Part of on-going series, Notebook Soundtrack Mixes. “This kaleidoscopic compilation of soundtracks by Bernard Herrmann scored for film, television and radio presents a feature-length overview of this incredibly unique composer’s wide-ranging and distinctive style. Working with directors such as Orson Welles, Alfred Hitchcock and Martin Scorsese, during a career that spanned over forty years, Herrmann created scores of such innovative and emotional magnitude that notions of sound and music in cinema have never been the same. The breadth and scope of Herrmann’s ingenious composing, arranging and orchestrating talent is on full display here, from the use of the theremin in The Day The Earth Stood Still (1951), to the all-string 'black & white' sound for Psycho (1960), and the whistled main title of The Twisted Nerve (1968).
Despite a well-charted, stormy history of personal and professional battles, Herrmann could work effortlessly in many musical idioms, seemingly without pause, whether it be within the Romanticism of Jane Eyre (1943) and The Ghost and Mrs. Muir (1946) (his own favorite of his film scores), or in an austere, serialist format for the chilling radio drama, The Moat Farm Murders (1944). Herrmann’s music can at times be confused with sound effects, for instance with the crashing timpani during the erupting volcano climax of Mysterious Island (1961). In fact, he sought to fuse all of the sonorous elements of the soundtrack—voice, sound effects and music—into '…something that comes out of the screen and engulfs the whole audience… The screen itself dictates musical forms.' I’ve loosely arranged this 80 minute mix into four sections that showcase a few, but hardly all, of the facets of this composer’s visionary music.” —Paul Clipson
Stream the mix above or download it here. Total running time: 80 minutes.
45. The Day The Earth Stood Still(1951) “The Robot” (edit) (40:47) 46. The Moat Farm Murders (1944) “Suite” (edit 1) (41:42) for radio 47. The Moat Farm Murders (1944) “Suite” (edit 2) (42:17) for radio 48. The Moat Farm Murders (1944) “Suite” (edit 3) (43:04) for radio 49. The Twilight Zone (1959) “Where Is Everybody?” (edit) (44:16) television episode 50. Sisters (1972) “Phillip’s Murder” (edit) (45:06) 51. Taxi Driver(1976) “Sport and Iris” (edit) (47:08) 52. A Hatful of Rain(1957) “The Sidewalk” (edit) (48:00) 53. Cape Fear (1962) “The Girl Is Found” (edit) (48:40) 54. Cape Fear (1962/1991) “Rape and Hospital” (edit) (48:53) 55. The Seventh Voyage of Sinbad (1958) “The Return” (edit) (49:55) 56. Garden of Evil (1954) “The Quarrel” (edit) (50:22) 57. Obsession (1976) “The Ferry” (50:46) 58. Fahrenheit 451 (1966) “Fire Station” (edit) (53:25) 59. The Three Worlds of Gulliver (1960) “The Crocodile” (edit) (54:18) 60. The Wrong Man (1956) “The Cell ll” (edit) (54:56) 61. The Ghost and Mrs. Muir (1947) “Thee Apparition” (edit) (56:15) 62. Vertigo (1958) “The Forest” (edit) (57:08) 63. Psycho (1960) “The Murder” (edit) (57:39)
Audio courtesy of Gordon Stainforth. His biggest break came in 1979 when he joined Stanley Kubrick’s The Shining at Elstree Studios as an Assistant Editor. When Ray Lovejoy, the Editor, fell ill in the final stages of the production in the following year, Gordon cut the last 30 minutes of the film, working directly with Kubrick. He then worked as the Music Editor, laying all the avant-garde music for the movie, which has now become something of a cult. There is also an interview with Gordon about it. See also The Shining music acclaim. He then went on to cut the BBC television documentary, Making The Shining, directed by Vivian Kubrick (Stanley’s daughter). After that, he worked as First Assistant Editor on five other major movies (see below), and Music Editor for James Horner (Titanic, Avatar, etc.) on The Dresser.
Stanley Kubrick allowed his then-17-year-old daughter, Vivian, to make a documentary about the production of The Shining. Created originally for the BBC television show Arena, this documentary offers rare insight into the shooting process of a Kubrick film. This version of the documentary has commentary by Vivian Kubrick.