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| music composed by BERNARD HERRMANN "VERTIGO" (1958) |
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"Vertigo" is one of the most analyzed films in the
history of cinema, and is one of cinemas greatest
collaborations; that of Bernard Herrmann and
Alfred Hitchcock. An undisputed work of movie art,
it is considererd possibly Herrmann's finest work!
Its melodic content is unusually rich and tightly
interwoven as well as the scores harmonies and
orchestral colorations. The OPENING TITLES use a
'triadic' figure, ascending and descending
punctuated by phrases and chords all of which are
extremely musical, capturing the full emotions of
the title. THE NIGHTMARE sequence uses a 'Tempo di
habanera, giving it a terrifying reading as well
as dissonant chords; displayed whenever Herrmann
depicts trauma or death. In the 'SCENE D' AMOUR,
he comes through with a completely self contained
presentation of the 'love theme'. This beautiful
music brings forth anticipation, tension and
anxiousness as it blossoms to the final resolution
of the scene. It is a testament to his genius that
he could sustain us with such music for over 3
minutes ; virtually without any dialogue!! When
the film first opened it was met with mixed and
contraversial reviews. However, over the years,
critics have now concluded that it is, arguably,
one of the 10 best films ever made!
Tags : Herrmann Bernard Vertigo classic film music composers Alfred Hitchcock |
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Affichage : 6047
Durée : 572 s |
| music by BERNARD HERRMANN "7TH VOYAGE OF SINBAD" (1958) |
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"The 7th Voyage of Sinbad" was definitely a
'sleeper' of 1958, being amongst the top grossing
films of that year! It was also the height of
Bernard Herrmann's orchestral genius having just
finished "Vertigo". This was the 1st of 4 fantasy
films he was to make for Ray Harryhausen of
stop-motion animation fame. Most of the composers
stylistic traits are evident; moving minor chords,
a penchant for woodwinds, repeated rythmic and
harmonic sequences and huge dynamics. The lively
OVERTURE is a straight forward, beautifully
melodic account of the film's main theme; a 2 bar
motiff treated sequentially with colorful
orchestration and is the unifying factor of the
score. BAGDAD is an ingenuously wonderful and
thematic work for strings with a lovely oriental,
middle eastern flare. THE COBRA DANCE displays
Herrmann's fondness for woodwinds in their lowest
registers. For one of the most famous sequences
,THE DUEL WITH THE SKELETON, Herrmann features
xylophones as well as other numerous percussion
instruments in this rousing dance. THE FINALE
combines the OVERTURE and BAGDAD for a triumphant
finish! "The 7th Voyage of Sinbad" soundtrack
recording became a rare COLLECTORS item many years
after the films initial release. Many consider it
one of his FINEST, if not slightly overlooked
pieces of film music that the composer ever
wrote!!
Tags : Herrmann Bernard 7th Voyage of Sinbad fantasy film music Ray Harryhausen hollywood composers |
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Affichage : 2519
Durée : 521 s |
| music composed by BERNARD HERRMANN: "WALKING DISTANCE" (1959 |
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"THE TWILIGHT ZONE" is probably the best
remembered work from Bernard Herrmann's career in
television and easily stands up with his
pioneering work on the CBS Radio Workshop and
Orson Welles Mercury Theater from the 1930's. Of
the 7 scores commisioned to Herrmann for the
series, 'Walking Distance" is arguably the finest
and best remembered, being episode #5 of the 1st
season in 1959. He scored the episode for strings,
harp and vibrophones, visualizing the sentimental
journey back to the past of Martin Sloane. The
beautiful music expresses isolation, yearning and
lonlieness, and is semi-autobiographical for Rod
Serling; being his favorite script of the series!
The wonderful "ELEGY" at the finish with the
childrens merry-go round displays the sadness of
Martin, craving to stay and re-live the past
where he grew up, but realizing it is only a dream
of all men. As the episode concludes with the
OPENING motiff, Martin drives back to N.Y., this
time hoping to find some brighness he misses
currently, instead of looking to the past for
fullfilment. The Twilight Zone END TITLE music
(and beginning) was writen by Herrmann but used
for only the first season, being replaced with the
now recognizable 'COMMERCIAL' theme of Maurice
Constant. Herrmann's music was much more
insightfully deep, if not energetic, giving us a
sense of psychological danger, fear and anxiety as
to what mysterious encounters we may find in the
deep recesses of our MIND, (which is what the
series was really all about) and not unfamiliar to
this 'great' film music composer.
Tags : Herrmann Bernard Walking Distance Twilight Zone Rod Serling TV drama of sixties |
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Affichage : 1212
Durée : 546 s |
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