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Topic: Bernard Herrmann

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	Bernard Herrmann - film score composer
		Herrmann's theme for Cape Fear with its 4-note brass motive (watch out for the Simpsons "Thomsons" episode which parodies this) was re-used in the remake of that film by Elmer Bernstein.
		Bernard Herrmann also had an association with the stop motion films of Ray Harryhausen, writing scores for his The Three Worlds of Gulliver, Jason and the Argonauts, Mysterious Island, and The Seventh Voyage of Sinbad.
		Herrmann wrote the theme music used for the first season of The Twilight Zone, which was replaced in later seasons by the now well-known spooky tune which starts by repeating 4 notes.
	www.mfiles.co.uk /composers/Bernard-Herrmann.htm (1435 words)

	Bernard Herrmann - Alfred Hitchcock DVD Wiki
		Bernard Herrmann was a composer who is generally regarded today as one of the greatest of all film composers.
		Although Bernard Herrmann is particularly known for the scores he did for Alfred Hitchcock's films, he also composed fine scores for many other movies including "Citizen Kane", "Cape Fear" and "Taxi Driver" as well as for the original sensational radio broadcast of Orson Welles' "The War of the Worlds" and a number of TV programs.
		Herrmann subsequently moved to England, and was hired by François Truffaut to write the score for "Fahrenheit 451".
	www.daveyp.com /hitchcock/wiki/Bernard_Herrmann (489 words)

	BHS: About the Composer
		Bernard Herrmann was born in New York City on 29 June, 1911, the son of Russian Jewish immigrants.
		Herrmann, who had already composed several concert works among them Aubade (1933), Sinfonietta for Strings (1935), Moby Dick (1938), Symphony (1941), The Fantasticks (1942), returned to the CBS Symphony, where he remained until it was disbanded in 1951.
		Herrmann's film music career, which overlapped his tenure at CBS Radio, was further established through his work at 20th Century-Fox, where the studio's music director Alfred Newman hired him to score Jane Eyre (1943), Hangover Square (1945), Anna and fire King of Siam (1946), The Ghost and Mrs.
	www.uib.no /herrmann/articles/bio/aboutthecomposer (714 words)

	Amazon.ca: Anna And The King Of Siam: Music: Bernard Herrmann (Site not responding. Last check: 2007-08-18)
		Bernard Herrmann was a composer that always wrote music that strove to tap into the emotions of the viewer and not the intellect.
		Bernard Herrmann is best known today for his scores to a series of Alfred Hitchcock thrillers,("Psycho" and "North By Northwest" to name only two), but much of his work was done for Twentieth Century Fox and music director Alfred Newman in the waning days of the Hollywood studio system.
		Herrmann proved a fair hand at scores for films in exotic locales, as well, Africa ("White Witch Doctor" and "The Snows of Kilimanjaro"), the Middle East of the Arabian Nights ("The Seventh Voyage of Sinbad"), India under the Raj ("King of the Khyber Rifles"), and Southeast Asia ("Anna and the King of Siam").
	www.amazon.ca /Anna-King-Siam-Bernard-Herrmann/dp/B00004NH9L (957 words)

	Classic Images: Bernard Herrmann
		Herrmann was staff conductor for the CBS Symphony Orchestra in the late 1930s and he was a composer for scores of radio dramas, working with such people as Norman Corwin and, of course, Orson Welles.
		Herrmann had complete autonomy with the score, and as he later said, he was able to score the film as it was being put together, from the start.
		Bernard Herrmann was married three times, first to Lucille Fletcher, who went on to become a noted author and playwright, famous for Sorry, Wrong Number and for The Hitchhiker, which was broadcast on CBS Radio with music by Herrmann and starring Orson Welles.
	www.classicimages.com /1998/february98/bernardherrmann.html (1579 words)

	A Case Study of the Bernard Herrmann Style
		Had Herrmann introduced her with a love theme, the audience would have been led to believe that she was on Roger's side and that all would be well in the end.
		Herrmann follows this dialogue with the first statement of his love theme, a cue entitled "Interlude," the flavor of which is more accurately described by the tempo marking "Allegretto con molto delicato" ("moderately quickly, with much delicacy").
		Herrmann apparently had intended the scene to be a developed restatement of the overture, but it no longer plays that way, since the cue is cut into small segments and drastically rearranged.
	hitchcock.tv /essays/herrmann/herrcase1.html (3397 words)

	Filmtracks: Vertigo (Bernard Herrmann)
		It is thus one of Herrmann's more listenable scores on album, with a love theme so recognizable that it stands as a worthy identity to represent Herrmann's larger body of work across all genres.
		Herrmann, as he would accomplish in a few other places in the score, finishes the sequence with an ambitious, harmonious conclusion complete with resounding timpani and a gong hit.
		Immediately after this introduction, Herrmann serves audiences with the recurring motif for Stewart's problems with the fear of heights; his frenzied, dizzying strings wave with an intense dissonance that truly defines the horror of the affliction.
	www.filmtracks.com /titles/vertigo.html (1592 words)

