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  1. Bernard Herrmann (born Maximillian Herman; June 29, 1911 – December 24, 1975) was an American composer and conductor best known for his work in composing for films. As a conductor, he championed the music of lesser-known composers. He is widely regarded in many circles as one of the most influential and innovative composers of all time.

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    Melodramas

    These works are for a speaker and a full orchestra. These were written to be played over the radio because a human voice would not be able to be heard over the full volume of an orchestra. The 1935 works were written before June 1935. 1. La Belle Dame Sans Merci(September 1934) 2. The City of Brass(December 1934) 3. Annabel Lee(1934-1935) 4. Poem Cycle (1935): 4.1. The Willow Leaf 4.2. Weep No More, Sad Fountains 4.3. Something Tells 5. A Shropshire Lad(1935) 6. Cynara (1935)

    Music for radio shows and dramas

    1. Palmolive Beauty Box(1935?) (2 existing cues) 2. Dauber(October 1936) 3. Rhythm of the Jute Mill(December 1936) 4. Gods of the Mountain(1937) 5. Brave New World(1956)

    The Forest: Tone poemfor Large Orchestra (1929)
    November Dusk: Tone Poem for Large Orchestra (1929)
    Tempest and Storm: Furies Shrieking!: for Piano (1929)
    The Dancing Faun and The Bells: Two Songs for Medium Voice and Small Chamber Orchestra (1929)
    Bernard Herrmann on IMDb
    Bernard Herrmann papers Archived 2008-05-09 at the Wayback Machine, at the University of California, Santa BarbaraLibrary.
    • Early Life and Career
    • Collaboration with Orson Welles
    • Collaboration with Alfred Hitchcock
    • Later Life and Death
    • Other Works
    • Compositional Style and Philosophy
    • Legacy and Recording
    • Accolades
    • in Popular Culture
    • Television Scores

    Her­rmann, the son of a Jew­ish mid­dle-class fam­ily of Russ­ian ori­gin, was born in New York City as Max Herman. He was the son of Ida (Gorenstein) and Abram Dardik, who was from Ukraine and had changed the fam­ily name. Her­rmann at­tended high school at De­Witt Clin­ton High School, an all-boys pub­lic school at that time on 10th Av­enue and 59th Street in New York City. His fa­ther en­cour­aged music ac­tiv­ity, tak­ing him to the opera, and en­cour­ag­ing him to learn the vi­o­lin. After win­ning a com­po­si­tion prize at the age of thir­teen, he de­cided to con­cen­trate on music, and went to New York Uni­ver­sity, where he stud­ied with Percy Grainger and Philip James. He also stud­ied at the Juil­liard Schooland, at the age of twenty, formed his own or­ches­tra, the New Cham­ber Or­ches­tra of New York. In 1934, he joined the Co­lum­bia Broad­cast­ing Sys­tem (CBS) as a staff con­duc­tor. Within two years he was ap­pointed music di­rec­tor of the Co­lum­bia Work­shop, an e...

    While at CBS, Her­rmann met Orson Welles, and wrote or arranged scores for radio shows in which Welles ap­peared or wrote, such as the Co­lum­bia Work­shop, Welles's Mer­cury The­atre on the Air and Camp­bell Play­house se­ries (1938–1940), which were radio adap­ta­tions of lit­er­a­ture and film. He con­ducted the live per­for­mances, in­clud­ing Welles's fa­mous adap­ta­tion of H. G. Wells's The War of the Worlds broad­cast on Oc­to­ber 30, 1938, which con­sisted en­tirely of pre-ex­ist­ing music.[A] Her­rmann used large sec­tions of his score for the in­au­gural broad­cast of The Camp­bell Playhouse, an adap­ta­tion of Re­becca, for the fea­ture film Jane Eyre(1943), the third film in which Welles starred. When Welles gained his RKO Pic­tures con­tract, Her­rmann worked for him. He wrote his first film score for Cit­i­zen Kane (1941) and re­ceived an Acad­emy Award nom­i­na­tion for Best Score of a Dra­matic Pic­ture. He com­posed the score for Welles's sec­ond film, The Mag­nif­...

    Her­rmann is closely as­so­ci­ated with the di­rec­tor Al­fred Hitch­cock. He wrote the scores for seven Hitch­cock films, from The Trou­ble with Harry (1955) to Marnie (1964), a pe­riod that in­cluded Ver­tigo, North by North­west, and Psy­cho. He was also cred­ited as sound con­sul­tant on The Birds(1963), as there was no ac­tual music in the film as such, only elec­tron­i­cally made bird sounds. The film score for the re­make of The Man Who Knew Too Much (1956) was com­posed by Her­rmann, but two of the most sig­nif­i­cant pieces of music in the film — the song, "Que Sera, Sera (What­ever Will Be, Will Be)", and the Storm Clouds Can­tata played in the Royal Al­bert Hall — are not by Her­rmann (al­though he did re-or­ches­trate the can­tata by Aus­tralian-born com­poser Arthur Ben­jamin writ­ten for the ear­lier Hitch­cock film of the same name). How­ever, this film did give Her­rmann the op­por­tu­nity for an on-screen ap­pear­ance: he is the con­duc­tor of the Lon­don Sym­phony...

