Vertigo: Original Motion Picture Score (1995 Re-recording) [Soundtrack]

vertigo: original motion picture score (1995 re-recording) [soundtrack]

Editorial Reviews
Amazon.com
This is the most haunting and hypnotic of all of Bernard Herrmann's scores (which include Psycho and North By Northwest)--from the most haunting and hypnotic of all Alfred Hitchcock films. This is deeply mysterious music, in keeping with the echoes of the past that keep recurring in the movie. As the dizzying main theme opens up before you, you can feel yourself falling right right in. (Herrmann himself did a sort of variation on it for Obsession, the 1976 Paul Schrader/Brian DePalma re-working of Vertigo, released when the earlier picture had been out of circulation for many years.) Perhaps the greatest compliment one could give this soundtrack is that it's as powerful and unforgettable as the images it was written to accompany. And it stands beautifully on its own, as well. --Jim Emerson

Vertigo: Original Motion Picture Score (1995 Re-recording),Bernard Herrmann,Varese Sarabande,Original Score,Pop,Soundtrack,Soundtracks & Film Scores

Vertigo: Original Motion Picture Score (1995 Re-recording) [Soundtrack]

Average customer rating:

5 Stars for Herrmann, 1 for the Interpretation
One of Herrmann's Greatest Scores Wonderfully Recorded
Elegant Release of a Uniquely Haunting, Powerful Score
An American classic
Hauntingly romantic to the last note

Vertigo: Original Motion Picture Score (1995 Re-recording)
Bernard Herrmann
Manufacturer: Varese Sarabande
ProductGroup: Music
Binding: Audio CD

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Psycho: The Complete Original Motion Picture Score
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ASIN: B0000014WI
Release Date: 1996-03-12

Tracks:

Prelude/Rooftop
Scotty Trails Madeline
Carlotta's Portrait
The Bay
By The Fireside
The Forest
The Beach
The Dream
Farewell/The Tower
The Nightmare/Dawn
The Letter
Goodnight/The Park
Scene D'Amour
The Necklace/The Return/Finale

Amazon.com

This is the most haunting and hypnotic of all of Bernard Herrmann's scores (which include Psycho and North By Northwest)--from the most haunting and hypnotic of all Alfred Hitchcock films. This is deeply mysterious music, in keeping with the echoes of the past that keep recurring in the movie. As the dizzying main theme opens up before you, you can feel yourself falling right right in. (Herrmann himself did a sort of variation on it for Obsession, the 1976 Paul Schrader/Brian DePalma re-working of Vertigo, released when the earlier picture had been out of circulation for many years.) Perhaps the greatest compliment one could give this soundtrack is that it's as powerful and unforgettable as the images it was written to accompany. And it stands beautifully on its own, as well. --Jim Emerson

Customer Reviews:

5 Stars for Herrmann, 1 for the Interpretation.......2006-01-19

Is Bernard Herrmann's "Vertigo" score the best ever written for a movie? It would be hard to argue against it. What other film score has the depth, sorrow and beauty of this one? The music as heard in the film is exactly the way Herrmann(and Hitch, of course) wanted it to be. (I highly recommend picking up the newly released soundtrack of "The Wrong Man", a CD which includes many studio outtakes of what was not used in that great, tragic film. Listening to what was rejected makes Herrmann's choices very understandable. He was always right.) So what we get in the released film -- at least in this case -- is Herrmann's most cherished intentions.

Of course, any great piece of music can be reinterpreted. But there is only one word to describe the McNeely/RSO version: lugubrious. The slowness is too slow, the loudness is too loud, the subtle transitions between themes are made four-square and obvious. Basically, McNeely has turned Bernard Herrmann into John Williams.

Much better choice: locate the original Muir Matheson soundtrack.

One of Herrmann's Greatest Scores Wonderfully Recorded.......2005-10-18

Bernard Herrmann and Alfred Hitchcock's collaborations are legendary. The two seemed to complement each other so well: Hitchcock's mastery at creating suspense combining with Herrmann's ferocious, mysterious and thrilling music immeasurably enhancing the experience. Vertigo is the pinnacle of their work together.

