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Herrmann: The Film Scores - Vertigo, Psycho, Etc / Salonen
This disc received the 1998 Cannes Classical Music Award for "Best 20th-Century Orchestral Recording." It was also nominated for the 1998 Grammy Award for "Best Engineered Album, Classical."
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There is much to savour here: the thrilling sense of spectacle engendered in the brazen Prelude to The Man Who Knew Too Much (1956); the sweep and lustre of the LAPOâs response in the two extended excerpts from Marnie (1964); the aural feast served up by the score rejected by Hitchcock for Torn Curtain (1966, whose characteristically unconventional instrumentation includes 16 horns, 12 flutes, nine trombones and two tubas). In the Suite from Psycho (1960) Salonen draws playing of terrific bite and menace from his Los Angeles string section. Most striking of all is the remarkable concentration this partnership brings to those pivotal slow numbers like âThe Madhouseâ and âThe Swampâ (both of which convey such numbing dread through their indeterminate tonality). Salonenâs finely sculpted realization of the suite for strings, harp and percussion from Herrmannâs score to Francois Truffautâs Fahrenheit 451 (1966) has a wistfulness (especially in the poignant bars of the concluding âThe Roadâ) that rather scores over Joel McNeelyâs recent Varese Sarabande version with the Seattle SO. How good, too, that room was found for Christopher Palmerâs effective synthesis of Herrmannâs very last composition, the magnificently sinister and moody score for Martin Scorseseâs Taxi Driver (1975).
âAny grumbles at all?â, I hear you ask. Well, just a couple. In the overture to North by Northwest (1959) Salonenâs chosen tempo strikes me as just a little too hectic to give quite enough lift to those obsessive fandango rhythms, whereas Herrmannâs own soundtrack recording on EMI Premier conveys an altogether greater sense of menace. Salonen also tries to wring too much out of the gorgeous âScene dâamourâ from Vertigo (1958) â McNeely with the RSNO on Varese Sarabande is less self-consciously sticky and infinitely more moving as a result. Otherwise, I have nothing but praise.
A winner of a disc, in sum, resplendently played and engineered, and excellently annotated by Alex Ross. If this generous new Sony collection doesnât succeed in alerting a whole new audience to the genius of Bernard Herrmann, then nothing will.
-- Gramophone [1/1997]
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There is much to savour here: the thrilling sense of spectacle engendered in the brazen Prelude to The Man Who Knew Too Much (1956); the sweep and lustre of the LAPOâs response in the two extended excerpts from Marnie (1964); the aural feast served up by the score rejected by Hitchcock for Torn Curtain (1966, whose characteristically unconventional instrumentation includes 16 horns, 12 flutes, nine trombones and two tubas). In the Suite from Psycho (1960) Salonen draws playing of terrific bite and menace from his Los Angeles string section. Most striking of all is the remarkable concentration this partnership brings to those pivotal slow numbers like âThe Madhouseâ and âThe Swampâ (both of which convey such numbing dread through their indeterminate tonality). Salonenâs finely sculpted realization of the suite for strings, harp and percussion from Herrmannâs score to Francois Truffautâs Fahrenheit 451 (1966) has a wistfulness (especially in the poignant bars of the concluding âThe Roadâ) that rather scores over Joel McNeelyâs recent Varese Sarabande version with the Seattle SO. How good, too, that room was found for Christopher Palmerâs effective synthesis of Herrmannâs very last composition, the magnificently sinister and moody score for Martin Scorseseâs Taxi Driver (1975).
âAny grumbles at all?â, I hear you ask. Well, just a couple. In the overture to North by Northwest (1959) Salonenâs chosen tempo strikes me as just a little too hectic to give quite enough lift to those obsessive fandango rhythms, whereas Herrmannâs own soundtrack recording on EMI Premier conveys an altogether greater sense of menace. Salonen also tries to wring too much out of the gorgeous âScene dâamourâ from Vertigo (1958) â McNeely with the RSNO on Varese Sarabande is less self-consciously sticky and infinitely more moving as a result. Otherwise, I have nothing but praise.
A winner of a disc, in sum, resplendently played and engineered, and excellently annotated by Alex Ross. If this generous new Sony collection doesnât succeed in alerting a whole new audience to the genius of Bernard Herrmann, then nothing will.
