted at the Metropolitan Opera in May of 1997.Othello was co-produced by the ABT in partnership with the San Francisco Ballet and was choreographed by the world-renowned Lar Lubovitch. In June of 2003, PBS’s prestigious arts series Great Performances broadcast a two-hour special of Othello filmed with the San Francisco Ballet and Goldenthal’s original score was nominated for an Emmy. To date, Othello has been performed at The Dorothy Chandler Pavilion, The Kennedy Center, the Norske Opera in Oslo, and the Palais Garnier in Paris. In October 2009, The Joffrey performed the Chicago premiere of Othello, and it toured in Los Angeles and Washington D.C.
    He has composed music for more than a dozen theatrical productions including Juan Darién: A Carnival Mass, directed by Taymor and first produced in 1988. Juan Darién opened the season at the Vivian Beaumont Theater at Lincoln Center in 1996, winning rave reviews, as well as four Drama Desk and five Tony nominations, including Best Musical and Best Original Score.
    Among his many film scores are Heat, Titus, Batman Forever, A Time to Kill, Drugstore Cowboy, Alien 3 and the Neil Jordan films Interview With The Vampire and Michael Collins, receiving Oscar nominations for both. Additionally, He has been nominated for two Golden Globes, three Grammys, two Tony Awards, and three Chicago Film Critics Awards. He received the L.A. Film Critics Award for Best Original Score for his work on The Butcher Boy in 1998.
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