Elliot Goldenthal
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Elliot Goldenthal (born May 2, 1954 in Brooklyn, New York City) is an acclaimed Oscar and Golden Globe winning American composer of contemporary classical music. He was a student of Aaron Copland and John Corigliano, and is best known for his ability to blend various musical styles and techniques in original and inventive ways. 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.”
Biography:
He was born on May 2, 1954 as the youngest son to a Jewish housepainter father and a Catholic, seamstress mother in Brooklyn, New York; he was educated at 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 70’s. He then studied music full time at the prestigious Manhattan School of Music, where he studied under Aaron Copland and John Corigliano (both of whom he greatly admired), to earn his BA then MA in musical composition.
He lives in New York City “happily unmarried”, as he put once it, with his partner Julie Taymor, whom he met in 1982 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.
Biography:
He was born on May 2, 1954 as the youngest son to a Jewish housepainter father and a Catholic, seamstress mother in Brooklyn, New York; he was educated at 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 70’s. He then studied music full time at the prestigious Manhattan School of Music, where he studied under Aaron Copland and John Corigliano (both of whom he greatly admired), to earn his BA then MA in musical composition.
He lives in New York City “happily unmarried”, as he put once it, with his partner Julie Taymor, whom he met in 1982 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.
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Top Albums
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Public Enemies
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Frida
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Interview With The Vampire
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Shoutbox
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FionnKirwan wrote:
The range on Titus is mind blowing i say its his best work not for the faint hearted
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Synesthesis wrote:
Interview With The Vampire is stunning !
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DELI-UG wrote:
заебись
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Iamjustapeasant wrote:
Alien³-love it
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Biscuit1978 wrote:
Come along and join the group Orchestral Composer of the Week. Nominate your 5 favourite composers each week and see who gets into the Hall of Fame.
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Terrasidius wrote:
The Tempest soundtrack is brilliant!
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f_k_o_s wrote:
Some excellent contributions by this man to the Heat soundtrack -.-
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innercities wrote:
you'll always find something new with each listen, like a harmonic line or an orchestrational detail...
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DanielosVK wrote:
Heat >> Public Enemies [2]
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oGhRe wrote:
Heat >> Public Enemies
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Hey_Nikki wrote:
Public Enemies ♥
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PokeBaal wrote:
Final Fantasy: The Spirits Within : shitty film but great soundtrack
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st_kilda wrote:
"Frida" is the first movie I've loved because of its soundtrack.
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RafaelDivoz wrote:
Frida <3
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UtopiaOfBastard wrote:
absolutely adore "drugstore cowboy" soundtrack. it really made the movie "sound" so... junkiedly.
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DanielosVK wrote:
What the hell? The Tempest is a very nice score. Nothing special in Goldenthal's discography, but nice and not easy as always.
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Epitymbidia wrote:
My goodness, experiencing the score for "The Tempest" is an aural catastrophe! The cues are either boring or a pain to listen to. (Except for "Brave New World" maybe, which is not totally horrible. But boring nevertheless, unfortunately.) And the vocal parts are just ridiculous. (Except for the one by Beth Gibbons of course, which is utterly beautiful, but that doesn't rescue the whole work…) That is one of the most terrible scores I've ever listened to. Thank god it's so short.
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mehdi43 wrote:
<3 Elliot
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PrincessOvelia wrote:
@Clackers Me really looking forward to The Tempest from Goldenthal too! @s-l-y and certainly better than the two-note motif by Zimmer. :D Mr. Goldenthal's music changed my view of music when I was young. The world is never the same after hearing his music :)
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Clackers wrote:
Really looking forward to The Tempest from Goldenthal.
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