@William said:
I would just love to hear one of the big composers today write for and personally score three solo orchestral instruments for the entire score.
It is not going to happen. Because they are flat-out incapable of that kind of orchestration. To do that, you have to know the instruments as well as Mahler did. And that is the kind of knowledge Herrmann had. His orchestrational experiments are beyond almost all concert music, and totally blow away other film music.
Is it a case of the composer being "flat-out incapable of that kind of orchestration" or the shows producers being flat-out incapable of knowing what's good when they hear it. You may be right but it could also be that the composer originally wrote something more subtle but when the producers heard it they said, "what the hell is this crap. Where's the block string chords, the brass fanfares and the stupid woodwind filagrees that I hired you to compose. If I want art, I'll dig up Hermann and have him score my show. Just set the mood!"
When you mentioned block string chords it reminded me of a particular favorite dramatic TV show of mine. I'm not going to mention the name of this show because perhaps the composer is out there reading this but I love everything about this show except the music. The writing is superb, the acting is top notch, the direction is edgy and fresh but the music is just a succession of bland block string chords. And they're fake strings too. I don't mind fake strings but at least make an effort to hide their fakeness. Dump Garritan and get VSL for God's sake. I've noticed a lot of TV shows are like this now, especially dramas.
I think I'm a little younger than the previous posters but Alexander Courage and later Mike Post were TV composers that I grew up with. One of my favorite TV themes is the Copelandesque Courage/Goldsmith collaboration for The Waltons. Of course, who could forget the original Star Trek theme. What I like about Mike Post is that he's edgier and likes to take risks instead of just going through the motions. This shows with his theme for The Rockford Files, but my favorite Post theme is Hillstreet Blues. Often, he thinks outside of the orchestral box.
Then again, you guys are talking about individual episodes and not themes. I only remember episodes of Miami Vice having interesting music. Yeah I know, you're all probably wincing right now. Jan Hammer? Are you kidding? No I'm not, but to be honest, I never really cared much for the main theme. The music in a lot of the individual episodes, however, was very provocative and moving. I especially liked "Sonny's Theme."
Re: Goldsmith. It seemed that the more intimate Goldsmith composed the more brilliant he was. I read somewhere that the producers of Patton almost fired him because they wanted Patton's theme to be more of the cliché fanfare fife and drum fitting of a famous general instead of the simple trumpet phrase with the delay effect that he composed. General George S. Patton believed in reincarnation. The echoing trumpets are echoes from the past. They represent the past lives that General Patton lived, the past battles that he fought the past deaths that he suffered and all of his rebirths. Brilliant! In the end, the delayed trumpet was kept as an introduction to a bigger score.
Even those of us in the younger generations miss the greats like Hermann and Goldsmith.