Release Date:

Downloads include choice of MP3, WAV, or FLAC

DDRDG793
Includes Digital Booklet
Click Here for CD Release

Dragon’s Domain Records presents THE ERNEST GOLD COLLECTION, VOLUME 1, featuring music composed by Ernest Gold (EXODUS, TOM HORN, WALLENBERG: A HERO’S STORY) from several projects in his rich filmography for the very first time.

While the composer is best remembered for his acclaimed scores for Stanley Kramer and Otto Preminger, the B-movie projects earlier in his career presented plenty of musical gold of their own and with the first volume of THE ERNEST GOLD COLLECTION, we are pleased to offer a sampling of these, ranging from his second film score in 1946 to one of his last works in 1982. These tracks demonstrate Gold’s versatility in a number of different motion pictures throughout three decades of film scoring.

THE ERNEST GOLD COLLECTION, VOLUME 1 includes music from EXPOSED, SMOOTH AS SILK, THE NAKED STREET, UFO, MAN ON THE PROWL, WINK OF AN EYE and concluding with his score to SAFARI 3000, also known as TWO IN THE BUSH from 1982.

Ernest Gold came to the United States from Vienna in 1938, prompted by Hitler’s invasion of Austria, and started working as a piano accompanist and as a popular songwriter in New York City. Growing disillusioned by songwriting, Gold headed west in 1945, following an interest in writing music for Hollywood films. Within two weeks of his arrival in early July, Gold was quickly put to work scoring THE GIRL OF THE LIMBERLOST for Columbia Pictures. He would score forty B-movies of all types for numerous studios through the late 1950s for a variety of studios. Gold never lost track of his Viennese musical heritage and contributed first-rate musical scores to dozens of films big and small.

He began studying with composer George Antheil in 1947, early in his Hollywood career. During the 1950s he began orchestrating Antheil’s scores, and when Antheil began scoring Stanley Kramer’s pictures, Gold came along with him. When Antheil died before finishing the score for Kramer’s next film, the post-apocalypse drama, ON THE BEACH (1959), Gold assumed his role as Kramer’s primary composer, scoring such films as INHERIT THE WIND (1960), JUDGMENT AT NUREMBERG (1961), and Kramer’s blockbuster comedy, IT’S A MAD, MAD, MAD, MAD WORLD (1963). Meanwhile, his association with Kramer led to other A-list movies, including Otto Preminger’s EXODUS (for which Gold won an Academy Award for best score and two Grammys for best soundtrack album and best song) and Sam Peckinpah’s war movie CROSS OF IRON (1977). Gold's contributions were recognized with four Academy Award nominations and three Golden Globe nominations. His work for ON THE BEACH also won Gold a Grammy Award. The Hollywood Walk of Fame has also recognized him with a star on the famed Hollywood Boulevard. Gold composed the music for the 1968 Broadway musical I’M SOLOMON. His classical works also included a piano concerto, a string quartet, and a piano sonata.

Dragon’s Domain Records presents THE ERNEST GOLD COLLECTION, VOLUME 1, featuring music composed by Ernest Gold from several projects in his filmography,appearing for the very first time on Digital. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by author Randall Larson.

 

Reviews


The Ernest Gold Collection, Vol. 2 **** (1988/1980)
 
ERNEST GOLD
Dragon’s Domain DDR793
29 tracks - 70:28
The career of esteemed film composer Ernest Gold spanned from the 1940s to the 1980s. One of Dragon’s Domain’s newest composer compilations collects two scores from the latter period of his lengthy time in the industry.

The 1988 two-part miniseries Gore Vidal’s Lincoln chronicled the tribulations that our 16th President (Sam Waterston) faced during his initial days in office. From the outset, trumpet heralds the “Theme From Lincoln,” with the line soon taken over by woodwinds. In the “Opening Credits,” jaw harp leads into a forceful performance of the song “This Train Is Bound for Glory.”

Solo harmonica starts off “Arrival in Washington,” followed by guitar and a full ensemble. The solemn cello and guitar of “Mark and Abe” contrast the spirited march of “President Lincoln.” Meanwhile, the material written for “The Inaugural Ball” ranges from a stately brass passage to a gently swaying, carnivalesque tune.

