[Nicolai P. Zwar]

Well Cailin, I know many people feel that a lot of Jerry Goldsmith albums have benefited hugely from being placed in film order (and been expanded), as it follows the whole structure and architecture of the score (within the film) by the composer.

That’s probably because it has been especially true about Jerry Goldsmith. Goldsmith’s scores tend to be short (compared to the scores at their time), and they were obviously composed with a clear musical structure and architecture in mind, not just a bunch of cues where you can easily change the order. More than most other film composers I know, Goldsmith based classical music architecture on filmic narrative, he was very much inspired by it, so that his scores particularly and more than any other film composer I know of benefited from being released C&C. There are many film composers whose film scores can easily be abbreviated, re-arranged, or reduced to a particular (fitting for whatever purpose) length, but Goldsmith’s scores tend to suffer more than most from such a practice, because they are intricately constructed, and, like a complex structure or dome, if you remove one seemingly unimportant element or move it to another place, you may endanger the entire structure. Goldsmith practically never wrote “throw away” cues or filler material.