Music for Orchestra (Jerry Goldsmith) 12/5/19, 12(25 AM

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Jerry Goldsmith

Composed: 1970
Length: c. 8 minutes
Orchestration: piccolo, 2 flutes, 3 oboes (3rd = English horn), 3
clarinets (2nd = E-flat clarinet), 3 bassoons (3rd = contrabassoon),
4 horns, 4 trumpets, 4 trombones, tuba, timpani, percussion (bass
drum, bongos, chimes, glockenspiel, maracas, snare drum,
suspended cymbals, tam-tam, tambourine, timbales, triangle,
vibraphone, wind machine, wood block, & xylophone), harp, piano
(= celesta), and strings
First Los Angeles Philharmonic performance: March 26, 1998,
Esa-Pekka Salonen conducting (West Coast premiere)

Born in Pasadena, Jerry Goldsmith grew up in Los Angeles, where

his composition teachers included Mario Castelnuovo-Tedesco,

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Music for Orchestra (Jerry Goldsmith) 12/5/19, 12(25 AM

Ernst Krenek, and Miklós Rózsa. After writing music for CBS radio
and television programs, he began scoring films with the 1957
western Black Patch, eventually composing more than 175 film
scores. Among them are classics such as Planet of the Apes (1968),
Patton (1970), Chinatown (1975), The Omen (1976 – Academy
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Privacy Policy.(1986), Basic Instinct (1992), and L.A.
Confidential (1997). Among his many television credits are The Man
From U.N.C.L.E. (1965/66) and a majestic theme for Star Trek:
Voyager. He had a close relationship with the Los Angeles
Philharmonic, including conducting the orchestra in the first
performances of his Fireworks (A Celebration of Los Angeles) in
two concerts at the Hollywood Bowl in the summer of 1999.

The masterpiece of his non-film works is Music for Orchestra,

composed for Leonard Slatkin and the Saint Louis Symphony in
1970 during downtime in his work on the score for Patton. This
was not a happy period for Goldsmith, who was in the middle of a
divorce while his mother was very ill with cancer. “All of my
personal turmoil — pain, anger, and sorrow — went into writing
Music for Orchestra,” he said. There are three clear sections, fast-
slow-fast, in the short work – turbulent, introspective, and very
agitated, in Goldsmith’s own description. He employed a very
lyrically oriented 12-tone technique, much influenced by Alban
Berg, and a large, vibrantly voiced orchestra.

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