Wow those sound like really cool episodes. I always watched the marathons and own several DVDs, but I have never seen those three. They sound great!
Evan Evans
Evan Evans
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I remember reading about a Twilight Zone episode which Hermann scored with two instruments...either harp and bass clarinet, or harp and bassoon...I can't remember which.
Sound familiar to anyone? I'd love to find it.
Fred Story
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@dpcon said:
Evan,Agnes Moorhead is the old lady in a house that's invaded by tiny creatures in little metalic outfits. Of course they turn out to be astronauts from the U.S. and she a giant. A bit of trivia is the fact that the spacecraft says U.S. Airforce since NASA had not been formed yet.
Dave Connor
The Invaders (The Twilight Zone)
Writer: Richard Matheson
Director: Douglas Hayes
A lone woman battles two miniature spacemen whose craft crashes into her isolated farmhouse. The essentially dialogue-free, one-woman performance by the legendary Agnes Moorehead of Citizen Kane, The Magnificent Ambersons and, later, television's Bewitched, is a tour de force.
Hehe! Sometimes I get mixed up with The Outer Limits. Memory's going. No wonder Evan couldn't remember those episodes I mentioned. [:O]ops:
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@Fred Story said:
I remember reading about a Twilight Zone episode which Hermann scored with two instruments...either harp and bass clarinet, or harp and bassoon...I can't remember which. Sound familiar to anyone? I'd love to find it.Fred Story
Fred it might be one of these episodes:-
Where is Everybody?
Walking Distance
The Lonely
Eye of the Beholder
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@PaulR said:
Fred it might be one of these episodes:-
Where is Everybody?
Walking Distance
The Lonely
Eye of the Beholder
Which by the way, are the best ones.
Herrmann rules!
Evan Evans
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I know it is not Walking Distance which had strings and harp. I will check on those other titles because that sounds interesting. The most unusual scoring for a television show that I've heard was a score Herrmann wrote for "Alfred Hitchcock Presents" that used only bassoons and contrabassoon and was perfect for the episode.
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I heard excerpts from Hermann' score for "Sisters" the other day and it sounds so much like Cape Fear. Anyone knows the story on that?
I'm a huge fan of him and I had decided to write a piece in his style. After hearing Evans Hermannesque tracks ( which are excellent) it confirms my notes on what one could generally define his style and sound.
Here are some signatures traits of his music:
Use of short motive, transposed in a descending motion
Use of ostinato "groove" with theme/melody above
lots of parallel motion chords (ala Debussy)
stopped French horns
lots mi(ma7) chord
sweeping romantic themes
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Marc B - those are good points about the style.
Some others I also notice:
The use of a repeated motif that is varied by means of orchestration - like open horns then stopped horns, or tubas then low clarinet ensemble.
Parametal effects such as the "Vertigo" chord or the dissonances in "Psycho."
Use of multiple harps.
Favoring of low clarinets.
"Hunting" triplet motifs on horns.
Appoggiaturas especially of the Wagner Liebestod type.
Parallel MINOR chords -- I think that the overuse of this technique that you can hear for example in Lord of the Rings and many other contemporary scores is all coming from Herrmann, who was the first to use it in film.
You're right about the sweeping romantic themes - I was just listening to "Marnie" and the main theme is about as passionate and sweeping a string line as you can get. Another beautiful example is the intense melody at the end of Fahrenheit 451 which is violins against harp arpeggios.
The new Cape Fear is a re-recording of the Herrmann score that was written for the original Cape Fear. It is similar in tone to Sisters which is one of my favorite of all Herrmann's scores. It is the most macabre and disturbing thing he ever wrote - even more that Psycho because it is more surreal and sick. It has some fascinating use of glockenspiel/chime solo parts and two analog synthesizers that are integrated into the orchestra, as well as a section for the murder scene in which the orchestra simply goes berserk like the killer. I've always felt that in this score, Herrmann decided he was going to do the exact opposite of Psycho - instead of a black and white sound of one homogenous string timbre, he created a luridly over-colored orchestra to match the hallucinatory color images almost like splashes of brilliant paint thrown onto a canvas by Jackson Pollack.
