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The Film Scores Of Bernard Herrmann
Box Set, 7 CD
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Herrmann - The Film Scores
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Audio CD, Box set, August 13, 2021 |
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Editorial Reviews
To celebrate the composer's 110th birthday, Bernard Herrmann's complete film score recordings, made for Phase 4 Stereo, is being released. All albums have been remastered at 24bit 96kHz from the original analogue master tapes. 7 CDs presented in original sleeves and programming. Featuring his classic scores for the Hitchcock films Psycho, Vertigo, North By Northwest, Marnie, and others.
Product details
- Language : English
- Product Dimensions : 5.12 x 5.12 x 0.79 inches; 1.4 Pounds
- Manufacturer : Deutsche Grammophon
- Original Release Date : 2021
- Date First Available : April 9, 2021
- Label : Deutsche Grammophon
- ASIN : B09242ZMBT
- Number of discs : 7
- Best Sellers Rank: #81,380 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #5,080 in Soundtracks (CDs & Vinyl)
- #7,119 in Classical (CDs & Vinyl)
- Customer Reviews:
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A wonderful booklet is included full of informational notes. I previously owned 6 out of the 7 albums included in vinyl LP form on London Phase 4 years ago, but let them go. I am absolutely thrilled to have them again on the original Decca label, on fantastic sounding CD's, as well as another, showcasing Herrmann's indelible and creative conducting, ie: Bernard Herrmann Conducts Great British Film Music. Anyone who is a Bernard Herrmann junkie like myself should definitely own this superb collection! A definite MUST for avid fans of great motion picture scores! 5 stars!
After listening to selections from both recordings, he agreed that the Scherchen might be a shade better. However, the Klemperer was, in some ways, superior. He asked me to play the Klemperer again and showed me what he meant. I had to agree with him and asked if he was a music teacher or something. He answered that he didn't have the patience to be a good teacher; that he was "too much of a task-master". He said that he would buy both recordings and, just before he left, introduced himself as Bernard Hermann!
Hermann became one of my regular customers and, before he bought a recording, always asked my opinion. We then compared our choices and he often bought both recordings. Contrary to what maestro Hermann originally told me, he proved to be an excellent teacher!
Bernard Hermann was also an excellent composer and conductor.
I am a long-time devotee of "good" film music and still prefer the more romantic styles of Eric Wolfgang Korngold, Miklos Rosza, Max Steiner, John Williams and others to Hermann's more "abstract" style.
I think, unlike the composers I mentioned, it's difficult to appreciate Hermann's music "out-of-context", the "context" obviously being the film for which it was written. Take what is perhaps his most well known piece - the "shower scene" from Alfred Hitchcock's "Psycho". There's absolutely no question that Hermann's music was mostly responsible the emotional impact of that frightening scene. However, if one who has never seen the film listens to the music I doubt that it would make sense and, lacking this vital perspective, one might find (and reject) it as disturbing and unpleasant!
"Vertigo" and "Fahrenheit 451" have long been two of my favorite films and much of their appeal stems from Hermann's hauntingly beautiful scores.I purchased this CD mainly for "Vertigo: Suite: III. Scène D'Amour" and what appears to be the complete suite of music from "Fahrenheit 451" .
In total, this album comes closest to a representative sampling of Hermann's best work. Esa-Pekka Salonen's interpretations are perhaps definitive and the playing and sound of the orchestra is marvelous!
If that's not enough to interest you in purchasing this recording: when you buy the CD, you can download the MP3 album for free!
Reviewed in the United States on September 13, 2021
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I understand that Herrmann took the scores and conducted them to be heard as if you were at live concert, not in the movie theatre and, in that respect, it was a brilliant decision.
If you were swept away by his scores or held motionless as you focused on the screen, then this set is worth more than the price of admission.
De belles découvertes pour ce qui est des partitions dont Hermann n'est pas l'auteur.
Quant aux grands classiques composés par le Maître pour Hitckock, saluons rétrospectivement la performance de Esa Peka Salonen, qui (dans un superbe album paru il y a quelques années) menait au triomphe ses troupe du Los Angeles Philharmonic.
