If I Could Choose Only One Work By...Bernard Herrmann

[@roberttownson9459]

A magnificent composer who gave the world so much. And such a brilliant score! (one I recorded with the RSNO) Cheers to Bernard Herrmann!

[@rhonda8900]

Now this composer was a joy to do a deep dive on. I spent days listening to his scores and his orchestral work. I understand why people hold Psycho in such high regard but after listening to everything I could stream, my pick to save would be The Day the Earth Stood Still Soundtrack. The theremin just killed me on that one and it seems more representative of all his works. Vertigo was also great representative of his work. As for the recording I would/will listen to the most that has to be The Taxi Driver with its fantastic two reoccurring themes. But boy oh boy that theremin on the Day the Earth Stood still - lol.

[@robertjones447]

I would love to hear your picks for Elmer Bernstein, Jerry Goldsmith, Max Steiner, Nino Rota, Miklos Rozsa, Henry Mancini, Patrick Doyle, and Ennio Morricone.

[@charlienelson2001]

Look out for intrada's new recordings of Herrmann's scores for "On Dangerous Ground" and "The Man Who Knew Too Much", due to come out in April. I was at the recording sessions. The music is performed by The Royal Scottish National Orchestra and is conducted by William Stromberg. I think every music lover should have them!!!

[@ericakilian3]

No debate from me about Psycho, as it's iconic Herrmann of course. Just want to say that a couple of weeks ago TCM showed a noir film, Hangover Square, for which Herrmann composed the score and wrote a piano piece known as "Concerto Macabre." In the film, the composer/pianist is insane, and a murderer. The music gels with this film in a way I think only Herrmann could achieve. The climax of the film, where the concerto is performed, is quite something.

[@Warp75]

Vertigo for me. Journey to the Centre of the Earth is a underrated one.

[@josefkrenshaw179]

I keep hitting that Salonen LAPO disc on Sony with its powerful "Psycho". "Taxi Driver" has that great Leitmotive for Betsy. In the same vein as the Rimsky Korskov suites, I would choose that whole disc.

[@Muzakman37]

So many amazing scores by Herrmann. Torn Curtain (what a magnificent score that is), Cape Fear, N by NW, Citizen Kane, The Day the Earth Stood Still, Marnie, Mysterious Island, Fahrenheit 451...Taxi Driver...the list goes on. Just remarkable music. But Psycho chills to the bone like no other. So inventive, so evocative, so instantly recognizable...and all the while remaining such beautiful music. It's really hard to look past it for its impact & ingenuity.

[@danielhornby5581]

Don’t forget he also wrote the score to The Magnificent Ambersons despite it being cut and Hermann demanding his name be taken off the credits.

[@PFullam67]

The Ghost and Mrs. Muir was Herrmann’s favorite and thought it was his most poetic and unique… very wistful and personal statement. Elmer Bernstein conducting on the label of Varese Sarabande is amazing….. I think that version is just as much an augmented leap as Gerhardt doing Korngold. Just purchased again today after many years. I think, also, these individual sea vignettes are right up there alongside Frank Bridge’s The Sea and Benjamin Britten’s “Sea Interludes” …. just as much a classic(al) appreciation beyond being a movie score, that is

[@johannesbluemink4581]

I have the same CD! Great! With Vertigo, those two are my absolute favorites. Well, there are so many more to enjoy!

[@jgesselberty]

So much of what Herrmann composed would be considered serious classical music if we did not know the movies they are associated with.

[@frankie6954]

I did love his music from "North by Northwest". I found it unbelievable that he wrote the music "Taxi Driver", especially with the jazz saxophone opening, a wonderful composer, who added so much to the greatness of the films he composed for.

[@c.7610]

“Unforgettable music is great music.” = 💯

[@larsbagger7840]

Absolutely love Bernard Herrmann. His music is in it's essence very simple, usually build up of small sequences that just keeps repeating, sometimes changing ever so slightly, keeping you hooked but wondering where it's gonna go... I love the beginning of Psycho with the slow zoom over the city to the hotel room. The music just weaves in and out of tonality and diminished chords in a wonderful evocative way. The Vertigo theme with the minorΔ7th chords going up and down is also fantastic! A great musical analogy to the sense of vertigo.

[@luizmiguelbrito23]

I love him. He introduced me to film scores with his "Vertigo", and still now that's my favorite score by him. I enjoy when you talk about old-school film scores... Yummy stuff

[@i.m.takkinen]

Can't argue with Psycho. That said, I found myself possibly the most transported/enchanted when watching/listening to the Trouble with Harry. Not sure why but it certainly had a real effect on me my first time experiencing the film.

[@markzacek237]

Agree! Great score! And fun movie - wonderful Vermont October foliage.