“Mary’s Illness/He’s Dying” casts a somber mood with everything from clarinet and banjo to harmonica. “The Flag and the Funeral” captures both aspects with drums and trumpet, while the piercing tones that bookend the track quote the old folk tune “Arkansas Traveler.”

The main theme on brass ably supports “End of Part One/Opening of Part Two.” The melody also dominates the gentle calmness of “Quiet Moments,” while “The Weight of Command” shifts from a celebratory parade to more concerned writing for harmonica and woodwinds.

The brief “Coffins for the Fallen” spotlights mixed vocals crying out a lament for the dead. “Grant and Abe” counters with a return to the upbeat stylings of the first part of “Weight of Command,” with attention given to snare drums and winds.

“Surrender/Ford’s Theater” starts with a repeating trumpet figure spiced with low brass and scattered quotes of the “Battle Hymn of the Republic,” before chattering horn effects hint at Lincoln’s end. “The Journey Home/Finale” offsets the piercing tones of earlier with solemn flutes and trumpet, before concluding with a reprise of “This Train Is Bound for Glory.” The man may be gone, but his legacy will live on.

Gold also composed a number of source pieces for the mini-series. “Hotel Music” is a jaunty work for horns and clacking percussion that almost (but never quite) breaks into “America the Beautiful.” The horns return, banjo in tow, for the wistful “Salon Music.” The peppy “Bar Music” spotlights flute, harmonica and saloon piano, which is of course also found in “Saloon Music,” this time joined by guitar. There’s also the choral solemnity of “Spiritual Hymn” and the piano rag of “Drinks and Politics.”

Paired with Gore Vidal’s Lincoln is 1980’s Tom Horn, notable mainly as the penultimate film of Steve McQueen. The story concerns the bounty hunter’s search for cattle rustlers and the fallout from the brutal methods he employed to stop them. Drum hits form the backdrop for a lonely flute melody in the “Main Title”; brass eventually joins in, forming a fine musical portrait of the iconoclastic main character.

“Tom’s New Job” shifts the main theme to strings, with a jaunty travelogue passage in the middle and unusual string effects near the end. The score’s longest track, “Chasing the Rustlers,” spotlights more string effects amongst its looming brass before laying down jagged rhythms and snatches of the principal melody.

“Glendoline and Tom” introduces a gentle new motif for recorder and guitar, with flute rounding the cue off. The latter instrument starts off “Tom’s Rage” in a more agitated form. Snare drum and the main theme on tuba accompany the “Gunfight in Town,” with the music quickening and aleatoric material taking over in “Boy Shot.”

“Tom Arrested” reprises the snare with Horn’s melody passed around the orchestra, before the second half of the track broods with low-end strings. “Tom and Glendoline” brings back the love theme on flute with strings and guitar for color. Things turn serious with the frantic music of “The Trial,” where the main theme also receives a pensive treatment.

“Tom’s Attempted Escape” features his motif on morose strings, but the cue grows more energetic as it goes along. In “Glendoline’s Goodbye/End Credits,” the love theme on viola leads to doleful recorder music and a hearty return to the main theme.

As with Gore Vidal’s Lincoln, Gold rounds out the underscore with a pair of source cues. “Brown’s Water Hole” and “Gunshot Shuffle” are both spirited works based in fiddle, guitar and jaw harp.

The Ernest Gold Collection, Vol. 2 shows that, even when his career was winding down, the talented composer had lost none of his creative spark. —Tor Harbin