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Not to mention favoring low period.
The main title to Day The Earth Stood Still (which I had to re-record for a TV show - with VSL etc.) He's got everything that can play down there, including organ pedals.
I saw that in a theatre a couple of years back and the place just shook with the lows. It added immeasurably to the experience: the sense of awe, fear, and foreboding. Herrman (as all great composers) new his medium and the environment his music would be presented in. Talk about enhancing a film.
It reminds me of a story in a Beethoven biography of his inquiry into the acoustics of a theatre his music was to be played in (before he composed the work.) Got a big grin reading that because it's really identical with our preoccupation with reverbs etc.
Dave Connor
Paul beat me to the Jason and The Argonauts reference. I'm not happy about it and will have satisfaction concerning the issue.
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That's interesting about Beethoven - I'm not surprised because any composer worth his salt is concerned about the totality of the sound, including reverb. I wonder if he would have used samples - probably, since he was a revolutionary, and of course he would have favored the VSL over EWQLSO. He would have been on this forum, in fact. Wait a minute... he is, isn't he? I remember seeing a post signed "Ludwig."
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@dpcon said:
Paul beat me to the Jason and The Argonauts reference. I'm not happy about it and will have satisfaction concerning the issue.
Hahha! No. The thing is, I first saw Jason and the Argonauts when at boarding school in about 1964. It was shown to us actually through a film projector, if you can believe that. We had this film club going in those days and this was one of the first we saw. Most of the kids that used the film club were music students and the school was a bit specialist in that way. God knows what I was doing there. Anyway, we weren't just allowed to watch the films and wonder off in those days. Typical 'British' fashion of the day, you know. The music master would then ask questions about scenes and music scores for an hour afterwards. When all the other kids were playing football (soccer) or thinking about about girls, we were being educated about David Lean or Alfred Hitchcock or Bernard Herrmann or Alfred Newman.
We thought this was quite normal at the time, but I understand now that for the period, it was actually unusual. The music master was into all that and had studied mostly Bach and the Baroque period at The Royal College of Music. What a surprise, I hear you say. [:)]
I'm hoping satisfaction has been given Dave, and in the meantime, a certain computer consultancy is going to be sued very soon if they don't sort out the email problems that now seem to be chronic. [8o|]
Paul
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Dave, stop playing with those dueling pistols. You're liable to hurt somebody. And take off that silly wig! It's not going to help and will just drop talcum powder into your keys.
Paul, that was a unique situation you had there in school, quite an inspiration. Also very rare in those days, since most people who studied Bach then wouldn't be caught dead studying film music. Though many today have the same attitude.
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@William said:
Also very rare in those days, since most people who studied Bach then wouldn't be caught dead studying film music. Though many today have the same attitude.
Yes Dave, stop it at once or you may get people thinking your'e from England [H]
Very rare Bill as it turned out, but when your'e a kid and have spent most of your time prior to this in film school from the age of six (local cinema) and suddenly find that your first music professor is a Bernard Herrmann fan, whilst at the same time making you play almost exclusively, music of the Baroque form and period, looking back it does seem strange. Like I said, when your'e young, you are much more open to receive things as the norm, especially when being educated in a cloistered environment.
Actually, I defer to Dave here and cheated a bit, because the other day I bought Jason and the Argonauts on DVD for the original soundtrack (as with Psycho, Taxi Driver etc). Personal and subjective opinion. Bernard Herrmann is and was the best filmscore writer ever. Such a fantastic range and quality with no real letting up and no laziness.
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Paul,
How extraordinary and fortunate an experience for a young lad to see such great films as education. Seems to have stayed with you. When was Argonauts released? I seem to recall seeing it in a theatre as a boy. A remarkable film to this day. When that statue comes alive (Talos?) it still absolutely thrills. What a great score by the best guy for the job.
