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 Posted:   Jul 25, 2012 - 6:35 PM   
 By:   OnyaBirri   (Member)

Did this sell out?

 
 Posted:   Jul 25, 2012 - 6:40 PM   
 By:   ToneRow   (Member)

Did this sell out?

Yes, Vol 3 sold out during pre-order (only 1,000 pressings)

 
 Posted:   May 18, 2014 - 10:49 AM   
 By:   ToneRow   (Member)

Varese Sarabande has issued 3 volumes of music from THE ALFRED HITCHCOCK HOUR between June 2011 and June 2012.

All of the 17 episodes for which Bernard Herrmann had written music have been released (from one source or another) onto volumes 1 & 2.
Volume 3 contains 1 disc devoted to scores by Lyn Murray while the other CD covers all the music provided by Leonard Rosenman and Lalo Schifrin for the series.

Due to lack of response and interest in this type of vintage material, each subsequent volume has had a decrease in the number of editions pressed. It seems unlikely that the remaining unreleased sound recordings by Lyn Murray and a few other composers will ever surface onto a future soundtrack.

I would now like to address these 3 volumes as a whole. There have been threads created here @ FSM on each individual volume released and folks have named some of their favorites here and there.
This older thread about AHH is being "bumped" so any interested parties can rank the episode soundtracks from all 3 volumes in their orders of preferences.

Herrmann has 17 segments; there are 4 by Murray; Rosenman has 2 while there's 1 apiece by Schifrin and Benny Carter. This makes a total of 25 titles in all - which can be easily divided into groups of 5 using a 5-star ranking order.

Here's my input, after many hours of listening, arranged from my most-loved down to the least resonant:

*****

1. BEAST IN VIEW (Leonard Rosenman)
2. LONELY PLACE (Lyn Murray) approximately 11 minutes
3. TRIUMPH (Murray)
4. TERROR AT NORTHFIELD (Bernard Herrmann)
5. THANATOS PALACE HOTEL (Murray)

****

6. CONSIDER HER WAYS (Herrmann) approx 11 min
7. A HOME AWAY FROM HOME (Herrmann)
8. ONE OF THE FAMILY (Rosenman) under 9 minutes!
9. THE McGREGOR AFFAIR (Herrmann)
10. MISADVENTURE (Herrmann) approx 11 min

*** (all Herrmann)

11. CHANGE OF ADDRESS
12. DEATH SCENE
13. THE LIFE WORK OF JUAN DIAZ
14. AN UNLOCKED WINDOW
15. WATER'S EDGE

** (all Herrmann)

16. WHERE THE WOODBINE TWINETH
17. THE JAR
18. BEHIND THE LOCKED DOOR
19. YOU'LL BE THE DEATH OF ME
20. NOTHING EVER HAPPENS IN LINVALE

*

21. BODY IN THE BARN (Herrmann)
22. WHO NEEDS AN ENEMY? (Murray)
23. MEMO FROM PURGATORY (Lalo Schifrin)
24. WALLY THE BEARD (Herrmann)
25. CRIMSON WITNESS (Benny Carter)


Speaking for myself, I detect some patterns from my listing in favorite order.

For one, the facet of Herrmann which appeals most to me occurs when Herrmann relies upon woodwind instruments (the 8 bassoons which conjure the TERROR AT NORTHFIELD, the MISADVENTURE with 4 clarinets, etc.) or percussion (the 4 harps & 2 vibraphones to CONSIDER HER WAYS) as the leading instrumental color for a narrative.

Secondly, Herrmann can be prone to employ (outmoded) waltz time signatures to communicate happiness, and to respond to anything from the past with sentimentality and/or nostalgia (this is not an approach to the material with which I agree).
Furthermore, Herrmann too often instructed brass instruments to play muted, which, to me, can make a score sound older than it actually is (this is one reason why I am not very keen on THE JAR).

In summary, my overall assessment on the music from AHH is that - dare I say it - Herrmann's musical temperaments were not necessarily in the best interests of these stories (despite the iconic Hitchcock & Herrmann collaborative relationship). To my ears, both Murray and Rosenman delivered underscores possessing more extended thematic developments with greater varieties in mood via contrasts and counterpoints. Compare Murray's Asiatic-flavored music for TRIUMPH (which could almost be a feature film score) with Herrmann's single-minded habanera & its all-pervasive insistence within THE LIFE WORK OF JUAN DIAZ.
Rosenman's ONE OF THE FAMILY has more fluctuations (in less than 9 minutes) with respect to its harmonic vocabulary than the entirety of Herrmann's LIFE WORK (just sayin' smile ).

Still, Herrmann & Murray & Rosenman all offered well-crafted dramatic music & each of these men produced short scores having runtime durations less than a dozen minutes (as I've indicated in my above list).

Lalo Schifrin and Benny Carter, though, turn in pop-music styled scores of minimal dramatic interest. Half of Schifrin's "score" is source music be heard on radio or as jukebox junk. Even though it's for a MEMO FROM PURGATORY, the music is from a pop-music hell!
And ... the less said about Carter's old-school big-band offering, the better.