The score is seductive, hypnotic and haunting. It brilliantly captures the essence of the character Scottie's (James Stewart) romantic, yet obsessive feelings for Madeleine (Kim Novak). The score deftly moves between the romantic and the suspenseful.

The album starts off with the famous title music. Swirling strings and vibraphones creating a dream-like atmosphere that marries perfectly with the striking images of Saul Bass. After the titles conclude, a driving string ostinato punctuated with bursts of brass underscores a chase scene where Scottie first encounters vertigo. An amazing piece of music.

Introduced in the third track is a Spanish-like motif that is used to signify Madeleine's connection to her ancestor Carlotta Valdez. The motif is repeated constantly creating an eerie and hypnotic effect on the listener.

The love theme, featured throughout the score is heard fully in the outstanding 'Scene d'Amour' and is the highlight of the album. In just under six minutes, Herrmann builds and builds the emotion until the magnificent climax of the piece.

Due to a musicians strike at the time of the film's music recording session, Bernard Herrmann did not actually conduct the score that exists in the film. Apparently Herrmann thought the conductor, Muir Mathieson did a sloppy job. Well this new recording by Joel McNeely is quite simply outstanding. The playing by the Royal Scottish National Orchestra is superb and the album features wonderful sound quality. This allows the listener to study the detail of Herrmann's unique orchestrations closer than that of the original recording.

The album comes complete with extensive liner notes, featuring track by track analysis and a small biography on Herrmann.

Vertigo is an outstanding score. An essential album for any film score collector.

Elegant Release of a Uniquely Haunting, Powerful Score.......2005-05-08

Unlike most composers both before and after, Bernard Herrman was not interested in creating a melodic score reflective of popular music of the time. He instead approached the work as something of a "tone poem" that reflected the uniqueness of each scene and of the film in its totality. From the 1940s through the 1970s his work fueled the power of many famous films such as CITIZEN KANE--but it was really with the legendary director Alfred Hitchcock that he found his best partnership.

VERTIGO is possibly the single most studied American film of the 20th Century, a remarkably complex film that fuses everything from story to color design to create an almost inexhaustible vision of obsession. Not the least of the film's layers are the score, which is regarded as not only one of Herrmann's finest works, but one of the finest film scores in film history.

Much of the score has the dreamy, fluid tone of a calm stream--and Herrmann unexpectedly punctuates the flow to incredible effect with unexpected jabs of sound, sound that sometimes comes as suddenly as an unexpected blow, that sometimes rises from a covertly ominous tone to an overwhelmingly paranoid edge. The overall structure is open-ended, with little in the way of any direction that be considered a resolution.

Two of Herrmann's themes here are particularly famous. The most obvious of these might be termed "the Vertigo Waltz"--a strange, cyclical series of notes that emerges from the background flow and perfectly expresses the film's repeating themes of building obsession, disorientation, and emotional discord. Equally haunting is the "Madeline" theme, which seems based on a four-note, open-ended phrase that rises above everything from the "waltz" to Spanish accents associated with the figure of the long-dead Carlotta. This particular theme has the quality of the human voice calling out in tremendous longing--but without hope of a saving response.

The Varse Sarabande release, which offers the score as recorded by Joel McNeely and the Royal Scottish National Orchestra, is very fine in quality. It also includes an extremely well-written and well-researched fourteen page booklet that describes Herrmann's work both here and in other films as well as the film itself. It is an elegant offering, well worth seeking out.

GFT, Amazon Reviewer

An American classic.......2005-04-26

Hermann's score for Vertigo is one of the most beautiful and compelling pieces of music I've ever heard. It's not only great "movie" music, it's great music.

Hermann deserves to be ranked as one of the great American composers, along with Copeland and and both Bernsteins.

The recording displays the music in a splashy stereo that retrieves it from the mono of the film.

This is music to listen to over and over.