THE ERNEST GOLD COLLECTION VOLUME 2

Ernest Gold

$8.95

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Theme From Lincoln _From Lincoln_
1:02
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Open Credits _ Arrival in Washington _From Lincoln_
3:26
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Hotel Music _From Lincoln_
0:59
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Mary and Abe _ President Lincoln _From Lincoln_
1:34
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The Inaugural Ball _From Lincoln_
2:53
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Mary_s Illness _ He's Dying _ The Flag and The Funeral _From Lincoln_
4:18
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Salon Music _From Lincoln_
1:12
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Bar Music _From Lincoln_
1:45
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Drinks and Politics _From Lincoln_
1:32
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Spiritual Hymn _From Lincoln_
1:26
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Saloon Music _From Lincoln_
2:06
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End of Part One _ Opening of Part Two _From Lincoln_
2:44
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Quiet Moments _From Lincoln_
2:01
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The Weight of Command _From Lincoln_
1:22
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Coffins for the Fallen _From Lincoln_
0:46
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Grant and Abe _From Lincoln_
1:47
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Surrender _ Ford's Theatre _From Lincoln_
1:41
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The Journey Home _ Finale _From Lincoln_
2:14
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Main Title _From Tom Horn_
2:29
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Tom’s New Job _From Tom Horn_
2:20
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Chasing The Rustlers _From Tom Horn_
5:36
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Glendolene and Tom _From Tom Horn_
3:12
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Tom's Rage _ Gunfight In Town _ Boy Shot _From Tom Horn_
3:50
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Tom Arrested _From Tom Horn_
4:36
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Tom and Glendolene _ The Trial _From Tom Horn_
4:15
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Tom's Attempted Escape _From Tom Horn_
3:11
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Glendolene_s Goodbye _ End Credits _From Tom Horn_
4:00
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Brown’s Water Hole _Source_ _From Tom Horn_
0:31
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Gunshot Shuffle _Source_ _From Tom Horn_
0:38
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Downloads include choice of MP3, WAV, or FLAC

DDRDG793
Includes Digital Booklet
Click Here for CD Release

Dragon’s Domain Records presents THE ERNEST GOLD COLLECTION, VOLUME 1, featuring music composed by Ernest Gold (EXODUS, TOM HORN, WALLENBERG: A HERO’S STORY) from several projects in his rich filmography for the very first time.

While the composer is best remembered for his acclaimed scores for Stanley Kramer and Otto Preminger, the B-movie projects earlier in his career presented plenty of musical gold of their own and with the first volume of THE ERNEST GOLD COLLECTION, we are pleased to offer a sampling of these, ranging from his second film score in 1946 to one of his last works in 1982. These tracks demonstrate Gold’s versatility in a number of different motion pictures throughout three decades of film scoring.

THE ERNEST GOLD COLLECTION, VOLUME 1 includes music from EXPOSED, SMOOTH AS SILK, THE NAKED STREET, UFO, MAN ON THE PROWL, WINK OF AN EYE and concluding with his score to SAFARI 3000, also known as TWO IN THE BUSH from 1982.

Ernest Gold came to the United States from Vienna in 1938, prompted by Hitler’s invasion of Austria, and started working as a piano accompanist and as a popular songwriter in New York City. Growing disillusioned by songwriting, Gold headed west in 1945, following an interest in writing music for Hollywood films. Within two weeks of his arrival in early July, Gold was quickly put to work scoring THE GIRL OF THE LIMBERLOST for Columbia Pictures. He would score forty B-movies of all types for numerous studios through the late 1950s for a variety of studios. Gold never lost track of his Viennese musical heritage and contributed first-rate musical scores to dozens of films big and small.

He began studying with composer George Antheil in 1947, early in his Hollywood career. During the 1950s he began orchestrating Antheil’s scores, and when Antheil began scoring Stanley Kramer’s pictures, Gold came along with him. When Antheil died before finishing the score for Kramer’s next film, the post-apocalypse drama, ON THE BEACH (1959), Gold assumed his role as Kramer’s primary composer, scoring such films as INHERIT THE WIND (1960), JUDGMENT AT NUREMBERG (1961), and Kramer’s blockbuster comedy, IT’S A MAD, MAD, MAD, MAD WORLD (1963). Meanwhile, his association with Kramer led to other A-list movies, including Otto Preminger’s EXODUS (for which Gold won an Academy Award for best score and two Grammys for best soundtrack album and best song) and Sam Peckinpah’s war movie CROSS OF IRON (1977). Gold's contributions were recognized with four Academy Award nominations and three Golden Globe nominations. His work for ON THE BEACH also won Gold a Grammy Award. The Hollywood Walk of Fame has also recognized him with a star on the famed Hollywood Boulevard. Gold composed the music for the 1968 Broadway musical I’M SOLOMON. His classical works also included a piano concerto, a string quartet, and a piano sonata.

Dragon’s Domain Records presents THE ERNEST GOLD COLLECTION, VOLUME 1, featuring music composed by Ernest Gold from several projects in his filmography,appearing for the very first time on Digital. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by author Randall Larson.