	Bernard Herrmann: The Film Noir 'net
		Bernard Herrmann was born on June 29, 1911 in New York City into a typical middle-class Jewish family of Russian origin.
		Herrmann was drawn more to experiments in pure timbre and color for which he had to rely on his inner ear.
		Herrmann refurbished the scoring of the Storm Cloud Cantata somewhat and appears as conductor in the Albert Hall sequence; the remainder of the score is his own original work.
	bernardschopen.tripod.com /herrmann.html (1066 words)

	Bernard Herrmann Summary
		Bernard Herrmann (1911-1975) is perhaps the greatest composer of motion picture music in the twentieth century.
		Herrmann's role in the production was unique for that time, in that he was allowed to observe the filming of the movie, rather than merely composing the score after filming was completed.
		Bernard Herrmann (June 29, 1911 – December 24, 1975) is generally regarded today as one of the greatest of all film composers.
	www.bookrags.com /Bernard_Herrmann (3469 words)

	Bernard Herrmann (Site not responding. Last check: 2007-08-18)
		Bernard Herrmann is arguably the most innovative and influential musician ever to work in Hollywood and, in a career that started and finished with the momentous films Citizen Kane (1941) and Taxi Driver (1976), his name and music are inextricably linked with many of the most important moments in cinema history.
		Bernard Herrmann was born in 1911 in New York, the son of Russian Jewish immigrants.
		Herrmann and Hitchcock famously parted company over the score to Torn Curtain (1966) when, in a period when the composer’s music was increasingly classed by studio bosses as old fashioned, Hitchcock felt Herrmann’s music too dark.
	www.firstcontactrecords.com /bernardherrmann.htm (909 words)

	The Bernard Herrmann Estate (Site not responding. Last check: 2007-08-18)
		Bernard Herrmann's most famous works are his scores for films such as Citizen Kane, Taxi Driver, Psycho, Vertigo & North By Northwest.
		However, as we are primarily Herrmann's 'management office' we don’t have the time or space to delve below the surface to the 'fine print' of Herrmann’s music, but would steer you towards our links page which we're certain will be of interest to both new converts and ardent fans alike.
		In particular we would draw your attention to the Bernard Herrmann Society, a truly wonderful Herrmann fansite.
	www.thebernardherrmannestate.com (325 words)

	Bernard Herrmann - Wikipedia, the free encyclopedia
		Bernard Herrmann (June 29, 1911 – December 24, 1975) was an Academy Award-winning composer and is today generally regarded as one of the greatest of all film composers.
		Herrmann subsequently moved to England, where he was hired by François Truffaut to write the score for Fahrenheit 451 and later, for The Bride Wore Black.
		Bernard Hermann died from cardiovascular disease in his sleep at his hotel in Los Angeles, California, during the night.
	en.wikipedia.org /wiki/Bernard_Herrmann (2029 words)

	Bernard Herrmann
		Bernard Herrmann was as legendary for his irascible personna as for his film scores.
		Commenting on Herrmann's compositional technique, David Raksin wrote, "Remarkable composer that he was, he was that despite a rudimentary sense of melody, which he sought to remedy by repeating short phrases in sequences--meaning that he would state a brief musical phrase and then repeat it, and repeat it again and again in other positions.
		Herrmann was nominated for five Academy Awards but did not receive a nomination from 1946 till his posthumous nominations in 1976.
	www.settling-the-score.com /herrmann.html (638 words)

	Bright Lights Film Journal \| Bernard Herrmann's The Twilight Zone
		Herrmann's interpretations have a more natural emotional flow that reflects and enhances the moods and atmospheres of what he was scoring.
		Herrmann is the first and greatest of the Minimalists.
		That one is scored for only four instruments a bass clarinet to represent the sinister and obtuse masculinity of the abusive Savalas character, plus two harps and a celeste to stand in for the inscrutable feminine forces (wife, daughter, and living doll) arrayed against him.
	www.brightlightsfilm.com /27/twilightzone.html (571 words)

	American Composers Orchestra - David Raksin Remembers His Colleagues
		Herrmann and Moross used to spend time after school at the Half-Price MusicShop on 57th Street, where one day they found some music by a composer previously unknown to them, Charles Ives, who became, as a matter of fact, famous for having been unknown in those days.
		The Aria from Salaambo, an operatic sequence that Herrmann composed for the unhappy debut of Kane's protégé, Susan Alexander, had to expose her as the rank amateur she was unequal to so grand a challenge.
		Herrmann said he wanted to convey the impression of "a terrified girl floundering in the quicksand of a powerful orchestra." (The eloquent phrase is Benny's own.) In the film soundtrack, soprano Jean Forward sang the vocal part for Dorothy Comingore.
	www.americancomposers.org /raksin_herrmann.htm (1719 words)

