[Nick Zwar]

Ah OK, I thought you meant that some Goldsmith scores had been adapted into fullblown ballets, i.e. works in their own right, not that some ballets have used Goldsmith tracks in them (maybe with a ‘fix’ or two). But I suppose that would be interesting too, to see how they choreograph to individual tracks not specifically written for the stage.

I think I gave two examples, one where Jerry Goldsmith’s score for CAPRICORN ONE was actually adapted into a ballet score for BELLING THE SLAYER. OTHELLO, on the other hand (which I did not see), seems to just have used tracks from various Goldsmith scores. (The latter not being much different from what many movies do when they just use “tracks” from various classical pieces as film score.)