After some years on which was alternated great works with other almost not suitable of his level, 1997 seems have recovered the best possible Goldsmith, different of the one from sixties and seventies (whoever does not evolve is condemned to be extinguished), but equally valid and genial; Air Force One used massively a great symphonic formation with scarce electronic support, something whose excess was a detriment on many of his scores in this decade, Fierce Creatures was radically removed from his more typical style offering an amiable and very attractive work, and the stupendous L.A.Confidential has put him, once again, on the favorite lists. To them it must be joined his music for The Edge, the new thriller of newzealander Lee Tamahori, and which marks the return as orchestrator of the own composer, something that (officially) was not occurring for a long time. The misfortunes of the confronted characters played by Hopkins and Baldwin seems have not fret in excess, but Goldsmith's superb score deserves a point and apart; splendidly worked, with an exquisite basic theme in his best line (Lost in the Wild), wild and wreckers moments (The Ravine) worthy of the best passages of Planet of the Apes, and even a delicious jazz version of the main theme (The Edge), the bottom line can be located among the best that it has created the Californian composer in the nineties and, as such, it must be listened almost compulsorily. A.L.

/ RCA VICTOR 09026-68950-2 / 38'