Music for the Movies: Bernard Herrmann is a 1992 documentary film directed by Joshua Waletzky. It was nominated for an Academy Award for Best Documentary Feature.
Fahrenheit 451 (1966) was François Truffaut's highly stylised adaptation of Ray Bradbury's dystopian science fiction classic, a vision of a future in which firemen burn books. Herrmann wrote music for strings, harp and percussion, a gracefully chill, urgently rhythmic portrait of a sterile world. The finale, "The Road", blossoms into one of Herrmann's finest melodies, a heartbreakingly lovely homage to the indominability of the human spirit. The expanded suite of 10 selections was specially realised for this album. The Man In The Grey Flannel Suit (1956) and Tender Is The Night (1962) are rare Herrmann gems, achingly lovely melodies aptly presented beside the more famous and utterly captivating "Andante Cantabile" from The Ghost And Mrs Muir (1947). The suite from Anna And The King Of Siam (1946) marks one of Hollywood's earliest ventures into world music, with Herrmann extensively researching Siamese music before composing this glittering, majestic and deeply imaginative work.
Bernard Herrmann conducts the London Philharmonic Orchestra in music from film scores he composed for Alfred Hitchcock. 1969 Studio recording in Phase 4 Stereo, ADD mastering 1996.
Oft-recorded Bernard Herrmann masterpiece finally gets complete release in dynamic stereo from new masters! Previous release on Rhino label was spectacular album, albeit several major set pieces (including main title & climactic Mount Rushmore sequence) were transferred from damaged elements, all that was then available. Thanks to Warner Bros., new stereo mixes have been made available for first time ever, revealing spectacular sonics (for 1959) and illuminating new details of magnificent score never before captured. While score has also been digitally re-recorded twice under different conductors, neither version can match crisp, exciting performance of MGM Studio musicians under baton of Herrmann himself. Hear harp arpeggios, castenets, wood blocks, snare drums like never before. Get entire climax with punch of bass trombone, thrilling trumpets amidst swirling variety of tempos that keep tension, excitement of Hitchcock's incredible action set-piece moving at fierce pace.
In collaboration with Litto Enterprises Inc., Music Box Records is very proud to present one of its most ambitious releases yet - a classic Bernard Herrmann score from one of his last efforts and an important milestone in his immense career for Brian De Palma´s classic melodrama Obsession (1976) written by Paul Schrader and starring Geneviève Bujold, Cliff Robertson and John Lithgow. In a career often spent paying tribute to Alfred Hitchcock with the likes of Dressed to Kill, Blow Out and Body Double, Obsession even today stands as De Palma’s ultimate fever dream homage to the director who’d made Bernard Herrmann a household name as the romantic master of musical suspense during an eight film collaboration, no more so than with 1958s Vertigo. Yet Obsession’s reincarnation of that masterpiece showed just how devious De Palma always was in his admiration, cloaking a truly seditious plot twist that would’ve given even Hitchcock pause within sleek, star-filtered visuals.
Varese's original soundtrack to Psycho finds Joel McNeely conducting the Royal Scottish National Orchestra through Bernard Herrmann's classic original score. This album is the first time the entire score has been recorded for an album and its remarkable how eerie and evocative the music is, even when its separated from the film. Psycho stands as one of Herrmann's finest moments, and even if many collectors and film buffs would prefer the original soundtrack recording, this version is essential for fans of the composer, since it is the clearest, cleanest edition of score yet produced.
The least popular of Alfred Hitchcock's late-'50s thrillers – perhaps because it is really a comedy – The Trouble with Harry also has the least well-known of the scores that Bernard Herrmann wrote for Hitchcock's movies. All of that is a shame, because – in keeping with the comedic nature of the movie – Herrmann assumed a lighthearted and upbeat, ironic mask that led to some of the most gorgeous and hauntingly beautiful music of his career; the composer himself clearly felt a fondness for it, as he revived it in 1968 as the basis for his "A Portrait of Hitch." The reed and horn passages are playful and ironic, and the signature string part, bridging the small-town innocence of the movie's setting, is one of the finest things that Herrmann conceived. It all makes for delightful listening, and is some of the best programmatic music to come out of Hollywood in the 1950s.
They say that good things come in small packages, and this CD would seem to be the musical proof of that statement – certainly there are few more unassuming releases in Bernard Herrmann's output. Joy in the Morning is one of the more obscure movies ever scored by Herrmann and, as is pointed out in the notes by Christopher Husted, it was also the composer's last successfully completed major studio project, coming just ahead of the calamity that attended his work for Alfred Hitchcock on Torn Curtain. It has fallen between the cracks across the years, principally because the movie itself was a good deal less stellar than most of the Hitchcock projects (or, for that matter, the Ray Harryhausen projects) with which Herrmann distinguished himself in the early/mid-'60s.
This is the movie that gave us the phrase "Klaatu barada nikto!" As befits the film that kicked off the Atomic Age's obsession with flying saucers and giant robots, Bernard Herrmann's score is the last word in 1950s sci-fi. Although many of its elements have become cliches over the years, the original has lost none of its power. Thanks to the many eerie, theremin-drenched passages, it's almost impossible to hear that instrument without thinking about guys in space suits. Other great moments: tinkling space pianos, ominous robot monster chords, and weird, plangent orchestrations. One of Herrmann's most visionary and influential scores.
This album was recorded by the composer early in 1975 and has proved to be one of the more enduring parts of Bernard Herrmann's catalog.