 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Since we’re kinda/sorta on the subject of potential Hitchcock/Herrmann releases, does anyone know if anything survives for the original recording of The Trouble With Harry?
I do not, but listening to the HARRY recording recently that Varese did, I sure hope the OST recording lives on and is seen to at some point.
Not to hijack the thread about this outstanding release, but I also would like to see a release of whatever remains of the original recordings of "The Trouble With Harry" and "The Man Who Knew Too Much" (despite the re-recordings). Along with "Rear Window" and "Psycho," they would close the book on soundtracks to post-1950 Hitchcock movies (we know that the three Tiomkin scores are MIA as far as original recordings are concerned).
|
|
|
|
|
|
|
|
|
|
Since we’re kinda/sorta on the subject of potential Hitchcock/Herrmann releases, does anyone know if anything survives for the original recording of The Trouble With Harry?
I do not, but listening to the HARRY recording recently that Varese did, I sure hope the OST recording lives on and is seen to at some point.
Not to hijack the thread about this outstanding release, but I also would like to see a release of whatever remains of the original recordings of "The Trouble With Harry" and "The Man Who Knew Too Much" (despite the re-recordings). Along with "Rear Window" and "Psycho," they would close the book on soundtracks to post-1950 Hitchcock movies (we know that the three Tiomkin scores are MIA as far as original recordings are concerned).
As far as MWKTM is concerned, Robert Harris and to a lesser extent, Lukas, confirmed that a good chunk of Herrmann’s original recording survived and was preserved when the former was doing restoration work on Vertigo. However, Mr. Harris also mentioned that the reel can that was supposed to contain the Benjamin cantata was empty, indicating that portion is lost.
|
|
|
|
|
|
|
Getting back to Torn Curtain (currently rewatching the film right now), near the end of the film, there’s a ballet being performed using an excerpt of Tchaikovsky’s Francesca da Rimini (a very underrated piece in his repertoire). I wonder if the Tchaikovsky excerpt will be included here.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I hope that LaLaland can squeeze as much Herrmann as possible, including different takes, on the CD. Never been a fan of the Addison score - I do enjoy many of his works, including Swashbuckler, Sleuth, 7 per cent Solution... etc - but his Murder She Wrote style and that stupid sax never gelled with the suspenseful themes of Mr. Hitchcock, not to mention the asinine use of Gounod's March in the lobby scene.
What about a pairing of Christopher Young's and John Addison's HIGHPOINT.
|
|
|
|
|
|
I hope that LaLaland can squeeze as much Herrmann as possible, including different takes, on the CD. Never been a fan of the Addison score - I do enjoy many of his works, including Swashbuckler, Sleuth, 7 per cent Solution... etc - but his Murder She Wrote style and that stupid sax never gelled with the suspenseful themes of Mr. Hitchcock, not to mention the asinine use of Gounod's March in the lobby scene.
Once again, I absolutely agree A&C. I heard Herrmann's album first via the FMC vinyl conducted by Elmer Bernstein. Took a bit to take to it, but began to appreciate its stark cold mood before too long.
Years later, saw the MT on cable and was shocked and immediately irritated at Addison's score. I turned it off immediately (I was 14 or 15 btw).
Eventually saw the film but only ever remember that title cue.
I grew to like Addison's work in time and I'm excited about this release and to give Addison another chance, decades later.
I hope the source cues stay off and every single bar Herrmann recorded makes the cd!
|
|
|
|
|
|
|
Torn Curtain may end up being the release of the YEAR for me! It’ll be amazing to finally have everything Herrmann himself originally recorded of his score on CD, even though I appreciate both the Bernstein and McNeely recordings which have a lot more music.
And I’m probably one of the few people who’s at least equally excited for the expanded and remastered John Addison score! I’ve never understood why this score got so much hate, apart from its connection to the end of the Hitchcock/Herrmann collaboration. Setting emotions about that aside, I think Addison got the assignment very well — I never understood the comments that what he wrote was some kind of “pop” score. To me he sounds inspired by Herrmann at times (just not the rejected Herrmann score in particular — in this way it’s similar to Brian Tyler’s Timeline score which sounds nothing like Goldsmith’s, but DOES occasionally sound like it’s channeling Goldsmith in general, in some of the writing.)
