On May 9, 10 and 11 2003, Rachel Worby conducted the Orquestra Simfònica de Barcelona i Nacional de Catalunya at the Auditori concert hall in Barcelona. Initially Jerry Goldsmith himself intended to conduct the orchestra. But unfortunately, due to illness, he was unable to travel to Spain. So again, as in 2001 Rachel Worby replaced Mr. Goldsmith at the podium. No one can or will ever replace Jerry Goldsmith, but Ms. Worby did another fine job, waving her baton with great enthusiasm. Though surely, I couldn't have been the only one impressed that Ms. Worby´s short explanations between the individual pieces of music were spoken in Spanish. Apparently, she summarised the film's plots, cited the participating actors and pointed out the musical elements which are so typically characteristic of Jerry Goldsmith's music.

Goldsmith's music enchanted the audience from the very first note; even if he didn't compose the opening to A New Ending - the End Title from Star Trek: Nemesis. Starting with a quote from Irving Berlin's Blue Skies and then continuing with Alexander Courage's famous fanfare before launching into his memorable, heraldic Star Trek theme. After these majestic sounds, the mood changed completely when the melancholic theme from Nemesis, tenderly interpreted by the Barcelona players

Next came four cues from The Last Castle. These were Opening Theme, Military Justice, Taking Command and The Flag - the low key main theme sensitively performed by the leading trumpet. Since there were no synthesisers in the orchestra, some titles had slightly different arrangements, in comparison to the actual film's score. Still the Barcelona musicians played the pieces with great enthusiasm. After that, the audience heard two cues from the film score to The Sum of all Fears. Performed were the tense Clear the Stadium and powerful opening cue; The Mission, the latter in an instrumental form, since there was no choir or vocal soloist. But nevertheless, the interpretation was very close to the original version of the score.

The Edge, Jerry Goldsmith's majestic and beautiful theme from the wilderness adventure appeared in two cues; Main Title and Rescued. But before the orchestra began playing, Rachel Worby asked the audience to pay attention to the arrangements which she said were "typical Goldsmith". And indeed, The Edge remains a beautiful example of the innovative use of the orchestral palate.

The last cue before the intermission was the overture from Twilight Zone The Movie which presents three of the four filmed segments. The shrieking solo violin in the last part of the overture (Nightmare At 20,000 Feet) was performed with virtuosity by Àngel Jesùs Garcia, the concert master.

After the break, the audience travelled 40 years through film and film music history, but in 20 minutes for the Motion Picture Medley. This widely known concert piece contains some of Jerry Goldsmith's most famous themes: The Sand Pebbles, Chinatown, Air Force One, A Patch of Blue, Poltergeist, Papillon, Basic Instinct and The Wind and the Lion. The orchestra featured a smooth performance of the different themes, although the drummer exaggerated somewhat during the The Sand Pebbles theme. Which was in contrast to the trumpeter, who found exactly the right subtle mood during his solo for Chinatown. At all three evenings, this medley earned thundering applause because of its overwhelming emotional power and familiarity, which Ms. Worby and the players conveyed masterfully to the audience.

Next up came the classic score to Patton. A sequence of five cues from the score, performed with great accuracy and power by the Barcelona orchestra. Though, the trumpeters weren't sent to the back of the auditorium, as they were in London. Mr. Goldsmith successfully used this disposition at his concert at the Barbican centre in order to enhance the authenticity of the performance, re-creating the memorable and near legendary 'echo-effect'.

The evenings' closed with the Disney California Adventure piece; Soarin Over California. The orchestra quite literally soaring out of the Auditori! Ms. Worby`s interpretation being pure energy and strength as she decided to give the performance even more tempo and drive than Jerry Goldsmith did on his original recording.

After an immense round of applause, came an encore - Ms. Worby returning to the podium to conduct the concert version of Rudy, apparently one of her favourites amongst Goldsmith's themes. During the long applause, Ms. Worby paid homage to Jerry Goldsmith's opus by presenting the sheet music to the applauding audience which proved to be a welcome gesture to the adoring fans and a great finish to a series of fine performances by the orchestra and conductor.