    From the late 1950s to the mid-1960s, Her­rmann scored a se­ries of no­table myth­i­cally-themed fan­tasy films, in­clud­ing Jour­ney to the Cen­ter of the Earth and the Ray Har­ry­hausen Dy­na­ma­tion epics The 7th Voy­age of Sin­bad, Jason and the Arg­onauts, Mys­te­ri­ous Is­land and The Three Worlds of Gul­liver. His score for The 7th Voyage was par­tic­u­larly highly ac­claimed by ad­mir­ers of that genre of film and was praised by Har­ry­hausen as Her­rmann's best score of the four.[citation needed] Dur­ing the same pe­riod, Her­rmann turned his tal­ents to writ­ing scores for tele­vi­sion shows. He wrote the scores for sev­eral well-known episodes of the orig­i­nal Twi­light Zone se­ries, in­clud­ing the lesser known theme used dur­ing the se­ries' first sea­son, as well as the open­ing theme to Have Gun–Will Travel. In the mid-1960s he com­posed the highly re­garded music score for François Truf­faut's Fahren­heit 451. Scored for strings, two harps, vi­bra­phone, xy­lo­phone...

    As well as his many film scores, Her­rmann wrote sev­eral con­cert pieces, in­clud­ing his Sym­phony in 1941; the opera Wuther­ing Heights; the can­tata Moby Dick (1938), ded­i­cated to Charles Ives; and For the Fallen, a trib­ute to the sol­diers who died in bat­tle in World War II, among oth­ers. He recorded all these com­po­si­tions, and sev­eral oth­ers, for the Uni­corn label dur­ing his last years in Lon­don. A work writ­ten late in his life, Sou­venir de Voyages, showed his abil­ity to write non-pro­gram­matic pieces.

    Her­rmann's music is typ­i­fied by fre­quent use of os­ti­nati (short re­peat­ing pat­terns), novel or­ches­tra­tionand, in his film scores, an abil­ity to por­tray char­ac­ter traits not al­to­gether ob­vi­ous from other el­e­ments of the film. Early in his life, Her­rmann com­mit­ted him­self to a creed of per­sonal in­tegrity at the price of un­pop­u­lar­ity: the quin­tes­sen­tial artist. His phi­los­o­phy is sum­ma­rized by a fa­vorite Tol­stoy quote: 'Ea­gles fly alone and spar­rows fly in flocks.' Thus, Her­rmann would only com­pose music for films when he was al­lowed the artis­tic lib­erty to com­pose what he wished with­out the di­rec­tor get­ting in the way: the cause of the split with Hitch­cock after over a decade of com­pos­ing scores for the di­rec­tor's films. His phi­los­o­phy of or­ches­trat­ing film was based on the as­sump­tion that the mu­si­cians were se­lected and hired for the record­ing ses­sion — that this music was not con­strained to the mu­si­cal forces o...

    Her­rmann is still a promi­nent fig­ure in the world of film music today, de­spite his death in 1975. As such, his ca­reer has been stud­ied ex­ten­sively by bi­og­ra­phers and doc­u­men­tar­i­ans. His string-only score for Psy­cho, for ex­am­ple, set the stan­dard when it be­came a new way to write music for thrillers (rather than big fully or­ches­trated pieces). In 1992 a doc­u­men­tary, Music for the Movies: Bernard Her­rmann, was made about him. Also in 1992 a 21⁄2-hour-long Na­tional Pub­lic Radio doc­u­men­tary was pro­duced on his life — Bernard Her­rmann: a Cel­e­bra­tion of his Life and Music (Bruce A. Craw­ford). In 1991, Steven C. Smith wrote a Her­rmann bi­og­ra­phy ti­tled A Heart at Fire's Center, a quo­ta­tion from a fa­vorite Stephen Spenderpoem of Her­rmann's. His music con­tin­ues to be used in films and record­ings after his death. "Georgie's Theme" from Her­rmann's score for the 1968 film Twisted Nerve is whis­tled by as­sas­sin Elle Dri­ver in the hos­pi­tal co...