William, okay I put the pistols down but don't ask me to part with the wig and powder. Paul will explain since he has the same condition (as all Brits do.)
DC
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It wasn't The Birds but Torn Curtain that was the fiasco. On Torn Curtain Hitchcock actually fired Herrmann when he saw the orchestra after he'd been instructed to do a more "pop" Mancini style score. It had twelve flutes, nine trombones, eight horns, violas, basses and percussion and nothing else. It was not even faintly "pop" and was pure Herrmann. And then the film was a flop (though had some great scenes like the killing of Gromek).
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Yes thats right, but I was thinking more about Hitchcock than Herrmann. The Birds was a fiasco because of what was done to the end of the film. Hitchcock, for whatever reason, never was the same after that film, and Torn Curtain, whilst I agree had its great moment of vintage Hitchcock, was really the end of a great career. Totally miscast Julie Andrews for starters. Did Hitchcock really want that? Lame film that didn't know what it was; a thriller? a comedy thriller? a drama? The film that defines the expression of losing the plot. Herrmann may well have seen this coming, I don't know, but The Birds was really the end of their partnership, although it happened as you say on Torn Curtain. Had Bernard Herrmann's score been used on Torn Curtain, it must have improved the final result, but nevertheless, by then Hitchcock had lost his edge and the ability to 'cut' a film over the 90 minutes or so.
Plus, audiences were changing with the onset of the mid-sixties and Hitchcock tried to follow the times later with Frenzy, which in my view is lurid and actually almost dreadful. Its like a poor Hammer Horror.
This is all theory on my part, of course.
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William,
had Hitchcock stood up to the studios and coveted Herrmann's ultimate choice to do an orchestral score, and the studio caved in, do you think the film would have been successful? With Herrmann's score?
Do you think Hitchcock directed and cut in a more "pop" style? If not, then Herrmann's score would be the only thing making it worthy of inclusion withe the others:
Psycho
NXNW
Vertigo
Man Who Knew Too Much
The Wrong Man
Trouble With Harry
etc.
By the way, in my opinion, The Wrong Man is a very unclassical score and the movie is very contemporary for it's time.
Hitchcock deserved failure for abandoning Herrmann. Later he became obsessed with trying to prove he could outdo the magic they created together, ALL BY HIMSELF. His ego tore him apart as his films worsened.
Evan Evans
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Actually Evan I don't think anything could have saved Torn Curtain since the script was messed up and Paul Newman in his early career pretty-boy persona was terrible. (He finally evolved out of that insufferable "Am I not beautiful?" role, but it took about thirty years.) The way he took his "method" acting so seriously is pathetic and disgusting, since he was constantly ignoring Hitchcock's and film's needs to show how brilliant he was. Almost as bad - but not quite - as Mel Gibson's recent acting (and directing). Something that happens to pretty boy actors when they decide they are ARTISTS. Especially pathetic when compared to the light, effortless perfection of the quintessential Hitchcock leading man - Cary Grant. The most unpretentious and perhaps best actor ever in Hollywood. But the film would probably have been more powerful in individual scenes if the Herrmann score had been used, since the John Addison one was very insipid.
I am shocked to discover that I actually disagree with Paul!!! There is no fiasco at the end of the Birds! What do you mean? The end is one of the most weirdly ambiguous and surreal conclusions ever done in a mainstream film, and it perfectly mirrors the existential anxiety which the story was ultmately about. Also, I disagree in general with the concept that Hitchcock went down the toilet at the end. He was coping with a massive change in the entire structure of film and the audience's concept of film. "Frenzy" was a great film - shocking and extreme, yes, but essential Hitchcock and evidence that he was just as powerful a director as ever. The film he was going to do next "The Short Night" was going to be just as ambitious and strong as any he'd ever done, but he just was not up to it physically. If old age had not stopped him that diabolical brain of his would probably still be putting everyone else who makes thrillers to shame even today.