Any and all are welcome to post their thoughts, impressions, overall feedback, etc. about these TV soundtrack releases.

Do you have all 3 volumes or not? How would you arrange your favorites and/or rank these scores?

 
 Posted:   May 18, 2014 - 10:59 AM   
 By:   ToneRow   (Member)

Looking inside the RMOA (the Rocky Mountain Online Archive) on Lyn Murray, I've come across 3 sections on his archives which were arranged in 2009 - the 3rd of which is labeled as audio recordings:

Series III. Music Audio Recordings, Description, Container ...

Alfred Hitchcock Hour, (1962-1965) Box 64, 65, 69, 71

http://rmoa.unm.edu/docviewer.php?docId=wyu-ah02928.xml

Four boxes of Lyn Murray's music for AHH!
(there's also lots of music there by Murray for NATIONAL GEOGRAPHIC ... plus THE PROWLER(!) - Murray's score for the 1951 Joseph Losey film)

[There are no access restrictions on the materials for research purposes, and the collection is open to the public.]

 
 
 Posted:   May 18, 2014 - 11:55 AM   
 By:   (Member)   (Member)


Any and all are welcome to post their thoughts, impressions, overall feedback, etc. about these TV soundtrack releases.

Do you have all 3 volumes or not? How would you arrange your favorites and/or rank these scores?





I have the three volumes and I'm glad with them.
I used to publish a blog about these volumes on Film Score Daily back then.
I enjoy the Schifrin's score because it contains dramatic cues later reworked on Mission: Impossible: see the season 3 "The Contender".
Too bad, Varese never released a volume 4 with the work of Richard Shores and Robert Drasnin.
Last but not the least, these vintage monochrome anthologies like TZ and Hitchcock never obtained a full release because of the lack of buyers.

 
 
 Posted:   May 18, 2014 - 1:24 PM   
 By:   Last Child   (Member)

delete

 
 
 Posted:   Jul 14, 2014 - 4:21 PM   
 By:   goonies6785   (Member)

Can we just accept their editorial decision and move past it now?

Of course we can.
I chose not to accept it and easily fixed it in a few minutes, but that doesn't mean Varese was obliged to go to that amount of trouble.
Matter closed as far as I'm concerned. Apart from that issue, the set is superb.


Basil, can you tell me how you did your edit for track 3? I'd like to try it myself for my iPod. (You can email me if you'd like - goonies41785@yahoo.com)

 
 
 Posted:   Jul 14, 2014 - 11:28 PM   
 By:   Preston Neal Jones   (Member)

Dear ToneRow,

I just came across your post above, and I can't help wondering why you were so dismissive of Benny Carter's contribution. Aside from being "old school" -- which is a negative term which could be similarly applied to any classic jazz, of which Carter was a master -- what did you find wrong with it? (Personally, I haven't listened to this album since it was first released, but I don't remember the Carter piece being objectionable.)

Thanks,

PNJ

 
 Posted:   Jul 15, 2014 - 4:26 PM   
 By:   ToneRow   (Member)

Hi, PNJ.

I have seen your question, but may not be able to answer it until the weekend.

Thanks for reading my input/reviews on this music, though, because very little response was generated on it ...

 
 Posted:   Jul 15, 2014 - 4:43 PM   
 By:   Advise & Consent   (Member)

Hello Mr. Tone,

I guees that after nearly two years (still sealed), I should get around to listening to this one. Thanks for your listening guide Mr. Tone. It will be most useful.

 
 Posted:   Jul 19, 2014 - 11:24 AM   
 By:   ToneRow   (Member)

Dear ToneRow,
what did you find wrong with it?


The aspect of Benny Carter's music for CRIMSON WITNESS, PNJ, which I like the least is that there is no communication of drama.
It sounds like it could be both source music as well as underscore.
Indeed, if one were to play these tracks to people who don't listen to soundtracks, they may very well not even recognize that this music comes from a TV show.

Lack of descriptive composition, basically.

 
 
 Posted:   Jul 19, 2014 - 8:48 PM   
 By:   RM Eastman   (Member)

A huge PASS.

**DISGUSTING COMMENTS DELETED**

Bob, this is your moderator. DO NOT make comments like that ever again on this forum.


I apologize. I meant no disrespect.

 
 Posted:   Jul 19, 2014 - 10:02 PM   
 By:   Josh Mitchell   (Member)

A huge PASS.

**DISGUSTING COMMENTS DELETED**

Bob, this is your moderator. DO NOT make comments like that ever again on this forum.


I apologize. I meant no disrespect.


I don't think he was referring to you, Bob (RM), but "Bob Shelack," who replied to your post.

 
 
 Posted:   Jul 30, 2014 - 2:44 PM   
 By:   Last Child   (Member)

The tapes at Wyoming (Rocky Mountain Archive) are very good. Some typos in their episode score titles - "Coney Place" is actually "Lonely Place;" Thanatopsis" is "Thanatos Palace Hotel;" and the tape for "Night of the Owl" (which is a short score) includes the wonderfully creepy score "Dont Look Behind You." The tapes have the composed source cues which the Varese didnt include.

 
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