[@miltonjohnston1683]

I loved his versatility in orchestration. I remember one movie where he got a really creepy effect using the obsolete instrument, the serpent.

[@dennischiapello3879]

As I understand it, movies are outside Cancrizans' purview, so as long as the movies are available, we have all of Bernard Hermann's film music. I'll spend my time listening to Vertigo.

[@markzacek237]

Hitchcock’s personal favorite is unaccountably always overlooked - The Ghost and Mrs. Muir. A fabulous score - rich, melodic and haunting.

[@DavesClassicalGuide]

You mean Herrmann, not Hitchcock.

[@markzacek237]

Indeed I do.

[@coloraturaElise]

His "Ghost and Mrs. Muir" score is SO evocative.....makes that movie! Also love his "Jane Eyre", "Journey to the Center of the Earth", and of course, "North by Northwest".

[@johannesbluemink4581]

Sir, I am in agreement with every score you mentioned. So good!

[@coloraturaElise]

@@johannesbluemink4581 Thanks for the "sir", but I am female. Glad you agree...wonderful composer!

[@johannesbluemink4581]

@@coloraturaElise 😀typo.

[@peterwooldridge7285]

Absolutely!!! And let's face it film music in the 20th and 21st centuries has save classical music

[@musicianinseattle]

We’re in agreement again! Re Elgar: Years ago, I talked with an old-time studio musician from the Golden Age of Hollywood. He and his colleagues would occasionally rent a hall, and have a reading session of a major orchestral work chosen by the evening’s guest conductor: Alfred Newman, Miklos Rosza, and other like figures of the day. The player said that the most memorable such session was the night Bernard Herrmann showed up with a set of parts to Elgar’s “Falstaff”, a piece with which none of them were familiar. Herrmann apparently knew the piece so intimately, and conducted it so well, that everyone was even more impressed with his musicianship by the time the evening ended.

[@dmntuba]

Been waiting for this all day👍

[@ericnagamine7742]

7th voyage of Sinbad. super imaginative.

[@geraldmartin7703]

My introduction to film music and my first soundtrack purchase. I had to special order the COLPIX L.P. through a record store and wait for it to come in. Had to save up for the $4.79 when my allowance was 50 cents a week.

[@markpaterson2053]

"The Death Hunt" from On Deadly Ground---awesome action music

[@DavesClassicalGuide]

On Dangerous Ground.

[@markpaterson2053]

Ha ha, you stickler. Thanks for correcting me, though, I always get that title wrong. Anyway, Herrmann was proof that John Williams wasn't the greatest movie scorist, not by a long shot. Pf, he had more competition than people knew: Alex North, Jerry Goldsmith...I won't go on

[@RobertCinquino]

My first thought was North by Northwest but I'll go along with you.

[@davidsilverman1741]

So glad to see you bringing up Benny Herrmann this early in the list - a true original. And totally agree - Psycho is the one that crystalizes all things uniquely Herrmann. My runner up is Vertigo, but this is the top choice. (I always wonder if he drew some small inspiration from Stravinsky's Concerto in D for strings.) A great Herrmann biography for those interested is A Heart At Fire's Center.

[@johannesbluemink4581]

Absolutely! Almost all information is in that Biography!

[@robertjones447]

Here is my guess, Hermann's most distinctive score: "Cape Fear." It's his true magnum opus, pure Herrmann, through and through. Now, to watch the video and hear yours!

[@selcano0575]

In Citizen Kane we hear a very short extract from an opera aria (Salammbo) created for the movie. Much later, the complete aria sung by Kiri Te Kanawa served as credits for a radio program I was listening to. It was (and is) very beautiful. I didn't know where this aria came from and I was trying to find out who the composer was. I was thinking of Berlioz but I couldn't see what work it could be.

[@DavesClassicalGuide]

It was written by Herrmann for the film.

[@selcano0575]

@@DavesClassicalGuide Yes, of course. The radio program had finally said so given the number of people asking the question. It was very hard to find because in the movie you only hear the very beginning.

[@DavesClassicalGuide]

@@selcano0575 The full aria is on the Charles Gerhardt Citizen Kane Herrrmann film scores album.

[@selcano0575]

@@DavesClassicalGuide Thanks.

[@johannesbluemink4581]

@@DavesClassicalGuide Sure. I have that CD, of course!

[@bannan61]

A wonderful composer. I agree with the Psycho choice closely followed by N by NW.

[@stuartnorman8713]

Yes Psycho, but Vertigo is probably it's equal. I wish he'd written it as an opera. And he did write one great symphony.

[@nelsoncamargo5120]

Great choice, Dave! Psycho soundtrack is really a masterpiece and Bernard Hermann was perhaps the best composer of film scores.

