Home > Greatest Scores of the Twentieth Century, Reviews > PSYCHO – Bernard Herrmann

PSYCHO – Bernard Herrmann


Original Review by Craig Lysy

After the much-heralded success of North by Northwest in 1959, Alfred Hitchcock chose to change career paths and direct his first Horror genre film. His secretary found an obscure novel, Psycho by novelist Robert Bloch, and it was exactly for what Hitchcock was seeking. He purchased the film rights for a mere $9,500, and then bought as many copies of the book as possible as he was determined to keep it’s ending a secret. He however ran into headwinds immediately when Paramount studio executives were taken aback by the sordid nature of the story. Yet Hitchcock was determined and negotiated a small budget, agreed to shoot in black and white on the Universal lots, agreed to employ his television series crews, and asked that Paramount only manage the film’s distribution. In addition he offered to take 60% of the film profits in lieu of his customary salary of $250,000. Paramount agreed as they expected the film to lose money. Remarkably, and to Paramount’s chagrin, the film was enormously profitable. In the end, Hitchcock had the final laugh, earning an astounding $15 million!

Hitchcock turned to James Cavanaugh one of his television series writers to adapt the novel, but he was dissatisfied with the end result. He then hired his assistant, the inexperienced Joseph Stefano and the two clicked immediately creating the screenplay used for the film. Because of the restricted budget, Hitchcock had to forego his customary use of a stellar cast. He chose only one star, Janet Leigh to play Marion Crane. Supporting her would be Anthony Perkins as Norman Bates, John Gavin as Sam Loomis, Vera Miles as Lila Crane, and Martin Balsom as Detective Milton Arbogast. The film’s narrative was sordid, as it both explored and pushed the boundaries of sexuality and violence. Marion, a real estate secretary, is given $40,000 to deposit and succumbs to temptation, fleeing with the money.

She ends up in an obscure motel where she meets a young man who unknown to her suffers from multiple personality disorder. He is sexually attracted to her and this triggers the rage of the co-inhabiting mother personality. The Norman-mother persona then sneaks into Marion’s room as she is showering and savagely stabs her to death. The Norman-son persona is shocked by her murder and places her corpse in the trunk of her car, submerging it in a nearby pond. After Norman-mother murders an investigator, Marion’s boy friend and her sister investigate and discover the horrific truth of Norman Bates, who is captured and incarcerated in a sanitarium. The film was a seminal event in Hollywood in that it pushed boundaries of filmmaking as never before, and spawned a new genre – brutal and graphic bloody murder films. The film was a massive commercial success earning 39 times its production cost of $807,000. It also received four Academy Award nominations including Best Director, Best Supporting Actress, Best Cinematography and Best Art Direction.

In 1960 the collaboration between Hitchcock and Bernard Herrmann was never stronger, and he was given the reigns once again, but friction developed as Hitchcock with his limited budget would not give him his customary salary of $35,000. Hitchcock initially suggested a jazz score, which Herrmann summarily rejected. With a severely restricted budget, Herrmann was forced to improvise and so made an audacious decision early on to only employ a 50-piece string orchestra consisting of fourteen first violins, twelve second violins, ten violas, eight cellos and six contrabasses. This choice removed the many tools composers traditionally used for horror films, including cymbal rolls, ominous horns, percussive strikes and shrieking woodwinds. Yet strings have the greatest versatility of expression of all the orchestral groups and Herrmann used them all to great effect. He set the tone for the film with his Main Title, which featured the now famous chilling and driving string ostinati. Herrmann stated that this prelude was portentous, a promise of the violence soon to unfold with all its horrific and twisted ugliness. Within its contrapuntal writing he sought to instill naked and raw terror.

