Very funny indeed.

Should murder be allowed? I mean if you did nothing wrong...

57:50

Well.... She's just not herself today

If you’re Phillip and I’ll be Brandon 😏

+Ramero Martin sounz better this way

Herrmann succeeded not only in conveying a sense of menace through music, he also conveyed a sense of awe. With just a few notes from a chorus of brass, he could make you feel awestruck. It occurs in "Mysterious Island", "Journey to the Center of the Earth", "Jason and the Argonauts", and even "North by Northwest" (in the scene where Cary Grant and Eva Marie Saint discover that they're on the Mount Rushmore monument). He could skillfully elicit whatever emotion he wanted -- an artist who painted with music instead of oils.

he died the night he finished scoring taxi driver

Our loss. Would loved to have heard how he might have scored Carrie.

Just recently added his soundtrack for the Brian DePalma film Obsession. Very beautiful and dreamy. Itunes has a wealth of Bernard Herrmann or a great selection on Amazon.

GREG FREEMAN Dude are you losing your mind?

☺

Perfect to drive in the rain!

This and Halloween 78

Very true. All of Bernard Herrmann's scores stand on their own

That's me, haven't seen the film, love the soundtrack.

Exactly!

Excellent opinion.

56:52 This is the most frightening music ever. Marion's sister is looking through the book with no title. Watch carefully, her eyes refocus in surprise at whatever the illustration in the book was. We, the audience never know what she saw. M.

30:09-47:33

"The Toys" reminded me of Herrmann's music for "Where Is Everybody?", "The Twilight Zone," when Mac Ferris is taken out of the simulator.

the car 👌

Okay am I going crazy because I swear the discovery track was different from what I just heard

40 thousand, 40 thousand, 40 thou, 40 thou, 40 thou, 40 thousand, 40 thou, 40 thou, 40 thousand, 40 thou, 40, 40, 40 thousand, 40 thou, 40, 40...

Omg how have I never noticed that?

@Corno di Bassetto -- (1) An ostinato is a rhythmic figured bass passage; this rhythmic passage is clearly intended to be the melody. (2) The name of the passage is "Temptation", not "Guilt", not "Obsession".

Just beautiful

she just goes a little mad sometimes...we all go a little mad sometimes...

bandwagon22 go fuck I'll yourself why dontcha?

cill not i'll

The "Cold and damp like a grave" line is foreshadowing the reveal of Norman having stolen Norma's corpse from its grave.

Batesmotel1960 AMEN!

Batesmotel1960 This, imo, is one of the top four greatest horror movies.

+Batesmotel1960 Hell Yeah! this movie was indeed a classic.

+Batesmotel1960 Too true. In this day and age people think that music like Taylor Swift is better than this kind of classic music. But those people have no idea what music really is.

the entire theatre erupted into terror and ear splitting screams at the scarey parts when first released i was there texas, a small town, the 25th st theatre: AWESOME FILM

Bernard Herrmann thought of the single tone color of the all-string soundtrack as a way of reflecting the black-and-white cinematography of the film. The strings play con sordini (with a muting device placed across the bridge) for all the music other than the shower scene, creating a darker and more intense effect. Hollywood composer Fred Steiner, in an analysis of the score to Psycho, points out that string instruments gave Herrmann access to a wider range in tone, dynamics, and instrumental special effects than any other single instrumental group would have.

Absolutely! Notable is the use of none or very few (poco) vibrato, to make it sound more icy and ominous. Herrmann came from the violin, so he knew his articulations and playing techniques. And yes: the string section is both extremely expressive and homogeneous. It blends perfectly. With just the woodwind section this would have been quite the challenge, but I'm sure Herrmann would have been up to it (I would have"allowed" him to include four horns in F ;-) ). Nah. Who am I to say this. Herrmann's genuis cannot be described in words. Thanks for pointing out the Fred Steiner analysis. I will definitely look into it.