[@fredericmorris2931]

Great choice. But I was thinking you could have snuck in Herrmann’s Decca Phase 4 disc with Psycho as well as some of his other work for Hitchcock.

[@leestamm3187]

Hermann gave us so much great stuff that it's really impossible for me to pick just one, but if I must, I'll take "North by Northwest." I join others here in lauding your frequent recognition of film scores.

[@CloudyMcCloud00]

Although Psycho was my first thought, I'd have to go with Vertigo. As a stand-alone piece it comes to about 60 minutes (Psycho is ~ 20 minutes), and could almost pass as a symphony in itself (comparing quite well with Vaughan Williams' film score 7th Symphony). Herrmann's orchestration, particularly with wind instruments, is so brilliant and individual that you obviously need something for full orchestra to show that, and Psycho, for all its virtuosity, clearly can't do that. However, I'd agree that Psycho's "monochrome" scoring is uniquely effective; and, of course, is well matched by the monochrome video of the film itself.

[@johannesbluemink4581]

I know it's been a year, but I am sure you know that the complete score is 58 minutes, as my CD says so, haha. Vertigo's Soundtrack is equally brilliant!

[@CloudyMcCloud00]

@@johannesbluemink4581 Well my CD says 63 minutes! There's more than one version: I have Joel McNeely with the Royal Scottish National O. (Dave's favourite UK orchestra!). I just watched Psycho again about a week ago. Certainly still a classic.

[@chrisdurham563]

I love a lot of his scores and he was such an intelligent, original composer. All a matter of opinion but my favourite score of his is 'Obsession'.

[@c.7610]

Mine too, in a photo-finish with “Psycho,” “Ghost & Mrs. Muir,” “Citizen Kane,” and probably four or five others!

[@daniellibin5254]

Another reason why Herrmann is so important for the purposes of this series is that it shows Cancrizans how classical music has influenced popular culture via movie music. In addition to Stravinsky, Herrmann's scores are evocative of composers like Mahler (whom Herrmann sited as his favorite in his student days) and, of course, Wagner. There would be no Vertigo as we know it were it not for Tristan und Isolde.

[@BretNewtonComposer]

I think you can make a good argument that after Ravel, Hermann is the greatest orchestrator or the 20th century

[@richfarmer3478]

I would go with Respighi first.

[@musicianinseattle]

I’d personally add Holst to that list.

[@goonbelly5841]

I would have gone with the score for "The Day the Earth Stood Still" because I think we need to preserve at least one work featuring the Theremin. Dave, I distinctly remember you mentioning in one of your videos that you actually own a Theremin. So, when are you going to dust it off, plug it in and play us a tune or two?

[@DavesClassicalGuide]

It's not working properly. It spontaneously theremizes when you least expect it to.

[@richardfrankel6102]

​@@DavesClassicalGuide Have you contacted a Licensed Therein Service & Repair Center near you?

[@goonbelly5841]

@@richardfrankel6102 Perhaps he should trade it in for an Ondes Martenot.

[@DavesClassicalGuide]

@@richardfrankel6102 The waiting list for repairs is just insane.

[@amirahmadazhieh2510]

Don't want to be a killjoy here but don't you think his score for Vertigo is more of a "complete" piece of art to be chosen if one had to choose "only" one work? I mean just how the prelude (in and of itself so well-written) leads into the "bridges" between the different parts of the film and then eventually climaxing in the love scene. I just can't think of a film score being any more dramatic in that regard... and so apt for the medium too.

[@DavesClassicalGuide]

If that's what I thought, I might have picked it. But it's a very great score.

[@johannesbluemink4581]

Yeah. I can see your point. Overall, Vertigo is probably better suited to listen to, perhaps even like a Symphony. Fahrenheit 431 and Marnie come to mind. Psycho is totally different, in a way that you love, but for different reasons.

[@rudilindner817]

Hitchcock is said to have doubled his fee after he heard the score

[@shouryaavinash]

Dave will soon run out of Latin alphabet and will have to use Greek ones. :D

[@vKarl71]

I always feel that John Williams made a career out of stealing from Bernard Hermann. Is that unfair?

[@robertjones447]

Williams lifted from all the greats!

[@TPOrchestra]

Psycho: Best Herrmann? Great, but I also like the Citizen Kane score. His faux opera excerpt was so convincing some thought it was from a real opera. Marnie: Worst Herrmann...absolute worst, like he was dialing it in. I think an example of what you called "overused sequences." Hitchcock became disinterested in the film, and maybe it rubbed off on Herrmann. PS. There's a KZbin video called "Psycho Theme on Piano with Knives" that is great fun.