    Academy Awards

    These awards and nom­i­na­tions are recorded by the Mo­tion Pic­ture Acad­emy of Arts and Sciences: 1. 1941: Winner, Music Score of a Dramatic Picture, The Devil and Daniel Webster (later renamed All That Money Can Buy) 2. 1941: Nominee, Music Score of a Dramatic Motion Picture, Citizen Kane 3. 1946: Nominee, Music Score of a Dramatic Picture, Anna and the King of Siam 4. 1976: Nominee, Original Score, Obsession 5. 1976: Nominee, Original Score, Taxi Driver

    American Film Institute

    In 2005 the Amer­i­can Film In­sti­tute re­spec­tively ranked Her­rmann's scores for Psy­cho and Ver­tigo #4 and #12 on their list of the 25 great­est film scores.His scores for the fol­low­ing films were also nom­i­nated for the list: 1. Citizen Kane(1941) 2. The Devil and Daniel Webster(1941) 3. Jane Eyre(1944) 4. The Ghost and Mrs. Muir(1947) 5. The Day the Earth Stood Still(1951) 6. North by Northwest(1959) 7. Taxi Driver(1976)

    British Academy Film Awards

    1. 1976: Winner, British Academy Film Award, Best Film Music, Taxi Driver

    Part of Herrmann's score for The Trouble with Harry was used in a 2010 U.S. television commercial for the Volkswagen CC.
    Music from the Vertigo soundtrack was used in BBC Four's Spitfire Womendocumentary, aired in the UK in September 2010.
    A 2011 TV commercial entitled "Snowpocalypse" for Dodge all-wheel drive vehicles uses Herrmann's main title theme for Cape Fear.
    "Gimme Some More" by Busta Rhymes is based on a sample from Herrmann's score from Psycho.

    Her­rmann's work for tele­vi­sion in­cludes scores for such west­erns as Cimar­ron Strip, Gun­smoke, Rawhide, Have Gun - Will Travel, as well as the 1968 sus­pense TV movie, Com­pan­ions in Night­mare.[citation needed] For The Twi­light Zone: 1. Opening and closing themes (used only during the 1959-1960 season) 2. Where is Everybody? (first aired October 2, 1959) 3. Walking Distance (first aired October 30, 1959) 4. The Lonely (first aired November 13, 1959) 5. Eye of the Beholder (first aired November 11, 1960) 6. Little Girl Lost (first aired March 16, 1962) 7. Living Doll (first aired November 1, 1963) For the Al­fred Hitch­cock Hour: 1. A Home Away From Home (first aired September 27, 1963) 2. Terror at Northfield (first aired October 11, 1963 3. You'll Be The Death Of Me (first aired October 18, 1963) 4. Nothing Ever Happens in Linvale (first aired November 8, 1963) 5. The Jar (first aired February 14, 1964) 6. Behind the Locked Door (first aired March 27, 1964 7. Body in the B...

    • temper?
    • Fantômas Remake of Cape Fear Soundtrack
    • Section on Hitchcock Collaboration
    • Melodrams vs. Melodramas
    • Norma Shepherd's Death
    • War of The Worlds
    • External Link Suggestion
    • Suggestions For Additional Material
    • Calling Experts on Wuthering Heights
    • The Other Bernard Herrmann

    Something should also probably be put into the article about the fact that he was apparently an extremely unpleasant person to work with, and got along with practically nobody. Williamb22:28, 19 April 2006 (UTC) Doesn't belong in an encyclopedia.--66.146.59.11423:44, 14 August 2006 (UTC)Unopeneddoor Well his temper is notorious so maybe it should be included. --129.177.138.10913:19, 01 February 2007 (UTC) 1. 1.1. His abrasiveness is mentioned in the early life and career section as one of the reasons his future in-laws disliked him. Eudemis (talk) 03:54, 4 April 2010 (UTC) Given his... crankiness... it's certainly appropriate. One of the most-notorious stories concerns Herrmann having recommended David Raksin for an assignment (Laura, I think). When Raksin called to thank Herrmann, Herrmann practically screamed at him: "Well, I wouldn't have recommended you if you weren't any good!" WilliamSommerwerck (talk) 18:27, 20 August 2010 (UTC)

    I wrote in the Trivia section that Fantômas made a remake of the Cape Fear soundtrack... just wanted to let you people know... --Zouavman Le Zouave16:56, 21 October 2006 (UTC) --The list of works could use some editing - the first couple of works are definitely juvenalia, and several others are not listed. A bibliography would also be useful. kosboot21:45, 5 February 2007 (UTC) 1. The list is taken directly from the Smith biography listed in the article and is the most complete listing that I have of Herrmann's concert works. If you know of more, additions would be welcome. Gershwinrb (talk) 11:18, 1 February 2008 (UTC) 1. 1.1. I'll revise it when I get some time. kosboot (talk) 17:53, 28 February 2008 (UTC)

