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Music Conducted By
Jerry Goldsmith

Additional Music Adaptations
Fred Steiner

Orchestrations By
Arthur Morton, Alexander Courage
and Fred Steiner



Recorded By
Bruce Botnick

Performed By
-

Album Produced By
Jerry Goldsmith and Bruce Botnick

Re-Issue Produced By
Mike Matessino and Bruce Botnick

Label
La-La Land Records
LLCD 1207



Previous Release(s)
Columbia/Legacy
C2K 66134

Columbia LP/CDs


Year Of CD/Film Release
1999/1979

Running Time
-

Availability
Limited Release


Cues & Timings

DISC 1

The Film Score

01. Overture 1:43
02. Main Title / Klingon Battle 7:01
03. Total Logic 3:54
04. Floating Office 1:08
05. The Enterprise 6:02
06. Malfunction 1:30
07. Goodbye Klingon / Goodbye Epsilon Nine / Pre-Launch 2:10
08. Leaving Drydock 3:32
09. TV Theme / Warp Point Eight :50
10. No Goodbyes :53
11. Spock’s Arrival 2:03
12. TV Theme / Warp Point Nine 1:49
13. Meet V’Ger 3:06
14. The Cloud 5:05
15. V’Ger Flyover 5:01
16. The Force Field 5:07
17. Micro Exam 1:13
18. Games / Spock Walk 9:51
19. System Inoperative 2:03
20. Hidden Information 3:58
21. Inner Workings 4:04

DISC 2

The Film Score (Cont'd)

01. V’Ger Speaks 4:04
02. The Meld / A Good Start 5:37
03. End Title 3:16

The Unused Early Score

04. The Enterprise (Early Version) 6:05
05. Leaving Drydock (Early Version) 2:39
06. No Goodbyes (Early Version) :55
07. Spock’s Arrival (Early Version) 2:00
08. Micro Exam (Early Version) 1:15
09. Games (Early Version) 3:49
10. Inner Workings (Early Version) 4:43

The 1979 Album

11. Main Title / Klingon Battle 6:50
12. Leaving Drydock 3:29
13. The Cloud 5:00
14. The Enterprise 5:59
15. Ilia’s Theme 3:00
16. Vejur Flyover 4:56
17. The Meld 3:15
18. Spock Walk 4:17
19. End Title 3:16

DISC 3

Alternates

01. Overture (Long Version) 2:50
02. Main Title (Alternate Take) 1:44
03. Total Logic (Alternate Take) 3:49
04. Malfunction (Early Take) 1:28
05. Goodbye Klingon (AlternateTtake) :35
06. No Goodbyes (Alternate Take) :53
07. Spock’s Arrival (Alternate Take) 2:01
08. The Force Field (Alternate Take) 5:04
09. Micro Exam (Alternate Take) 1:14
10. Games (Early Synthesizer Version) 3:48
11. Games (Alternate Take) 3:48
12. Inner Workings (Alternate Take) 4:05
13. V’Ger Speaks Aalternate Take) 4:03
14. The Meld (Film Version) 3:16
15. A Good Start (Discrete) 2:27
16. Main Title (Album Take) 1:44

Additional Music

17. Main Title (First Raw Takes) 7:21
18. The Force Field / The Cloud (Excerpts) 2:33
19. Beams and Synthesizer for V’Ger 4:04
20. Beams and Synthesizer for Ilia :59
21. Synthesizer for Main Theme 1:44
22. Main Theme From Star Trek: The Motion Picture (Bob James) 5:24
23. A Star Beyond Time (Shaun Cassidy) 2:43
24. Ilia’s Theme (Alternate) 3:33
25. Theme from Star Trek: The Motion Picture (Concert Edit) 3:25



Soundtrack Ratings

Disappointing

Functional

Average

Good

Excellent

Outstanding



Star Trek The Motion Picture
 

 

20th Anniversary Edition Review

For Star Trek The Motion Picture Goldsmith had two main tasks to overcome. Firstly to write an equally dramatic score as John Williams had achieved with Star Wars, but make sure it wasn't duplicated, and secondly to write a brand new theme for one of the most popular franchises ever produced. Goldsmith revealed in a BBC interview in the 80's that Star Trek was the toughest theme he ever had to write, at times sitting for days in his studio trying to get inspiration. The Blue Max may be the first of Goldsmith's epic scoring achievements but in the popularity stakes, the inventiveness of the instrumentation, the epic grandeur of the scoring and the benefits of modern recording, Star Trek The Motion Picture is quite simply Goldsmith's greatest score.