 

Reviews


The Ernest Gold Collection, Vol. 2 **** (1988/1980)
 
ERNEST GOLD
Dragon’s Domain DDR793
29 tracks - 70:28
The career of esteemed film composer Ernest Gold spanned from the 1940s to the 1980s. One of Dragon’s Domain’s newest composer compilations collects two scores from the latter period of his lengthy time in the industry.

The 1988 two-part miniseries Gore Vidal’s Lincoln chronicled the tribulations that our 16th President (Sam Waterston) faced during his initial days in office. From the outset, trumpet heralds the “Theme From Lincoln,” with the line soon taken over by woodwinds. In the “Opening Credits,” jaw harp leads into a forceful performance of the song “This Train Is Bound for Glory.”

Solo harmonica starts off “Arrival in Washington,” followed by guitar and a full ensemble. The solemn cello and guitar of “Mark and Abe” contrast the spirited march of “President Lincoln.” Meanwhile, the material written for “The Inaugural Ball” ranges from a stately brass passage to a gently swaying, carnivalesque tune.

“Mary’s Illness/He’s Dying” casts a somber mood with everything from clarinet and banjo to harmonica. “The Flag and the Funeral” captures both aspects with drums and trumpet, while the piercing tones that bookend the track quote the old folk tune “Arkansas Traveler.”

The main theme on brass ably supports “End of Part One/Opening of Part Two.” The melody also dominates the gentle calmness of “Quiet Moments,” while “The Weight of Command” shifts from a celebratory parade to more concerned writing for harmonica and woodwinds.

The brief “Coffins for the Fallen” spotlights mixed vocals crying out a lament for the dead. “Grant and Abe” counters with a return to the upbeat stylings of the first part of “Weight of Command,” with attention given to snare drums and winds.

“Surrender/Ford’s Theater” starts with a repeating trumpet figure spiced with low brass and scattered quotes of the “Battle Hymn of the Republic,” before chattering horn effects hint at Lincoln’s end. “The Journey Home/Finale” offsets the piercing tones of earlier with solemn flutes and trumpet, before concluding with a reprise of “This Train Is Bound for Glory.” The man may be gone, but his legacy will live on.

Gold also composed a number of source pieces for the mini-series. “Hotel Music” is a jaunty work for horns and clacking percussion that almost (but never quite) breaks into “America the Beautiful.” The horns return, banjo in tow, for the wistful “Salon Music.” The peppy “Bar Music” spotlights flute, harmonica and saloon piano, which is of course also found in “Saloon Music,” this time joined by guitar. There’s also the choral solemnity of “Spiritual Hymn” and the piano rag of “Drinks and Politics.”

Paired with Gore Vidal’s Lincoln is 1980’s Tom Horn, notable mainly as the penultimate film of Steve McQueen. The story concerns the bounty hunter’s search for cattle rustlers and the fallout from the brutal methods he employed to stop them. Drum hits form the backdrop for a lonely flute melody in the “Main Title”; brass eventually joins in, forming a fine musical portrait of the iconoclastic main character.

“Tom’s New Job” shifts the main theme to strings, with a jaunty travelogue passage in the middle and unusual string effects near the end. The score’s longest track, “Chasing the Rustlers,” spotlights more string effects amongst its looming brass before laying down jagged rhythms and snatches of the principal melody.

“Glendoline and Tom” introduces a gentle new motif for recorder and guitar, with flute rounding the cue off. The latter instrument starts off “Tom’s Rage” in a more agitated form. Snare drum and the main theme on tuba accompany the “Gunfight in Town,” with the music quickening and aleatoric material taking over in “Boy Shot.”

“Tom Arrested” reprises the snare with Horn’s melody passed around the orchestra, before the second half of the track broods with low-end strings. “Tom and Glendoline” brings back the love theme on flute with strings and guitar for color. Things turn serious with the frantic music of “The Trial,” where the main theme also receives a pensive treatment.

“Tom’s Attempted Escape” features his motif on morose strings, but the cue grows more energetic as it goes along. In “Glendoline’s Goodbye/End Credits,” the love theme on viola leads to doleful recorder music and a hearty return to the main theme.

As with Gore Vidal’s Lincoln, Gold rounds out the underscore with a pair of source cues. “Brown’s Water Hole” and “Gunshot Shuffle” are both spirited works based in fiddle, guitar and jaw harp.

The Ernest Gold Collection, Vol. 2 shows that, even when his career was winding down, the talented composer had lost none of his creative spark. —Tor Harbin