Bernard Herrmann

Whole books have been written about Bernard Herrmann and his influence on film music. Considered by many to be one of the best composers of his time, Herrmann is highly regarded by contemporary film composers such as Danny Elfman and John Williams. My exposure to Herrmann on CD is sadly limited, but his first score alone, for Orson Welles's Citizen Kane, contains superb music that, like with many aspects of that film, has had a large impact on filmmaking up to today. Perhaps his most well known scores are for Alfred Hitchcock, from the dance-like pyrotechnics of North by Northwest to the dizzying strains of Vertigo and the slashing, cutting strings for Psycho. His last score was for Martin Scorsese's Taxi Driver, using brooding saxophone to portray Travis Bickle's dark journey of redemption. But Herrmann didn't just do "serious" films; he also specialized in musically bringing the fantasy creatures of Ray Harryhuasen to life, with Jason and the Argonauts, Mysterious Island, The 7th Voyage of Sinbad, and The 3 Worlds of Gulliver. He also established the sounds of science fiction films, using powerful brass for Journey to the Center of the Earth and wailing theremin (when describing the theremin, it is required to use the word "wailing") for The Day the Earth Stood Still. Disneyland fans can hear the strident tones of Mysterious Island while viewing the Primeval World (dinosaur) display in the Disneyland Railroad (between Tomorrowland and Main Street and directly following the Grand Canyon diorama). Herrmann was always fond of using unique instrumental ensembles for each film he did, and he remained an uncompromising craftsman and artist who was intolerant of mediocrity. His strong sense of artistic integrity could make him difficult to work with, and he and Hitchcock ended up parting ways on a less than amicable note. Yet his contribution to the musical world remains unquestioned.

The Ghost and Mrs. Muir
Jason and the Argonauts*
North by Northwest**
Psycho*
Torn Curtain (Rejected)
Vertigo*