This new 20th Anniversary CD actually opens with the graceful theme for the alien character and love interest, Ilia. Goldsmith develops his beautiful theme into a sumptuous romantic overture for the love shared between her and Star Fleet captain Decker. From here we launch into the dazzling Main Title and the moment when so many film music fans fell in love with Jerry Goldsmith's unique musical voice. Goldsmith's elegant theme is transformed into a gallant march for strings, percussion and brass. The staggering orchestration carried along by an unstoppable tempo to a musical exclamation, to usher in a brief appearance by the Klingons. Here Goldsmith introduces a primal march highlighting horns and castanets for the thrilling Klingon Battle as Goldsmith switches between his theme for Star Trek's favourite villains and the ominous music for the Cloud. And it's here we're introduced to the startling sound of the Blaster Beam, an enormous metal beam produced and performed for the score by Craig Huxley.

Total Logic is a previously unreleased cue covering Spock's Kolinar ceremony on Vulcan. Goldsmith creates an unsettling alien world and the deeply religious significance of Spock's undertaking with a bleak sound design of ominous strings, primitive percussive elements and the return of the Blaster Beam to interrupt Spock's undertaking. The cue then segues into a spectacular presentation of the Star Trek theme as Kirk's shuttle lands at Star Fleet headquarters, another missing gem from the first release. Floating Office was also previously unreleased and remains a popular inclusion here as Goldsmith's enchanting music for woodwinds capture the ethereal majesty of space.

The Enterprise is the moment when Goldsmith discovered his new theme. Originally this sequence featured an alternate ceremonious cue for Kirks first view of the newly refurbished Enterprise. The original piece essentially had no theme and lacked an identity. Once Goldsmith had written his new theme this sequence was transformed into a breathtaking opus for the awe inspiring ship. This is further developed in the next major sequence; Leaving Dry Dock as the elegant craft departs Earth orbit and leaves the solar system. Goldsmith gives the ship a bold musical send off with an intense rendition of his main theme, with percussion and brass literally powering the ship into deep space.

On route to intercept the mysterious Cloud, Spock arrives aboard a Star Fleet shuttle, but the cue begins with a downbeat motif for strings underlining Kirk's lack of knowledge of the new ship design. The shuttle docking itself is set to a wistful, but slightly eerie cue creating a sense of mystery. Once Spock is revealed the cue warms with harp making a humorous nod to Spock's mirthless personality.

The arrival at The Cloud introduces us to the dissonant music for Vejur. Goldsmith initially captures the mysterious craft by traditional orchestral means with a lush string passage and a Herrmannesque piano motif that carries the Enterprise deep inside. As the cue develops, the Blaster Beam is joined by odd metallic sounds and wind effects that wash into the orchestral soundscape. This music is expanded upon in the following cues Vejur Flyover and the kaleidoscopic The Force Field. It's here the Blaster Beam dominates with multi-layered percussive effects, including glass rub rods to create an eerie alien soundscape. Growling brass motifs join the hypnotic Cloud theme, now replaced by woodwinds, creating a warring sound over the mighty Vejur surface.

Games is full of wonder combining Vejur's music with Ilia's tender love theme, as a Vejur drone takes her form in an attempt to learn more about the crew of the Enterprise. Later moments cover Spock stealing a spacesuit with rocket pack for a slice of Goldsmith suspense. While Spock's Walk is a musical tour de force as he is propelled inside to vistas of Vejur's journey. Goldsmith's orchestral cacophony is a whirlwind of movement before the cue climaxes as Spock attempts a mind meld.

Inner Workings, Vejur Speaks and The Meld cover the final act as the human element bonds with the machine and reveals itself to be an old NASA Voyager space craft that's been re-programmed by an alien race. Goldsmith continues with more of the startling percussive and electronic effects but is joined by brooding and suspenseful strings juxtaposed with low end brass. The Meld celebrates the joining of Decker and Ilia in a moment of shimmering intensity with Goldsmith's orchestra a swirl of colours as the Cloud explodes into the ether, leaving the grand image of the Enterprise in Earth orbit.

A Good Start subtly varies the main theme and signals the adventure is just beginning for the crew, as Kirk commands the heading, "that-a-way"! Goldsmith's resolution hints at melancholy and hope for their missing crew mates before a resounding climax sends the Enterprise into warp drive. The End Credits close the soundtrack with a reprise of the triumphant main theme and Ilia's love theme.

This 20th Anniversary CD isn't the complete score, but this expanded disc features the remaining extra music that most of his fans were seeking. Jerry Goldsmith's score to Star Trek The Motion Picture remains a revelation in the world of the dramatic film score. A timeless classic, full of majesty and the essential Goldsmith soundtrack to own. The music to Star Trek The Motion Picture is one of Jerry Goldsmith's greatest gifts and supreme testimony to his greatness as one of the most important voices in cinematic music.