Elliot Goldenthal

Elliot Goldenthal (* 2. May 1954 in Brooklyn, New York, the USA) is an US-American composer of concert, chamber, film and theatre music.

Goldenthal was a pupil of the composers Aaron copilot country and John Corigliano and has to the Manhattan School OF music among other things Composition teachings and trumpet study. It plays beyond that also piano and sings in the Bariton. Already at the study time Goldenthal was interested much in the medium film, therefore he wrote 1973 parallel to its main study to the NYU's School OF film and Television and learned themselves there the direction leading as basis for its later activity than film composer. In the consequence began Goldenthal without and/or. for small fees to compose music for student films and dance companies. The two successful plays The King steam turbine and gas turbine system (1983) and Juan Darièn (1988) made finally some film directors on Goldenthals work attentive.

The New Yorker one became then in the nineties by numerous unusual Filmmusiken of a broader public admits and applies today among other things because of its unmistakable style and the innovativsten and composers for film valley-animal-test the imaginative Orchestrierungen of his scores as one.

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composition techniques

work past with view of Goldenthals falls a clear Pluralismus up the composer used alternating techniques among other things the classical modern trend, the late romance, the Polish avant-garde, that minimum music and the jazz. It is easy for it likewise to integrate ethonologische and popular elements and instrumentings into its Filmmusiken. The music to Titus (1999) is exemplary - here the composer lets various classical interact and collide like popular techniques and category (according to the partly classical, partly modern production of the Shakespearedramas). Its music to The Good Thief (2003) is particularly inspired of North African Perkussion and American jazz. For Alien ³ (1992) Goldenthal composed partly aleatory music.

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style

defiance of these varieties at composition techniques and inspiration is Elliot Goldenthals music very personally and can usually to its feather/spring be assigned directly. Typical stylistic characteristics in Goldenthals music are frequent using of chromatic harmonies, rhythmic Pitchbending (bends of the height of a clay/tone) and often razor-sharp played sheet metal blowing hereditary curl. Goldenthal often accompanies solo passages for piano, sheet metal or Holzbläser with Streichern in commentating function. Often he without vordergründige Melodik and intensive topic work do in favor of complex structures, textures and significant Orchestrierungen. According to own data Goldenthal thinks rather in the categories sonority and melody, less in the categories tonally and atonal.

The music Goldenthals draws in principle through thought out, filigrane and often unusual Orchestrierungen and/or. Instrumentings out.

Typically for Goldenthals film work is occasional ironical or tragic breaking of certain techniques by oversubscription and increase in the grotesque. Thus it parodiert for instance in Batman Forever (1995) Wagner' drama TIC, which settles also in the title of the piece of Bätterdämmerung.

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experiments

beyond that Goldenthal is often very experimental. Thus he for drugstore cowboy ( 1989) with a multiplicity of programmed key boards worked and used for a piece the human breath as only instrument beside a saxophone. In principle it looks for new kind and ways of playing instruments - and receives often disturbing, surprising and fascinating results. For Alien ³ (1992) it provided sound textures, which were imitated then later with the admission of the Sinfonieorchester in the composition phase digitally. The moreover one used Goldenthal with this work shears and strained piano-hurry than ochestra. Also in The Good Thief are to be heard home-made instruments: Plastic measurer, - spoons and - forks, which are brought by means of resonance bodies to sounding. For the conversion of his electronic music the composer falls back with almost all his works to the jazz musician and sound designer smelling pool of broadcasting corporations Martinez .

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film music

after some Independent productions worked Goldenthal 1989 on its first larger film project: Mary Lamberts cemetery of the Kuscheltiere, a novel filming after Stephen King. The music for this for chamber orchestras, choir and Sopran is extremely avant-garde and reminded of Krysztof Pendereckis early orchestra compositions, for example De Natura Sonoris No. 1 (1967). For the first time appeared also CD with the music a Elliot Goldenthals.

David Finchers film Alien ³ (1992) was the first potential Blockbuster in Goldenthals Filmografie. Here it set off different elements such as Knabensopran, Synthesizer, E-guitar as well as again (now larger) Sinfonieorchester and avant-garde sound effects in the tradition Pendereckis in and main headers thereby clearly from preceding Alien - Filmmusiken.

In the Neunzigern the composer toned to the fifteen further films and co-operated thereby particularly frequently with the directors Neil Jordan, Joel Schumacher and Julie Taymor . For its sinfonischen Filmmusiken to the Jordan films interview with a Vampir (1994) and Michael Collins (1996) was nominated in each case Goldenthal for the OSCAR. 1995 it composed the original music to Michael of man realistic Actionfilm Heat with aluminium Pacino and Robert De Niro, who was brought in beside other soloists and ensembles among other things by the Kronos Quartet. The music to the animated film Final Fantasy, taken up with London Symphony Orchestra: Powers in you (2001) for large orchestra and choir both from the public and from critics very positive evaluations and underlines Goldenthals outstanding role received in the American film music scene.