    This is a disorganized section, and it conflates Herrmann's biography with Hitchcock. The particular Wikipedia problem is that the author declared the Torn Curtain score to be Herrmann's best. That appears to be a personal opinion and should not be in a Wikipedia article. -- kosboot (talk) 13:12, 4 March 2008 (UTC) 17:02, 2 March 2008 (UTC)

    He called them Melodrams, and made a distinction between what he wanted and what a Melodrama is. So it's not Melodramas, but Melodrams. -- kosboot (talk) 03:04, 24 April 2008 (UTC)

    Does anyone know why his wife died the same day he did?Jeanshirk (talk) 20:26, 7 May 2008 (UTC) That's incorrect. Norma is still alive. -- kosboot (talk) 04:38, 1 December 2008 (UTC)

    I'll have to check, but I recall that Herrmann said that no new music was composed for this show, that what little music it had was simply pop songs badly played by the orchestra. -- kosboot (talk) 17:51, 19 June 2008 (UTC)

    There is an hour-long talk on 'Film Music: Hitchcock's Psycho', by British academic, Roger Parker, which analyses the music in Psycho: http://www.gresham.ac.uk/event.asp?PageId=45&EventId=789 I think that this would be an very good addition to this page. (I only don't put it up myself as there is a possible conflict-of-interest as I am connected with Gresham College, where the lecture was given). —Preceding unsigned comment added by Jamesfranklingresham (talk • contribs) 13:14, 31 October 2008 (UTC)

    Sometime in the late 50s or early 60s, Herrmann composed many (possibly hundreds) of short cues for CBS. CBS used them in many programs, which is why some Perry Masonepisodes have Herrmann-ish sounding scores, yet his name doesn't appear in the credits. There's one little bit of Herrmann genius that I've never seen analyzed. In The Man in the Gray Flannel Suit, there's a flashback in which Gregory Peck's character kills a German soldier. In Herrmann's music, you "hear" everything that's going through Peck's mind. It is the single greatest piece of film scoring I have ever heard. WilliamSommerwerck (talk) 18:35, 20 August 2010 (UTC)

    I've just written an article on Wuthering Heights (Herrmann), and I'm having some difficulty confirming the statement, found in numerous google hits, that it was first staged in a concert version in London in 1966. Those hits never give any details of the singers etc, just the bare assertion that it was staged there. The long Music Web Internationalarticle goes into quite some detail about Herrmann's attempts to get a production going. It gives details about the 1966 recording on Pye that he funded. But it makes no mention of any concert version presented in 1966. Nor does the BH Society site make any mention of it. Other sites flatly deny that Herrmann ever saw the work presented on stage; yet he lived in England and would surely have at least attended (if he wasn't totally involved in) the supposed very first staging of the work most dear to his heart. I'm getting that someone has confused the 1966 recording with a non-existent concert staging, and that misinformation has been cop...

    I'm glad the article mentions the confusion with the other Bernard Herrmann, whc conducted a BBC orchestra. He was quite well known in Britain in the 70s, and the confusion still occasionally crops up. When the same error was made in a newspaper article a few years ago, the son (or daughter) of the 'other' Bernard Herrmann commented: "... I would like to put the record straight. The conductor of the NDO was in fact Bernard Herrmann (note the real spelling). Quite a coincidence that the two men pursued musical careers. After conducting the NDO ,Bernard moved to the Midlands where he continued to play with, conduct and arrange for the Midlands Radio Orchestra. The two Bernards met only once and enjoyed some banter about the rightful recipient of royalty payments! During his career,the English Bernard was a highly respected musician and was best known for his leadership of the NDO and thirty years of conducting the orchestra on the 'Good Old Days'. Still enjoying retirement in the Midl...

  2. Bernard Herrmann ( New York, 29 juni 1911 - Hollywood, 24 december 1975) was een Amerikaans componist. Hij wordt gerekend tot de grote filmcomponisten van de 20e eeuw. Herrmann is vooral bekend van zijn samenwerking met Alfred Hitchcock. Alhoewel hij voornamelijk bekend is van zijn werk voor de film, componeerde hij tevens de muziek voor radio ...

    • Benny
    • 29 juni 1911
    • Max Herman
    • New York
  3. Bernard Herrmann (født 29. juni 1911, død 24. desember 1975) var en amerikansk komponist kjent for sitt arbeid innen filmindustrien.

  4. De Bernard Herrmann, gebuer den 29. Juni 1911 zu New York City a gestuerwen de 24. Dezember 1975 zu Los Angeles, war en US-amerikaneschen Dirigent a Komponist, deen duerch seng Filmkompositioune bekannt gouf.

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