Luis Calmett A regueton man

Luis Calmett norman bates

Luis Calmett a psycho path

Luis Calmett The Law Of KZfaq I've learned is that you can find the most amazing videos that you think no human being would dislike without just stopping watching it and going elsewhere, yet at least one person will dislike it or post a shitty comments. It can even be the most obscure, beautiful, and/or weird video that only 2 people have ever watched in 10 years, and someone will still feel the need to be a jerk. Rather than like or post positive comments on videos they actually enjoy, they'll seek out things they despise just to make themselves feel better.

Greg Lytle sad and true :(. But let's not let the silly trolls, paid or unpaid, get us loving people down :^)

Lest we forget Journey??

@@saleconomos473 Do you mean Journey to the Center of the Earth?

@@robertbrandywine Of course.

@@saleconomos473 I know of Herrmann only from my interest in Hitchcock films. Thanks for leading me down the Bernard Herrmann rabbit hole! As best I can tell from Wikipedia, he scored 44 movies, and there are quite some surprises in that list. I've also learned that his birth name was Maximillian Herman.

@@robertbrandywine Journey is one of my favorites of his of all time. The jewel grotto is magnificent.

It depends on the movie. You should watch What Lies Beneath - the creepy suspense score is heavily influenced by Herrmann and very very effective.

The King 2019, one of my best "today" ones but, in partial agreeance with your comment, nothing now has the same taking the listener to another time and place effect as the instrumental scores of the 80s and prior did

+Curt Chiarelli Hitchcock, ever the connoisseur of the macabre. Thanks for the history. Namaste and care, mhikl

+Mhi kl You're welcome. It's always a pleasure to meet fellow enthusiasts of Herrmann's and Hitchcock's genius! Take care.

+Curt Chiarelli Hitch is one of my hobbies. I do not understand the man in the least, sadly. So many questions. His obsession with blondes, his use of terror whilst showing so little of it on screen, the insistence and brilliance in the use of angles and complex shots: or are they just strange shots that tell more than the events themselves . . . simple, really. Is there another director, artist who had or has such clarity? Today, even yesterday, the complexity and length that directors take to steer the audience’s emotion pales to what Hitchcock was able to do with his angles by the camera, in so few frames; which seem eternity whilst viewing. And how much was inspired by his wife, or did she just smooth the path to his artistry? Either way, she was a brilliant person, too. I have every film, I believe, he ever made. And PiratesBay I do give thanks for I am a simple peasant; though my friends prefer to call me cheap. But the man is dead and would not benefit from any coppers from my purse-a little much, I agree, but I like to play. I am now collecting all themes by Bernard Hermann, for Hitch or other. Presently I am listening to the music from Psycho, from beginning to end. I have it in pieces and found it as one thread on YT, and converted it to AAC; the quality quite good for my years and ears. Ah, another dl of another interest, Miss Judy Wood and 9/11, has just downloaded and been converted to enjoy before I finish, “The Lodger”, 44 with Geo Sanders. Creeepy. Namaste and care, mhikl

+Mhi kl Ah, that's the enigma of Hitchcock's genius. Every human being is a strange cocktail of talents, biases, flaws, incompetence and predilections. Some of this is logical and explicable, in other, more obscure areas like artistic talent, it is not. It is a mystery. And, thus, so is Hitchcock's brilliance. All we can do is sit back in a darkened theater and marvel. Hitchcock's wife Alma was a crucial part of his productivity and success throughout his long career. She was his harshest critic, his emotional center, his moral support. Without her by his side, I wonder how well he would have fared. She was also a writer and editor of great artistic stature, on a par with the best that Hitchcock worked with over the years. What is less well known is the complex and contentious relationship Hitch had with composer, Bernard Herrmann. Sad to report, Herrmann was a narcissistic bully, and one of the people Benny verbally pushed around was Hitchcock. Hitch, of course, resented it and it was this resentment that helped pave the way towards their ultimate break-up during the scoring sessions on "Torn Curtain" in 1964. It was by no means the only reason, but the underlying anger that had built up over the prior decade of their personal and professional relationship helped things to reach a conclusive head. During the 1990s I was on a friendly, first-name basis with Herrmann's friends and colleagues, David Raksin and Elmer Bernstein. The insights and anecdotes I gleaned from those chats were very enlightening (for instance, David Raksin claims that the basis for the character of Mr. Bernstein in Orson Welles's "Citizen Kane" was none other than Herrmann himself. Raksin told me that actor Everett Sloanne performed a perfect - and affectionate - mimesis of Herrmann's own sarcastic Brooklyn patois. So, if you want a key insight into what it was like to be around Herrmann, see that movie!)