Ici, dans ce coffret, Hermann lui-même fait aussi bien (!!!) à la tête du Royal Philharmonic. Ce n'est pas peu dire : comme quoi, le grand compositeur était aussi un superbe chef.
Magnifique et prenant. A acquérir sans hésitation !
No tengo tiempo para extenderme. La calidad media de la música es extraordinaria, muy particularmente la de Great Movie Thrillers -volumen dedicado a Hitchcock- y Great Film Classics, por no hablar de las contribuciones del neoyorkino al cine fantástico. La London Philharmonic y la National Philharmonic rinden estupendamente. La batuta de Herrmann, por su parte, a veces ha sido muy discutida por la lentitud de los tempi, a veces muy considerable si comparamos con lo que él mismo había propuesto desde el podio en las correspondientes bandas sonoras originales. A mí la dirección en todos los casos me parece sensacional, incluso reveladora.
El sonido. Ya saben ustedes que Phase 4 Stereo buscaba la espectacularidad por encima de cualquier otra circunstancia, amplificando de manera artificial los solos instrumentales para ponerlos en primer plano y buscando llamativos efectos estereofónicos con la percusión, también en primerísimo plano. Gustaba mucho en una época en la que por fin la mayor parte de la población empezaba a conocer la estereofonía en casa, pero hoy día convence poco cuando de repertorio sinfónico tradicional se trata. Así las cosas, en estos álbumes se aprecian diferencia: aquellos que incluyen músicas de perfil sinfónico tradicional decepcionan relativamente por su artificiosidad, mientras que aquellos que recogen partituras en las que Herrmann había jugado con plantillas no tradicionales e incluso había requerido la amplificación artificial, fundamentalmente las escritas para las películas de aventura y fantasía, las cosas funcionan a pedir boca: es así como el compositor quería que se escuchasen.
El nuevo reprocesado no diré que sea revelador, pero sí que ha mejorado sensiblemente las anteriores encarnaciones en compacto. He ido realizando breves comparaciones disco a disco -los siete- y se aprecia ahora bastante más presencia, relieve e inmediatez. En algunos, también mayor limpieza. Las breves notas de Tom Schneller están bien, pero las más interesantes son las originales del propio Herrmann y de Christopher Palmer, que se incluían en los vinilos originales y ahora podrá leer quien tenga una lupa. Menos es nada.
¿Defectos? Que se hayan dejado fuera los discos que Herrmann grabó de música clásica para el mismo sello (¡auténticas maravillas!) y que Obsession no aparezca completa. Por lo demás, una cajita total y absolutamente indispensable.
von Joel Mc Neely wohl die Referenz. Stromberg hat eine tolle Version von Fahrenheit 451 gemacht. Außerdem gibt es die von Herrmann selbst
dirigierten Versionen aus den siebzigern auf den Decca Phase 4 recordings(auch schon rar). Dennoch dringt niemand tiefer in Herrmanns dringlichste musikalische Momente ein als Pekka Salonen. Seinen Interpretation hebt Herrmanns fantastisch arrangierte Musik auf den ganz hohen konzertanten Podest. Und sie hat dieses verdient, besonders wenn man sie für sich stehend bewerten kann und nicht dem Standard Repertoire der Klassik hinzuzwingen möchte. Salonens Interpretationen weisen große Unterschiede im Tempo auf . Beispielsweise
beginnt die Vertigo Prelude fast "erschreckend" schnell wenn man sie anders kennt. Dennoch sind es gerade die langsamen filigranen Momente
in denene Salonen besonders überzeugt. Seine Versionen wringen die langsamen Passagen förmlich aus. Eine mutige Tempowahl die der Aura
dieser ganz besonderen Herrmannstücke absolut zuspielt und damit definitive Versionen schafft ,die Konzertvorhänge in eine imaginäre
Unendlichkeit eröffnen . Auch klangtechnisch gibt es keine besseren Versionen dieser Kult Kinomusik, die sich in ihrer individuellen Genialität
vor keiner Form der Hochkultur ducken müsste sondern als etwas völlig für sich stehendes glänzt.