Hauntingly romantic to the last note.......2005-01-16

The music in the film "Vertigo" (when I first saw it several years ago) captured me immediately with an enchanting yet chilling opening. Bernard Herrman had an almost spiritual bond with the Hitchcock films he scored and somehow knew precisely what Hitch wanted in each scene. Although the original Herrman recording of the score is the ultimate auditory gem, the masterful re-recording of the score by Joel McNeely's Royal Scottish Orchestra captures the passionate obsession of the film with great flourish. To all fans of "Vertigo" the film and to movie music enthusiasts, I highly recommend this score. The only suggestion I would venture to potential listeners would be to see the film first (of course), as the story greatly intensifies the emotion of the score. Chills run up and down my spine each time I listen to the score. It will never cease to excite me. Bravo!

Vertigo: Original Motion Picture Soundtrack (1958 Film)

Average customer rating:

One of the all-time greats
An amazing score for an amazing film
An essential part of the film's story line
The perfect soundtrack for the perfect movie
Classic

Vertigo: Original Motion Picture Soundtrack (1958 Film)
Bernard Herrmann
Manufacturer: Varese Sarabande
ProductGroup: Music
Binding: Audio CD

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music
Similar Items:

North By Northwest: Original Motion Picture Soundtrack
Psycho: The Complete Original Motion Picture Score
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Vertigo: Original Motion Picture Score (1995 Re-recording)
Music from the Great Hitchcock Movie Thrillers

ASIN: B0000014ZW
Release Date: 1996-11-05

Tracks:

Prelude and Rooftop
Scotty Trails Madeline
Carlotta's Portrait
The Bay
By The Fireside
The Streets
The Forest
The Beach
The Dream
Farewell And The Tower
The Nightmare And Dawn
The Past And The Girl
The Letter
Goodnight And The Park
Scene D'Amour
The Necklace, The Return And Finale

Customer Reviews:

One of the all-time greats.......2003-11-08

Vertigo is not only the finest of Bernard Herrmann's scores written for the films of Alfred Hitchcock, but also one of the most memorable and captivating movie scores of all time.

Muir Matheson's original recording is tatty in places, but it belongs uniquely to the world of the original film, and as such I wouldn't wish it to be altered one iota. The film's atmosphere is contained brilliantly therein, from the suspenseful and brooding ambience of the early scenes to the sweeping passion of the latter half of the film. This remastered recording will allow the listener to relive the exhilarating experience of Hitchcock's masterpiece.

An amazing score for an amazing film.......2003-09-21

Bernard Herrmann's spellbinding score for VERTIGO is a true masterpiece. His use of innovative, contemporary harmonies that were distinctly his, and obsessive motifs capture the essense of a Hitchcock thriller more than any other score. The contrast of the three main themes - Prelude, Carlotta's Portrait (habanera), and Scene d'amour - and the recurring fixed idea of a descending fifth give this score a balanced structure. The full-boddied orchestration; the way that the music acts as a narrator as Scottie follows Madeline in his car; the evocation of haunting, dreamy themes - everything is perfect. An amazing achievement by one of the masters of film music.

An essential part of the film's story line.......2002-11-17

Many consider Herrmann's musical contribution to the classic Hitchcock film to be the third "star" behind leads Stewart and Novak. Who am I to dispute that?

Almost every scene is filled with the lush strings and ominous chord arrangements of which Herrmann is noted. Of course, the central theme is repeated or restructured but that only serves to support its importance.

Herrmann knew how to musically tell a story. His passages reflect the on-screen action; they alternate from extremely subdued to blaringly threatening. Very few film composers had (or have) his knack for adding "color" to the filmed images.

"Vertigo" is one of Sir Alfred's most personal films, and the Herrmmann scores remains one of that musician's most dynamic undertakings.