In the year 2003 Goldenthal for its music became Julie Taymors film Frida (2002; over the Mexican painter Frida Kahlo) with the OSCAR excellently.

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listing

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theatre music and musical

during Goldenthal into the 1990er years for the film composed predominantly, concentrated it into the Achtzigern strongly on theatre productions and musical. Also and particularly here the composer with the rain eating urine Julie Taymor co-operated. Its most successful piece of this kind is probably The King steam turbine and gas turbine system, which is often specified this very day. The King steam turbine and gas turbine system is, like also the other Gozzi Adaptionen, a combination from theatre and musical.

On CD so far only two theatre productions are published. On the one hand the spectacular work Juan Darièn - A Carnival measure (1988, treatment. 1996), where indeed the sometimes excessive ease of the Latin American Karnevals meets with the sakralen beauty of a fair. Goldenthal understands it to out-compose and then in a final sequence (this Irae) collide let both worlds marvelously. On the other hand The Green Bird ( 1996) on CD is available. The fable is the third Goldenthal musical based on Carlo Gozzi - texts, a moody-cheerful conglomerate from orchestraler Komik, drama, jazz and opera.

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listing

  • 1983 - The King steam turbine and gas turbine system (after a text of Carlo Gozzi)
  • 1985 - Liberty's Taken (musical)
  • 1987 - The Serpent Woman (after a text of Carlo Gozzi)
  • 1986 - The Transposed Heads (musical after a text of Thomas's man)
  • 1988 - Juan Darien, A Carnival measure (revises 1996 and for Sony Classical taken up)
  • of 1994 - Titus Andronicus (stage music)
  • 1996 - The Green Bird (Broadway - piece after a text of Carlo Gozzi)
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concert and chamber music, ballet, opera

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ballet

the evening-filling ballet Othello, 1998 to a Choreographie composed by Lar Lubovitch, are stylistic between late romance, which does not only remind because of the march elements of Gustav meals, and which music Sergej Prokofjews with unusual Orchestrierung (among other things old saxophone, Glasharmonika), settled. In the center of the Dreiakters a vierzehnminütige Tarantella in the second act , which accompanies the development of Iagos plan against Othello , is located. 2003 were published a performance San Francisco of the Ballets on DVD, in addition a siebzigminütige Suite of the Balletts is available on CD of the label Varèse Sarabande.

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to compose

Oratorium 1993 Elliot Goldenthal of the Pacific Symphony Orchestra assigned, a Oratorium, which is to reflect the experiences of the Viet Nam war. Apart from the music Goldenthal has responsibility itself also for the text selection. Three-sowing goat the work of approx. 65 minutes of duration the title Fire Water PAPER carries and is written - for A Viet Nam Oratorio for Sopran, Bariton, choir, child choir and large orchestra. It became 1995, i.e. twenty years after the official end of the war, uraufgeführt. Seiji Ozawa specified the Oratorium in April 1996 with the bad clay/tone Symphony Orchestra in the Carnegie resounds . In the same year a CD admission with the Cellisten Yo-Yo mA and the Pacific Symphony Orchestra under Carl pc. appeared. Clair with Sony Classical.

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opera

to 27. May 2006 will be uraufgeführt Goldenthals first opera Grendel in Los Angeles after composition and preparatory phase for many years. The libretto of Julie Taymor and JD McClatchy is based on the novel of the same name of John Gardner and the English Beowulf - legend. Julie Taymor will lead direction, will direct Steven Sloane the orchestra. The opera will be specified 2006 in the context Lincoln of the festival also in Goldenthals hometown New York.

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listing

  • 1980 - Brass Quintet No. 2
  • 1981 - Jabberwocky (for oboe, B-clarinet, bassoon, horn and. Bass Bariton; after a text of Lewis Carroll)
  • 1988 - Pastime variation (for chamber orchestra)
  • 1988 - Shadow Play Scherzo
  • 1995 - Fire Water PAPER, A Viet Nam Oratorio
  • 1998 - Othello (ballet to a Choreographie of Lar Lubovitch; 1998 on Varèse Sarabande) 2006
  • appeared - Grendel (opera)
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person data
NAME Goldenthal, Elliot
ALTERNATIVE NAME Goldenthal, Elliot B.
SHORT DESCRIPTION US-American composer
DATE OF BIRTH 2. May 1954
PLACE OF BIRTH New York, the USA
DYING DATE
DYING PLACE
 

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