+Curt Chiarelli Appreciate the notes, Curt. Have copied as must commit to memory, not my greatest strength. I’ve watched CKane twice and it is not a movie that I connect with. I know it is an important movie and will put in more effort. I did appreciate the camera, it was/is? the story that I need to appreciate, and the structure I must learn. But for Bernard’s sake, it shall be sooner, rather then later. I am watching Marnie again tonight. I saw it years ago (forgot most of it) and again last week. In retrospect I like it better than I did viewing it. I have jumped round the scenes a little since, the rape scene, which I thought was not as off-putting as others have claimed. I am quite amazed at Tippi Hedren’s performance; and looking forward to my third viewing. She seemed to be in shock for much of the married scenes, here eyes are amazingly blank-was it acting or was it Hitchcock’s attraction/ attachment to her? and her resentment, at the time? There are movies I like to keep and review-Tiger Bay, a fave from my youth, a few weeks ago. I am not terribly interested in many movies of this decade; I must do my research before I condemn. Namaste and care, mhikl

Don't forget the theme.

So true--I think "The Bedroom" and "Cabin 10" are disturbing numbers too.

No way, the swamp is the most haunting!

You were probably listening to an optical track. Nonetheless, this is the original soundtrack recording with the baddest ass string section I have ever heard. The precise savagery in the main title music has a savage quality that I've never heard, say, in the Landon Philharmonic or the Eastern Bloc soundtrack re-recordings.

@@travershuff5764 this doesn’t sound like the original soundtrack, it sounds like a re-recording-the 1997 release, to be precise. Watch the original title theme in mono on KZfaq. This is clearly a different recording. I was disappointed when I clicked on this video, because it shows the cover artwork for an unofficial vinyl release that *is* the actual soundtrack from the film, in mono. But the audio on this particular video seems to be taken from the 1975 re-recording, which is the version of the soundtrack that is more widely available. To date the only official release of the actual film soundtrack (in mono, of course) is in the form of a 7” vinyl record of two pieces from the film, “The Murder”, and I forget what the other side is. Probably the main titles. I own a copy. It’s taken from the original master tape. This video is not.

Senor Juan You know, like Little Alex in 'A Clockwork Orange' might say in later, retired suburban life, memoirs accounting his glory days of droogery and tolchoking.: "Write, write."

The Bluray has a DES stereo sound that's pretty good since it's the original track!!

@@pinballdan That wouldn’t be the original if it’s in stereo, it would be a remix.

There’s also a bootleg vinyl soundtrack of the original mono-in fact it looks just like the image used for this video. I’m disappointed that this isn’t that recording.

And Hitchcock paid Herrmann $20,000 more because of it.

+Shadow07Warrior1989 I felt that too. Psycho is so unique because it combines two completely different ideas about romance: Marion's perspective, and Norman's perspective.

Indeed. Bernard Hermann did a fantastic job on the score to capture all of these things.

It's the tragic love of Marion for Loomis....

A boy's love for his mother...

a boys best friend is his mother

Re animator 80's classic

The way Herrmann inserts a heartbeat pulse into this piece always amazes me, like he is trying to create the illusion of a living presence in the house up until the cellar scene.

Yes! I just finished listening to those two selections. They're drenched in melancholy and loneliness. You can imagine Norman trapped in his boyhood room by memories and longing. The music makes him human which makes what he does even more horrifying.

Goldsmith was the deserved winner though, as 'The Omen' score us outstanding.

I Totally agree with you.

What?

Kostas Zangogiannis it comes from the movie go look it up yourself

Norman Bates's mother, actually :P

Now 6

+Ulysses North Wow. Have to watch for that next time I view my copy. Namaste and care, mhikl

+Ulysses North You'll get nothing, and like it!