The perfect soundtrack for the perfect movie.......2002-10-08

Yeah, that's THE MOVIE and THE SOUNDTRACK, I love Star Wars, Bond movies, but this Hitchcock gem will be always my favorite of all time. It's the cinema in its purest formula, and only Bernard Herrmann could create a soundtrack that had love, sadness, mystery, loss and above all reincarnation. Yes, the Star Wars scores present great originality, but this one is a very personal CD of mine, like I said it has all we want to in beautiful music.
There is this CD, which has the original orchestration, and the 1998 Re-recording by Joel McNeely, which I firstly bought cause there wasn't this one yet.
Contrary to some reviewers I won't elect my fave themes since I think the soundtrack "lives" with the calm cues as much as the more strong ones. I love each of them!

"Prelude" can transport us to the story that we're going to see and those hipnotic chords creates a feel of attraction and diziness like in the Saul Bass titles."Rooftop" is exciting revealing Scottie's achrophobia.
"Scottie Tails Madeleine" includes some passionate notes when Kim Novak's character is introduced and some slowpaced notes of her being followed. This track ends with the "Mission Organ" which doesn't appear in the Re-recording. Yet it's not included the graveyard scene like in the new one.
"Carlotta's Portrait" is one of the most distinguished, since it's associated with the spanish woman, and it's used habanera rhytm later to be used in more terrific tones- quite eerie.

"The Bay" is a nice variation Madeleine's theme again, and the music changes from mysterious to urgent when Madeleine throws herself to the water.
"By the fireside" features Madeleine's theme again used to show sensuality.
"The Streets" is a theme that doesn't appear in the Re-recording, it's again Scottie and Madeleine in the cars variation.
"The Forest" is a real spooky cue, using organs. "The Beach" is the the conclusion of the walk of the recent lovers- it ends with strong, romantic notes as they kiss.
In "The Dream", we have the return of Carlotta's piece as Scottie tries to understand Madeleine's mind.
"Farewell" and "The Tower" is certainly one the best tracks- it's where Scottie can't give a solution to Madeleine's suicide atempts. The romantic notes return again in a doomed way, because there's no way of stop the posessed woman. The Fall variations of the first track return matching perfectly with the Vertigo of Scottie. We truly sense his feel of shock as the music seems not to forgive the poor detective.
The soundtrack seems to be even more better in "The Nightmare"- we hear frightening Carlotta's variation, and "The Dawn" is the part Scottie is release from the institution. Like the movie, the soundtrack seems to had reach the end.
"The Past" has excellent variations of Madeleine's theme in a more supernatural touch as Scottie mistakes some women for his lost love. This is finished with a familiar "The Girl". This two parts of the track don't appear in the Re-recording.
"The Letter" has some darker tones as Judy's secret in the murder complot is reveaveled.
"Goodnight" and "The Park" have more romantic touches, as Judy and Scottie develop their love but there's no way of avoiding---
"Scene D'Amour ", probably the most famous and most important track, since it's the part Judy agrees to attend to Scottie's desires and be Madeleine. The music is more romantic and yet more tragic than ever as they passionate kiss, after being so much time seperated by death. After the explosion the scene and the music fades, leaving the lovers. Happy ending?
Not quite, because we knew who was Judy and Scottie has to know too("The Necklace"), and orchestration gets darker and darker as he takes her back to the Mission("The Return"), and the romantic cue is more tragic and bizarre as they climb the stairs, without we even know that this will lead to "The Finale"--They love each other but they must not be together again. As Judy's fall the music explodes one last time as James Stewart looks down and--THE END.

Wow, what can I say, after all this? The score is certainly a must for Herrmann fans (like me), altough I know people who love it without knowing too much abot the director or the conductor.
This one covers very well each scene of the mov, every people will revive Scottie's emotions- I did!
Well, I also tend to say that this one should be heard by the younger people who rather prefer Hans Zimmer or Howard Shore. A warning for them- You'll only find gems like this in some John Williams or Danny Elfmans soundtracks so-- BUY THIS CD NOW!!!

Classic.......2002-05-23

Very wistful, sweeping romantic melodies. A lot of the songs are very haunting, as though the composer was telling Hitchcock or the audience how dangerous it was that this man was becoming obsessive. This CD has a poor cover, it shouldn't pretend to market 'Psycho' and remember, rerecordings of any kind, especially when rerecording 'mono' in stereo, ...

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