	Background of Bernard Herrmann (Site not responding. Last check: 2007-08-18)
		A good student in school Herrmann furthered his education and attended great concerts whenever it was possible for him.
		Herrmann's passion for learning music was fanned and grew rapidly.
		Attending New York University Herrmann studied composition and conducting and began to associate with such greats as Aaron Copland.
	tiger.towson.edu /users/bpower2/background_of_bernard_herrmann.htm (184 words)

	ArtandCulture Artist: Bernard Herrmann (Site not responding. Last check: 2007-08-18)
		Bernard Herrmann wrote scores for over 40 movies, providing music for films by Orson Welles, Alfred Hitchcock, François Truffaut, and Martin Scorsese.
		Herrmann’s talent revealed itself early: at 13 he won a composition prize, and at 20 he founded and conducted a chamber orchestra.
		Herrmann himself wrote for the concert hall as well as the movie theater; his "First Symphony" and his dramatic cantata "Moby-Dick," based on the Melville novel, were performed by the New York Philharmonic.
	www.artandculture.com /cgi-bin/WebObjects/ACLive.woa/wa/artist?id=302 (278 words)

	buysoundtrax.com - Bernard Herrmann - The CBS Years (Site not responding. Last check: 2007-08-18)
		Bernard Herrmann (1911-1975) was one of the movies' greatest musical dramatists.
		Herrmann was, when he wrote most of this music, at a high point in his cinema career, between scores for Alfred Hitchcock ("The Man Who Knew Too Much" was behind him, "Vertigo" just ahead) and the great Ray Harryhausen fantasy films (he would soon embark on "Seventh Voyage of Sinbad").
		All of it, however, is clearly and unmistakably Herrmann.
	www.buysoundtrax.com /bernard_herrmann-CBS1.html (334 words)

	Bernard Herrmann composer profile at scorereviews.com
		Bernard Herrmann was born in New York City on June 29, 1911.
		Bernard had always wanted to be recognized as a world famous composer and during this time he made a series of recordings for London records.
		Bernard died in his sleep on December 24, 1975, one day after completing the recording sessions for Taxi Driver.
	www.scorereviews.com /composers/composer.aspx?id=6 (758 words)

	Bernard Herrmann (via CobWeb/3.1 planetlab2.cs.unc.edu) (Site not responding. Last check: 2007-08-18)
		'''Bernard Herrmann''' (June 29, 1911 – December 24, 1975) was a composer, best known for his film scores, particularly for those directed by Alfred Hitchcock.
		Herrmann's relationship with Hitchcock came to an end When the latter rejected a score for Torn Curtain.
		Herrmann subsequently moved to England, and was hired by Francois Truffaut to write the score for his Fahrenheit 451.
	bernard-herrmann.iqnaut.net.cob-web.org:8888 (986 words)

	[No title]
		Bernard Herrmann was one of the most important composers in the film industry.
		For this film Bernard herrmann wrote some of his most haunting music..
		Click on the reel above to hear some of Bernard Herrmann's music for "Torn curtain", his last score for Hitchcock, which was never used.
	www.geocities.com /Athens/Agora/1985/bern2.html (564 words)

	Amazon.ca: V1 At Fox: Music: Bernard Herrmann (Site not responding. Last check: 2007-08-18)
		Varese Sarabande presents a series of Bernard Herrmann's years at Fox with this first volume, featuring "Tender Is the Night", "Man In The Gray Flannel Suit" and "A Hatful Of Rain".
		Herrmann was at his peak when working at Fox, an era long gone but not forgotten, as we now have Herrmann's classic scores on CD, thanks to Varese Sarabande!
		Bu now, thanks to the enterprising record producer Nick Redman, Bernard Herrmann afficionados are treated to the first volume of 20th Century Fox's Herrmann anthology.
	www.amazon.ca /V1-At-Fox-Bernard-Herrmann/dp/B00000K3W1 (522 words)

	WAG: Bernard Herrmann: The Man Behind the Music
		Unlike most composers (who are usually called in at the end of the production), Herrmann worked with Welles from the beginning of the production and had compete control of the score.
		But Herrmann's best work can be heard in Francois Truffaut's Fahrenheit 451 (1966), where he managed to capture the characters' loneliness and their longing for passion and compassion.
		Among the scores from this period, Herrmann's music for DePalma's Obsession is one of the most deeply felt, mixing powerful romantic feelings with the trademark Herrmann suspense.
	www.thewag.net /music/herrmann.html (1105 words)

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