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Considering that Herrmann seldom commented positively about the music of any of his colleagues, I would be surprised if he liked Morricone. I do think that Herrmann might have liked a lot more music than he would had ever led you to believe. He might have admired Morricone's unusual instrumentation, but I wouldn't bet on it. Herrmann did like Jerome Moross and I believe he said some positive things about North and Waxman and Rozsa.
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Considering that Herrmann seldom commented positively about the music of any of his colleagues, I would be surprised if he liked Morricone. I do think that Herrmann might have liked a lot more music than he would had ever led you to believe. He might have admired Morricone's unusual instrumentation, but I wouldn't bet on it. Herrmann did like Jerome Moross and I believe he said some positive things about North and Waxman and Rozsa.
That’s because he and Moross were school chums and admired each other’s work at an early age. I didn’t know this until I read herrmann’s biography actually.
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As others have said, I think we simply do not know.
However, he greatly bemoaned the emerging aesthetics of film music in the 1960s, the influence of popular music on film music and the commercial drive for songs and themes.
Although there is no record of his opinions on particular composers, I would imagine his disdain extended to anyone who was breaking the golden age mould with their film music in the 60s—and that would include Morricone.
Cheers
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Correct.
His music was a pointed reaction against the standard style of his day. He pretty much invented underscoring.
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He pretty much invented underscoring.
I thought that was Max Steiner. Granted, he sometimes overscored instead of underscored. 
Just a wee bit.
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But what does Morricone think of Herrmann?
One would think he is an admirer.
Both are revolutionaries and both expanded the range of orchestration.
brm
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It's an interesting question to me as when asked who are my favourite film composers I've always said these two, and it's very fan-ish to want to somehow see your two favourite things somehow related at least to some tiny degree. But I too have always felt that Morricone wouldn't be on Herrmann's radar, but vice-versa? More chance there I think.
Most of our preconceptions are obviously founded on Herrmann's well documented grumpy old sod persona!
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Posted: |
Sep 17, 2018 - 4:21 PM
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By: |
OnyaBirri
(Member)
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Thanks all for the replies.
While I generally understand and agree with much that has been posted here, unless Herrmann was living under a rock, I do find it hard to believe that he did not hear the theme to "The Good, The Bad, and the Ugly." Even if he had not seen the film, the theme was a big hit in the U.S. by Hugo Montenegro in 1968. (It is my understanding that Herrmann was not permanently in England until the early 1970s.) Also, GBU's unique sonic palette influenced not only other spaghetti westerns, but even westerns made outside of Italy. At the very least, Herrmann must have heard Montenegro's version, or a knockoff of one sort or another, even if it was while waiting for his order at a lunch counter. The sound was really a game changer, and I hate the expression "game changer," by the way.
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