-- Gramophone [1/1997]
This disc received the 1998 Cannes Classical Music Award for "Best 20th-Century Orchestral Recording." It was also nominated for the 1998 Grammy Award for "Best Engineered Album, Classical."
-----
There is much to savour here: the thrilling sense of spectacle engendered in the brazen Prelude to The Man Who Knew Too Much (1956); the sweep and lustre of the LAPOâs response in the two extended excerpts from Marnie (1964); the aural feast served up by the score rejected by Hitchcock for Torn Curtain (1966, whose characteristically unconventional instrumentation includes 16 horns, 12 flutes, nine trombones and two tubas). In the Suite from Psycho (1960) Salonen draws playing of terrific bite and menace from his Los Angeles string section. Most striking of all is the remarkable concentration this partnership brings to those pivotal slow numbers like âThe Madhouseâ and âThe Swampâ (both of which convey such numbing dread through their indeterminate tonality). Salonenâs finely sculpted realization of the suite for strings, harp and percussion from Herrmannâs score to Francois Truffautâs Fahrenheit 451 (1966) has a wistfulness (especially in the poignant bars of the concluding âThe Roadâ) that rather scores over Joel McNeelyâs recent Varese Sarabande version with the Seattle SO. How good, too, that room was found for Christopher Palmerâs effective synthesis of Herrmannâs very last composition, the magnificently sinister and moody score for Martin Scorseseâs Taxi Driver (1975).
âAny grumbles at all?â, I hear you ask. Well, just a couple. In the overture to North by Northwest (1959) Salonenâs chosen tempo strikes me as just a little too hectic to give quite enough lift to those obsessive fandango rhythms, whereas Herrmannâs own soundtrack recording on EMI Premier conveys an altogether greater sense of menace. Salonen also tries to wring too much out of the gorgeous âScene dâamourâ from Vertigo (1958) â McNeely with the RSNO on Varese Sarabande is less self-consciously sticky and infinitely more moving as a result. Otherwise, I have nothing but praise.
A winner of a disc, in sum, resplendently played and engineered, and excellently annotated by Alex Ross. If this generous new Sony collection doesnât succeed in alerting a whole new audience to the genius of Bernard Herrmann, then nothing will.
-- Gramophone [1/1997]
-----
There is much to savour here: the thrilling sense of spectacle engendered in the brazen Prelude to The Man Who Knew Too Much (1956); the sweep and lustre of the LAPOâs response in the two extended excerpts from Marnie (1964); the aural feast served up by the score rejected by Hitchcock for Torn Curtain (1966, whose characteristically unconventional instrumentation includes 16 horns, 12 flutes, nine trombones and two tubas). In the Suite from Psycho (1960) Salonen draws playing of terrific bite and menace from his Los Angeles string section. Most striking of all is the remarkable concentration this partnership brings to those pivotal slow numbers like âThe Madhouseâ and âThe Swampâ (both of which convey such numbing dread through their indeterminate tonality). Salonenâs finely sculpted realization of the suite for strings, harp and percussion from Herrmannâs score to Francois Truffautâs Fahrenheit 451 (1966) has a wistfulness (especially in the poignant bars of the concluding âThe Roadâ) that rather scores over Joel McNeelyâs recent Varese Sarabande version with the Seattle SO. How good, too, that room was found for Christopher Palmerâs effective synthesis of Herrmannâs very last composition, the magnificently sinister and moody score for Martin Scorseseâs Taxi Driver (1975).
âAny grumbles at all?â, I hear you ask. Well, just a couple. In the overture to North by Northwest (1959) Salonenâs chosen tempo strikes me as just a little too hectic to give quite enough lift to those obsessive fandango rhythms, whereas Herrmannâs own soundtrack recording on EMI Premier conveys an altogether greater sense of menace. Salonen also tries to wring too much out of the gorgeous âScene dâamourâ from Vertigo (1958) â McNeely with the RSNO on Varese Sarabande is less self-consciously sticky and infinitely more moving as a result. Otherwise, I have nothing but praise.
A winner of a disc, in sum, resplendently played and engineered, and excellently annotated by Alex Ross. If this generous new Sony collection doesnât succeed in alerting a whole new audience to the genius of Bernard Herrmann, then nothing will.