And I think he hit the film’s tone well — a bit tongue-in-cheek, but also with a threat present. In fact I think Addison captured Hitchcock’s ideas on the film a bit better than Hitchcock did, execution-wise.
Yavar
|
|
|
|
|
|
|
Torn Curtain may end up being the release of the YEAR for me! It’ll be amazing to finally have everything Herrmann himself originally recorded of his score on CD, even though I appreciate both the Bernstein and McNeely recordings which have a lot more music.
And I’m probably one of the few people who’s at least equally excited for the expanded and remastered John Addison score! I’ve never understood why this score got so much hate, apart from its connection to the end of the Hitchcock/Herrmann collaboration. Setting emotions about that aside, I think Addison got the assignment very well — I never understood the comments that what he wrote was some kind of “pop” score. To me he sounds inspired by Herrmann at times (just not the rejected Herrmann score in particular — in this way it’s similar to Brian Tyler’s Timeline score which sounds nothing like Goldsmith’s, but DOES occasionally sound like it’s channeling Goldsmith in general, in some of the writing.)
And I think he hit the film’s tone well — a bit tongue-in-cheek, but also with a threat present. In fact I think Addison captured Hitchcock’s ideas on the film a bit better than Hitchcock did, execution-wise.
Yavar
Perfectly summarized. I really dig Addison's score and the main title is usually stuck in my head for weeks just at the mere mention of the title. LLL's expanded Hitchcock CDs are fantastic!
|
|
|
|
|
|
|
I have mixed feelings about the Addison score myself. There are some moments where the score works, though there are some moments that come off as rather saccharine (such as the hilltop scene where Paul Newman reveals his true intentions to Julie Andrews). As for the “pop” sound, I must admit that I’m not well versed in the pop sound of the era, though some iterations of the love theme do have a little bit of a pop sound. The film itself is not one of my favorite Hitchcock films, though the murder scene makes it worthwhile. On another note, I have to give Hitchcock and Addison credit for resisting the temptation of throwing in a song just so Julie Andrews can sing (lovely as her voice is).
|
|
|
|
|
|
Perfectly summarized.
Thank you, sir!
I really dig Addison's score and the main title is usually stuck in my head for weeks just at the mere mention of the title. LLL's expanded Hitchcock CDs are fantastic!
Yeah it gets easily stuck in my head too… I love how it kinda feels off kilter and unhinged and a bit dangerous, but still fun.
It's been an amazing time for fans of Hitchcock scores, with them doing this and Topaz, Quartet doing the amazing Frenzy twofer, and Intrada newly recording a complete Man Who Knew Too Much! (And a bit further back of course they released definitive versions of North by Northwest and To Catch a Thief, to say nothing of the surviving music from Suspicion and the Dial M for Murder rerecording...) Let's hope it keeps going. Maybe someone will redo Marnie without the weird silence gaps between cues, and unnecessary/expensive LP purchase. Maybe someone will finally put out a legit version of everything surviving of Psycho??
Yavar
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I've been quite impressed by the widespread positivity and celebration of this exciting release! Even people who don't care for the Addison score (and I know there are a decent number of those, for whatever reason) are being fairly positive and respectful, grateful for the Herrmann finally being released.
Yavar
|
|
|
|
|
|
Even people who don't care for the Addison score (and I know there are a decent number of those, for whatever reason) are being fairly positive and respectful, grateful for the Herrmann finally being released.
Yavar
The sonic upgrade for the Addison score is welcome, but the Bernard Herrmann tracks are the ticket. Looking forward to them.
|
|
|
|
|
|
|
|
|
|
Well, I like Addison's score; like Jarre, he's got a style that some love, others don't. Anyway, I'll be getting this.
|
|
|
|
|
|
I've been quite impressed by the widespread positivity and celebration of this exciting release! Even people who don't care for the Addison score (and I know there are a decent number of those, for whatever reason) are being fairly positive and respectful, grateful for the Herrmann finally being released.
Yavar
Trying to make a point of picking up any Golden or Silver Age scores that come down the pike. Glad also to see that there seems to be a bit of interest from the younger members. Just about everyone here (except for Howard) counts in that category, alas!
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
: it's tone is more accessible than your typical Herrmann, and I like that it really doesn't attempt to sound like him. I love that opening in the main title, and the primary theme itself is indeed very catchy. 
