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But today while playing the McNeely version I was surprised to find this quite pleasing. You can't go wrong with McNeelys conducting. It's a great performance altogether.
Agreed. I love that CD. I'm grateful that McNealy did all these recordings of Herrmann works, particularly North by Northwest and Marnie - all of them really. Yes, I prefer the closer miked, drier film type recordings, but the McNeely approach brings other elements of these works to light.
I do like the power gusto of Bernsteins recording. The Killing cue performance is a Killer!
Also the Esa Pekka Salonen Suite is quite good at par with McNeelys own but limited to just 3 cues. Btw. The LLL samples sound incredible and restoration sounds staggering no doubt superbly executed by Mike Matessino. Listening to the original sheds a totally delightfull color to the mix. I can hear instruments that didn't come as clear in the other TC recordings.
As far as Im concerned, there is never enough Torn Curtain. I would welcome a Stromberg type recording of this Masterful work - AND - I wouldn't hesitate to contribute to such a venture.
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I too would contribute to a Stromberg performance of TORN CURTAIN.
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I recall buying a copy of that Warner Brothers LP at a Seattle record store named Peaches Records and Tapes.
Yep, me too, except it was the Peaches in Denver. I loved Peaches, so many soundtracks - got all three of the EB Warner LPs there when I was a teen. But it was this one that utterly blew me away. My first Herrmann!
Really kind of astonishing that we've got the original recordings now - what a great thing this is!
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I too would contribute to a Stromberg performance of TORN CURTAIN.
I would too, but I'd petition for PSYCHO, CAPE FEAR, and THE GHOST AND MRS MUIR above it.
Cheers
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To my eternal shame, I forgot I had the rejected Herrmann score in that beautiful 12 disc Elmer Bernstein Box Set.
I've just dug it out and played it (also shamefully, for the first time and I've had the set for about a year or more now).
Not being a massive Herrmann fan - I do like and appreciate his music but only about two/three times a year - it sounded pretty good, if a bit drab and typical of the composer.
Lots of low, portentous brooding mood music, punctuated by the odd blast of violence or slight tender respite.
Obviously your mileage will vary based on your Herrmann love.
I tend to respond more to his warmer stuff like GHOST & MRS MUIR and JANE EYRE and OBSESSION and WALKING DISTANCE/TZ.
I'm playing the Addison on YouTube now and it's okay, but not something I usually go for (and I'm NOT a fan of Addison in general).
But it's great to see this set getting so much attention and love.
Good luck with healthy sales LLL.
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I too would contribute to a Stromberg performance of TORN CURTAIN.
I would too, but I'd petition for PSYCHO, CAPE FEAR, and THE GHOST AND MRS MUIR above it.
Cheers
PSYCHO is a must, but I've always found the Bernstein recording of THE GHOST AND MRS MUIR to be the definitive version - so beautiful and heartfelt. Aren't the CAPE FEAR tapes available.
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I too would contribute to a Stromberg performance of TORN CURTAIN.
I would too, but I'd petition for PSYCHO, CAPE FEAR, and THE GHOST AND MRS MUIR above it.
Cheers
PSYCHO is a must, but I've always found the Bernstein recording of THE GHOST AND MRS MUIR to be the definitive version - so beautiful and heartfelt. Aren't the CAPE FEAR tapes available.
Only on an unmentionable, so we still need a legitimate release of that, though with LLL releasing the rejected Herrmann for Torn Curtain, that may be plausible. That said, Stromberg has expressed interest in doing a re-recording of Cape Fear in the last few years (he expressed interest in doing it along with the recent Herrmann twofer from Intrada, which ultimately didn’t happen).
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I too would contribute to a Stromberg performance of TORN CURTAIN.
I would too, but I'd petition for PSYCHO, CAPE FEAR, and THE GHOST AND MRS MUIR above it.
Cheers
PSYCHO is a must, but I've always found the Bernstein recording of THE GHOST AND MRS MUIR to be the definitive version - so beautiful and heartfelt. Aren't the CAPE FEAR tapes available.
Only on an unmentionable, so we still need a legitimate release of that, though with LLL releasing the rejected Herrmann for Torn Curtain, that may be plausible. That said, Stromberg has expressed interest in doing a re-recording of Cape Fear in the last few years (he expressed interest in doing it along with the recent Herrmann twofer from Intrada, which ultimately didn’t happen).
A Stromberg re-recording of CAPE FEAR would be most welcome, but the I love the ferocious, almost vicious, energy of the original tracks. Hopefully, LLL will get around to it eventually. Their great Hitchcock releases give us reason to hope.
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I still want at least a suite from COMPANIONS IN NIGHTMARE, as well as a rerecording of the music that Herrmann wrote for PORTRAIT OF JENNIE.
If I recall, a fellow FSMer claimed that the tapes were available a few years ago. If so, hopefully they will be released. Otherwise, another project for Mr. Stromberg.
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Having listened to the Bernstein and McNeely recordings for so many years, which play the material with dead seriousness...
I'm fascinated, having had the chance to hear the original recording of the main title, that Herrmann's elicitation of the main title is imbued with a slightly sardonic sense of circus, the same way his North by Northwest theme was.
It's only a subtle difference, but enough to cause a slight shift in tone.
Cheers
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Perhaps someone can enlighten me.
What source did the unmentionable use?
I have that CD, purchased in the nineties at Intrada's San Francisco physical store, and I thought the sound quality was very good.
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Having listened to the Bernstein and McNeely recordings for so many years, which play the material with dead seriousness...
I'm fascinated, having had the chance to hear the original recording of the main title, that Herrmann's elicitation of the main title is imbued with a slightly sardonic sense of circus, the same way his North by Northwest theme was.
It's only a subtle difference, but enough to cause a slight shift in tone.
Cheers
You may be on to something. Mr. Herrmann would regularly incorporate elements in his scores that went way beyond the obvious actions on screen. Furthermore, his sardonic wit characterized a large part of of his works, which probably explains, in part, why he and Alfred Hitchcock were so well matched.
In any case. very interesting observation.
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My copy from SAE now has a USPS tracking number, but hasn't actually shipped out yet.
Same here.
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The Addison score is definitely not my cup of tea. I find it hard to believe this is the "pop/jazz" score that Hitchcock was searching for. Some renditions of the love theme are pleasant in its Percy Faith "Theme From A Summer Place" type of sound. It's six years removed from that hit, kinda old news. Hitchcock should have focused on making a good film instead of searching for a spot on the Billboard charts.
It's all very well-recorded and preserved. These releases from Universal's archives display that they've done an incredibly good job in keeping great-sounding elements throughout the years.
The Herrmann tracks are wonderful. I agree there's a sardonic tone to the prelude that doesn't pass through as clearly with the other performances. It's too bad Hitchcock wasn't out of the country for a few days while this score was being recorded.
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