-- Gramophone [1/1997]
$6.30
Original: $17.99
-65%Herrmann: The Film Scores - Vertigo, Psycho, Etc / Salonenâ
$17.99
$6.30Description
This disc received the 1998 Cannes Classical Music Award for "Best 20th-Century Orchestral Recording." It was also nominated for the 1998 Grammy Award for "Best Engineered Album, Classical."
-----
There is much to savour here: the thrilling sense of spectacle engendered in the brazen Prelude to The Man Who Knew Too Much (1956); the sweep and lustre of the LAPOâs response in the two extended excerpts from Marnie (1964); the aural feast served up by the score rejected by Hitchcock for Torn Curtain (1966, whose characteristically unconventional instrumentation includes 16 horns, 12 flutes, nine trombones and two tubas). In the Suite from Psycho (1960) Salonen draws playing of terrific bite and menace from his Los Angeles string section. Most striking of all is the remarkable concentration this partnership brings to those pivotal slow numbers like âThe Madhouseâ and âThe Swampâ (both of which convey such numbing dread through their indeterminate tonality). Salonenâs finely sculpted realization of the suite for strings, harp and percussion from Herrmannâs score to Francois Truffautâs Fahrenheit 451 (1966) has a wistfulness (especially in the poignant bars of the concluding âThe Roadâ) that rather scores over Joel McNeelyâs recent Varese Sarabande version with the Seattle SO. How good, too, that room was found for Christopher Palmerâs effective synthesis of Herrmannâs very last composition, the magnificently sinister and moody score for Martin Scorseseâs Taxi Driver (1975).
âAny grumbles at all?â, I hear you ask. Well, just a couple. In the overture to North by Northwest (1959) Salonenâs chosen tempo strikes me as just a little too hectic to give quite enough lift to those obsessive fandango rhythms, whereas Herrmannâs own soundtrack recording on EMI Premier conveys an altogether greater sense of menace. Salonen also tries to wring too much out of the gorgeous âScene dâamourâ from Vertigo (1958) â McNeely with the RSNO on Varese Sarabande is less self-consciously sticky and infinitely more moving as a result. Otherwise, I have nothing but praise.
A winner of a disc, in sum, resplendently played and engineered, and excellently annotated by Alex Ross. If this generous new Sony collection doesnât succeed in alerting a whole new audience to the genius of Bernard Herrmann, then nothing will.
-- Gramophone [1/1997]
-----
There is much to savour here: the thrilling sense of spectacle engendered in the brazen Prelude to The Man Who Knew Too Much (1956); the sweep and lustre of the LAPOâs response in the two extended excerpts from Marnie (1964); the aural feast served up by the score rejected by Hitchcock for Torn Curtain (1966, whose characteristically unconventional instrumentation includes 16 horns, 12 flutes, nine trombones and two tubas). In the Suite from Psycho (1960) Salonen draws playing of terrific bite and menace from his Los Angeles string section. Most striking of all is the remarkable concentration this partnership brings to those pivotal slow numbers like âThe Madhouseâ and âThe Swampâ (both of which convey such numbing dread through their indeterminate tonality). Salonenâs finely sculpted realization of the suite for strings, harp and percussion from Herrmannâs score to Francois Truffautâs Fahrenheit 451 (1966) has a wistfulness (especially in the poignant bars of the concluding âThe Roadâ) that rather scores over Joel McNeelyâs recent Varese Sarabande version with the Seattle SO. How good, too, that room was found for Christopher Palmerâs effective synthesis of Herrmannâs very last composition, the magnificently sinister and moody score for Martin Scorseseâs Taxi Driver (1975).
âAny grumbles at all?â, I hear you ask. Well, just a couple. In the overture to North by Northwest (1959) Salonenâs chosen tempo strikes me as just a little too hectic to give quite enough lift to those obsessive fandango rhythms, whereas Herrmannâs own soundtrack recording on EMI Premier conveys an altogether greater sense of menace. Salonen also tries to wring too much out of the gorgeous âScene dâamourâ from Vertigo (1958) â McNeely with the RSNO on Varese Sarabande is less self-consciously sticky and infinitely more moving as a result. Otherwise, I have nothing but praise.
A winner of a disc, in sum, resplendently played and engineered, and excellently annotated by Alex Ross. If this generous new Sony collection doesnât succeed in alerting a whole new audience to the genius of Bernard Herrmann, then nothing will.
-- Gramophone [1/1997]
