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 The concert began with a 5 minute montage displayed on a giant
screen, dropped in front of the orchestra stage. Featured were
excerpts from Alien, The Vanishing, Basic Instinct,
Gremlins, Sleeping With The Enemy, Patton,
Planet Of The Apes, Looney Tunes, and Small
Soldiers.
Introducing the concert was Tommy Pearson, host of BBC Radio
3's "Stage and Screen". Alongside Mr. Pearson was co-hostess
for the evening, Fien Sabbe (a Flemish radio personality). Both
hosts not only introduced each musical selection by recalling
a brief history of the movie, but also read out notes and mails
from friends of Mr. Goldsmith.
The first selection was Star Trek The Motion Picture which
was performed with such class by conductor Dirk Brossé
it was evident that this was going to be a magical night. When
the applause settled down, Mr. Pearson informed us that he had
various messages from colleagues and friends of Jerry Goldsmith.
He read this message from Alexander Courage:
I First knew Jerry at CBS Radio right after WWII, he had just
graduated with highest honours in composition from Los Angeles
College; he was already a person with sizable talent. Jerry,
who had the most adventurous in minds of any composer I've ever
worked with, quickly moved to television, carving up a niche
of highly regarded scores which led to his entry into film. Jerry's
film music is second to none in originality, variety and depth,
his constant quest for a special sound or a different sort of
instrument to enhance a movie, knew no bound; from the gathering
of tuned metal mixing bowls from his kitchen to the very kitchen
servant. I had the enormous pleasure of working with Jerry on
more than fifty motion pictures, all of which were very exciting
and perfect. Rest in peace, Jerry."
 Fien Sabbe then talked about Jerry's assignment for
Masada. She explained how Jerry happened to be on the
same plane with Sidney Pollock, who was scouting locations for
a film about Masada. Apparently Jerry was so much in love
with the book that he asked Mr Pollock if he could write the
score for the movie.The film was never made but when a TV mini
series was later produced Jerry got the chance to score it. The
performance of the Masada theme was such an emotional
experience it made me truly realise that the loss of Jerry Goldsmith
would make the world of music for film and television forever
poorer.
Next up was a shorter variation on "The Motion Picture Medley",
comprised of The Sand Pebbles, Chinatown, Poltergeist,
Basic Instinct and The Wind And The Lion; the latter
was performed exquisitely and to hear it played live with such
energy you could almost imagine Sean Connery's Raisuli riding
in to the Opera House.
As if The Wind and the Lion wasn't difficult enough to
perform, the next challenge for the National Belgian Orchestra
were highlights from the classic score to The Planet
of the Apes. Both The Clothes Snatchers and The
Hunt made up the suite and proved a breathtaking experience
to hear this astonishing music live! Mr.
Pearson then read out a message from Stuart Baird (editor of
The Omen and director of Executive Decision, U.S.
Marshals and Star Trek: Nemesis).
"Jerry Goldsmith was a master in the art of composing
music for film and a remarkable presence of the great and original
art of the 20th century; As with Max Steiner, reaching the very
peak of accomplishment. It was my great good fortune, personally
and professionally, to have known and worked with him. I met
him when I was a young editor on The Omen. I learned just how
enormously and truly appropriate and effective a film score can
elevate a film. The key intelligence as to where the music should
be or not be, the selection of themes and orchestrations that
enhanced or even created the mood or emotions in every scene,
and his skill of creating a whole integrated score, elevated
so many films. These are rare gifts; I know how many directors,
producers, studio chiefs there are now mourning his loss. His
music is now part of cinema history, and for as long there are
people who love movies, his music will be revered; his music
is a standard of excellence for all the young composers and directors.
I urge them: Listen and learn!
Love Stuart Baird."
"The Generals" closed the first part of the evening
and of course featured the rousing themes from Patton
and MacArthur.
Part II of the concert picked up the pace
with two Goldsmith-Dante collaborations; Small Soldiers
and Gremlins, in the suite titled "Tiny Creatures".
This proved to be very popular and went down very well with all
concerned. Including the musicians that didn't have to play,
as they could be seen tapping their toes.
The orchestra was then joined by Roland Broux, who practices
the guitar at the Royal Flemish School of Music, for a performance
of Under Fire. Unfortunately Roland struggled to play
the popular theme for the Nicaraguan set movie, but did improve
and made up for it the second time the theme came round. Tommy
Pearson then read another comment, this time by director Fred
Schepisi:
"Jerry was the rarest of movie composers because of his
remarkable ability to truly relate to the movie; it was the movie's
emotion, style and story that informed its score, never the other
way around; Unless of course there was something sadly lacking,
which is best expressed in the words of one budget pressed director:
"ok, that's good enough; Jerry will make it great"
(giggles from the crowd). If you listen to the scores of many
great film composers you'll hear great music but you'll soon
become aware that each has a style, a sound and approach. The
melodies and the themes may be original but the style is the
most important. With Jerry, the whole work is original; melodies,
themes and sound. The style suits the film, capable of great
diversity and individuality, a rare talent. Unique, intelligent,
very human and D A M N great fun to hang out with!"
Next up was the love theme from the romantic adventure movie
Forever Young. It remains a very emotional piece and stands
up well against the many classics themes that were performed
that night. This was followed on nicely by the Mulan Suite,
which took me quite by surprise. What a wonderful theme, and
beautifully performed and conducted. Tommy Pearson then read
a personal note from Jerry's last orchestrator Mark Mckenzie:
"He was a great composer, in part because he had such
a great capacity to love; he loved his family, he loved his art
of music with complete emotion, to both technical mastery and
creative risk taking, he loved musicians, young and old, with
patience and encouragement and he loved his fans! Last, and maybe
least, he loved me, Mark Mckenzie, his final orchestrator, with
unbelievably kind words, hugs and appreciation before I was a
composer, orchestrator and most of all a new person. He said
he had worn out two other ochestrators and now he needed a new
'younger' one. (giggles from the crowd) Jerry would often say
about certain people: "Oh that person is one of my angels".
I believe that tonight Jerry is in heaven and he is one of our
angels. I believe he is cheering each of us onwards, to our great
potential and fullest purpose. His last words to me, not many
days before he died, are words I would think he would speak to
each one of us here tonight; They are the words: You are going
to make it!
Love Mark Mckenzie.
The Looney Tunes Back In Action suite followed, again
with Roland Broux on guitar, no problems this time though. Despite
the movie being far from successful, the music is truly remarkable
and incredibly infectious. Though everyone was caught by surprise
by the ending when the flute solo, the melody that goes down
in notes before the villain theme arrives in the score, just
stopped!
Before closing with the majestic theme to Supergirl, Fien
and Tommy thanked Carol Goldsmith for attending and everybody
cheered and applauded her. Supergirl made for a great
finale, but it wasn't over yet as Star Trek The Motion Picture
made up the encore.
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