I'm a filmmaker and would like to use Jeffrey Gold's music? How do I go about doing this?
It depends on if you want to use extant music for needledrop—in which case you can download the music from iTunes, or Apple Music, and a whole host of music venues (if MP3 versions will suffice)—or have him create original music for your film project. In both cases we would recommend you contacting Jeffrey Gold directly to acquire higher resolution formats of the music (AIFF, WAV) or communicate more details about your project. Either way, he will be delighted to hear from you.
Do you offer any special deals on the music?
We sure do. For any of Jeffrey Gold's music purchased on iTunes, we are offering a 1 for 1 deal: Buy one song, get one free. Just contact us about your purchase, providing proof of purchase (forwarding of an email is okay), and send us your second choice of free song/composition. If you prefer a file format other than MP3, please let us know about that too.
Who are your favorite classical composers?
Among many classical composers, my sensibilities (in no particular order) are Holst, Barber, Elgar, Beethoven, Boellmann, Widor, Bach, Vierne, Copland, Mahler, Debussy, Satie, Shostakovich, Tchaikovsky, Grieg, Sibelius, and more recently, Glass, Lauridsen, Tavener, and Richter.
Who are your favorite film composers?
Among film composers, my sensibilities (again, in no particular order) include Williams, Morricone, Rota, Delerue, Zimmer, Gregson-Williams, Newman, Barry, Gabriel, Evangelos Papathanassiou (Vangelis), Preisner, Conti, Silvestri, Mann, Rona, and many others, including many film composers he counts as friends and acquaintances. There are several pieces of music by any one of them I wish I had written.
What is your first aesthetic memory?
The tailfin of a Boeing 727 at the Frankfurt airport (then West Germany) when I was six years old. What caught my attention was later identified as that happy union between form and function; interestingly enough, Steve Jobs had his own variation which holds true for me: form and emotion. I still think about it whenever I think of this aeronuatical engineer/designer who thought outside the box. "Why not put the horizontal stabilizers on the top of the vertical stabilizer?" The idea may have evolved from the desire to move the engines off the wings and instead place them somewhere on the fuselage—itself an act of thinking outside the box. What I remember is how majestic and unique that tailfin looked—at age six. It still inspires me today.
What is your first musical memory?
I believe it was Gustav Holst's Jupiter from Die Planeten, from the kinetic opening to the resigned, majestic adagio.
Did Samuel Barber's Adagio for Strings influence your own Elegy: Adagio for Strings?
Undoubtedly. Anyone who hears Barber's Adagio for Strings instantly recognizes it as an inspired piece. It rests safely in the pantheon of great adagios: Elgar's Nimrod, the adagio movement within Holst's Jupiter, Fauré's In Paradisum, and Albinoni's Adagio, among my favorites, and many others. As a composer, one instinctively knows Barber did not labor endlessly on this piece. I imagine it was written in one sitting; the genesis of a composition as lightning illuminating a city—attributed to Mozart— immediately comes to mind. Barber's adagio is a piece of great depth, of great emotion. Although Elegy: Adagio for Strings was not an attempt to mimic Barber, I was aware as I was writing this inspired piece—over which I had minimal control—I definitely turned to Barber for permission to have the two (or five) strange, unexpected silences in the piece (here, I can't help but think of Aaron Copland's discussion on silence, the anticipation arising from the natural break between two performances of music). No doubt, Barber might have inspired me subconsciously in other ways. Barber's adagio is truly iconic—it is impossible not to ponder its influence on any new pieces—knowing that every composer is aware of this profound lament. His piece speaks to something universal: tragic loss or fragile/hopeless love, or finite life itself—on a personal level (perhaps it should be heard only privately)—whereas my piece sounds much more epic (in a non-grandiose way): collective grieving captured in three movements: death, an imagined ascension, and acceptance.
What is your musical philosophy?
At the risk of sounding academic, my philosophy of music, if you can call it that, is predicated on the marriage of visual
music and emotional music, the former
of which tends to be more shapeless or
ethereal, and the latter, which tends to
be rooted in melody or leitmotif. This
tends to create a confluence of seemingly
disparate elements into what I call
visual emotions. Additionally, rather
than emphasize one unitary emotion, I
try to construct my music by running multiple
(competing or neighboring) emotional
threads through a temporal section of a
composition, which allows the viewers
or listeners to choose for themselves the
proportions of the simultaneous emotions
(rather than foist it on them), especially
if the emotional threads are emotional
neighbors; e.g., sadness and melancholy.
But all of this is merely a reflective and unreliable summary
of what for me is totally an instinctive creative process based on emotion, not cognition.
What are the lyrics to When You're a Millionaire?
Lyrics by Paul Luscher & Jeffrey Gold
Music by Jeffrey Gold & Paul Luscher
Stepped down from the café
into the street
where you were standing
waiting for me
So I'm a Millionaire
does anyone really care?
and who can you trust?
when you're a millionaire
you can be anything
Too little time
it's taken me where
I'm walking alone again
but you're so beautiful
and I know where to go
This was your world
came home a roaming soul
let's you know what to do
and you let me cry for once
here in your darkness
who can you trust?
It's a willing fool
When you're a millionaire
does anyone really care?
Breaking your heart
Saying I love
Just to make love again
Take you and drink your life
Mirror your glistening eyes
Slipshod smiles in a magazine
Back-lit love on the silver screen
Grasping at mist from a rainy day
The limo door slams and they drive away
Not sure I felt what you said to me
Gargoyle eyes never let me see
You caught me in a state of grace
When you turned your head and saw my face
For the last time
You stand in the street
you can say you don't wait
and the victory's yours again
You stand alone
no one takes the growing fear
no one takes you home
no one is unhappy
you're on your own again
It's not for all
'cause I need you here
will you say anything?
give up on everything?
When you're a millionaire
Is anyone really there?