 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
It's surprising how selfless Bernstein was on this project. even though he was himself great composer he resisted the urge to put his own musical stamp on it.
It's mainly an arrangers work, but done by someone who had great understanding of Herrmann's music.
|
|
|
|
|
|
|
 |
Posted: |
Jan 22, 2012 - 9:29 AM
|
|
|
|
By: |
DeputyRiley
(Member)
|
I've had that Bernstein Cape Fear score forever also. Love it. I've had it and enjoyed it long before I heard Herrmann's original. I did see the original film awhile back and even though the writing was essentially the same, the overall sound was quite different. I've recently had the opportunity to listen to a recording of Herrmann's 1962 score and, in my opinion, Herrmann's original has a much more in-your-face, unforgiving presentation, with a recording that is dry as a bone. Bernstein's score seems much more fleshed out, sweetened, softer, with less rough edges (although it's still quite an 'edgy' score). I also think the Bernstein adaptation sounds and feels like Herrmann, but it's the recording itself that distinguishes the two versions to a remarkable degree. Bernstein's score has a more concert-hall reverb kind of feel as opposed to Herrmann's more raw version, which in some ways is creepier.
|
|
|
|
|
|
|
|
|
|
To be clear, Scorsese did not invite Elmer, Elmer asked.
Can't remember where I got this, but the story goes that when EB found out MS was making Cape Fear, he contacted MS and asked to score the picture. MS told him he wasn't going to have an original score, he was going to re-use Benny's music. Then EB suggested MS let him do the adaptation. And then MS agreed.
Cheers
|
|
|
|
|
|
|
|
|
Posted: |
Jan 23, 2012 - 1:30 PM
|
|
|
|
By: |
provostom
(Member)
|
I've listened to both quite often and Deputy, you have pegged so well the difference... Herrmann's definitely is more harsh, seems more violent. There is something very different about them. Yet I love them both. I think Herrmann would have enjoyed this. He said a few times he hated hearing live or recorded performances of his scores where they sounded exactly the same as what was on screen. He wanted to hear and enjoyed a new approach or interpretation.
Great, great score, either version.
I've had that Bernstein Cape Fear score forever also. Love it. I've had it and enjoyed it long before I heard Herrmann's original. I did see the original film awhile back and even though the writing was essentially the same, the overall sound was quite different. I've recently had the opportunity to listen to a recording of Herrmann's 1962 score and, in my opinion, Herrmann's original has a much more in-your-face, unforgiving presentation, with a recording that is dry as a bone. Bernstein's score seems much more fleshed out, sweetened, softer, with less rough edges (although it's still quite an 'edgy' score). I also think the Bernstein adaptation sounds and feels like Herrmann, but it's the recording itself that distinguishes the two versions to a remarkable degree. Bernstein's score has a more concert-hall reverb kind of feel as opposed to Herrmann's more raw version, which in some ways is creepier.
|
|
|
|
|
|
|
Elmer Bernstein also adapted portions of Herrmann's unused score for Torn Curtain score for some of the climactic sequences as well.
|
|
|
|
|
|
|
|
|
|
So, if Herrmann had been alive when Scorcese remade this film, and Scorcese asked him to adapt his score to the new film, whaddaya think Herrmann's response would have been?
|
|
|
|
|
|
Never saw this thread before. It strikes me odd that the question is asked of the allegedly truncated last cue, "Was it like that in the original as well?" Why not see (and hear) the original movie and find out?
***
Bernstein was not only a knowledgeable and sympathetic exponent of Herrmann's music, he was also somebody who might have felt he owed Herrmann a favor. At the time of Herrmann's death, Bernstein had just recorded THE GHOST AND MRS. MUIR for his Film Music Collection. Make-Up maestro Craig Reardon and I attended Herrmann's memorial service, and reported on it for the Miklos Rozsa Society newsletter, Pro Musica Sana. Bernstein spoke lovingly of his recent experience, immersed in the haunting, beautiful sound world of Herrmann's GHOST score.
He also recounted how Herrmann had done the young Bernstein a favor by recommending him for a scoring assignment. But when Bernstein phoned Herrmann to thank him for his kindness, Benny just snapped at him, "Well, if I didn't think you had talent, I wouldn't have said so!"
|
|
|
|
|
|
|
I listened to this while cleaning out dark, dusty and crowded cabinets, in anticipation of the kitchen getting sprayed for roaches.
Very appropriate music. 
|
|
|
|
|
|
Benny just snapped at him, "Well, if I didn't think you had talent, I wouldn't have said so!"
Unrelenting, that man.
|
|
|
|
|
|
How was it Raksin described him? Something like, "A master of unspecified anger."
|
|
|
|
|
|
|
|
|
|
Heath, I suspect your speculation about Herrmann's response to Scorsese is right on the money.
|
|
|
|
|
|
Benny just snapped at him, "Well, if I didn't think you had talent, I wouldn't have said so!"
That was just Benny's way of showing appreciation for Elmer's gratitude.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