In terms of his soundscape, Herrmann fashioned only motifs, foremost among them being the iconic Norman Motif. First introduced in the Prelude, this violin carried theme alludes to Norman, but remarkably never emotes in its pure form when Norman is in the scene. It is succinct in construct with two eight-note phrases, which end in a coda. There is sadness in the notes and its articulation never resolves, which mirrors Norman’s life of arrested development. Most interesting is that it dwells within a churning cauldron of violence, always attended by strings agitato emoting relentless and ever shifting ostinati di terrore. Also interesting is how the theme and Norman’s fate are intrinsically linked; as the Norman-Son identity descends into madness, overcome by the dominant Norman-Mother identity, so too does the theme suffers deconstruction and a loss of consonance, until it becomes barely recognizable in the later cues of the score. The Mother Motif has no cogent form, rather it can only be describes as atonality itself. You hear it whenever a threat is made to the Norman-Mother identity. Instructive is how atonality becomes more and more prominent as the Norman-Son identity dissipates, overcome by the Norman-Mother persona. The Psycho Motif is drawn from his classical work Sifonietta (1936), and would later be reprised in the film Taxi Driver (1975). Its chilling three-note construct articulated is by celli and bass, which Herrmann renders in a multiplicity of forms. There is a latent menace in its utterances and if often attended by the eerie violin dissonance, for which it is intrinsically bound. The motif represents repressed and unresolved fears of incarceration in a sanitarium by Norman’s fractured psyche, as such it serves as an allusion to the Mother.

The Death Motif is a simple two-note construct emoted by plaintive celli and bass. It informs us of death, both overtly, but also portentously, and by allusion. First heard in the Prelude, this motif also changes through the course of the film, ultimately transformed into a truly horrific iteration in the Murder scene. Next we have the Tranquility Motif, which offers the score’s fleeting respite from darkness. Herrmann uses its relaxed, leisurely and languid lyrical flow to support the film’s quieter moments and interludes. The Romantic Motif is heard but twice in the film and is used to support Marion’s love affair with Sam. Its repeating and descending three-note phrases are emoted by tender strings romantico, however its articulation is plaintive, never culminates, and always ends unresolved, thus alluding that this love affair is doomed. The Money Motif arises from the second ostinato heard in the prelude, articulated at a slower tempo by viola. Its notes speak of both temptation and the seduction of money. When all was said and done, Hitchcock was so happy with the outcome that he doubled Herrmann’s salary, thus restoring his customary fee of $35,000. He would thereafter praise Herrmann by saying that “33% of the effect of Psycho was the music.” This revelation is interesting when you consider that Herrmann in the past had often stated that when Hitchcock finished filming, only 60% of the film was completed, and that it was his job to complete the film’s remaining 40% with his music. Lastly, I truly believe that Herrmann truly merited consideration for an Academy Award for this iconic score, and it is a supreme tragedy that Psycho was not nominated.

“Prelude” supports the roll of the film’s credits and is today recognized today as one of the greatest to ever open a film, a masterpiece of conception and expression. The music unfolds as Saul Bass’ horizontal gray lines slash across the black screen and give form to the credits. Herrmann unleashes a testament for the ages with a torrent of violence born by strings agitato emoting multiple reoccurring and ever shifting ostinati di terrore. The Norman Motif, the eye of the storm, enters at 0:28 and in the course of the Prelude receives two additional statements. The music is portentous and revelatory in that its fractured expression and violence are intrinsically linked to the fractured Norman persona and its latent violence. As such, the Prelude is Norman, his tortured and fractured mind laid bare, translated sonically by Herrmann into aural terror. This is genius! The next three cues establish the story’s backdrop, offering an extended scene, which flows seamlessly. We open with “The City” atop the refulgent violins of the languid Tranquility Motif, which supports a panorama of Phoenix. Repeating phrases of the portentous Death Motif are expressed as we pass slowly through a hotel window to see Marion and Sam together for a lunch break tryst. In “Marion” we see that they both are in love and she truly wants a life together, which Herrmann supports with the warm strings romantico of the Romantic Motif. Yet the melody is plaintive, born by repeating descending phrases, which never culminate, thus informing us that this is a love that will never be realized. We conclude the scene with “Marion And Sam”, which reveals Sam acquiescing, to her entreaty to make a life together in the open. But he is despondent as he is in debt, and saddled with alimony payments. The Romantic Motif returns once again, but the sadness remains and it never resolves.

In “Temptation” Marion has been given $40,000 in funds to deposit and succumbs to temptation, the false allure that the money will solve Sam’s problems, and support a new life together. As she packs her clothes on her bed, the bundle of money beckons her to her doom. Herrmann sows tension with a cyclic rendering of the Money Motif, which is derived from the second Prelude motif. The motif’s articulation is carried by a viola agitato at a much slower tempo, which crests and falls like waves upon the sand. The motif is intrinsically linked to Norman, yet another subtle allusion by Herrmann of what is to come. “Flight” offers a dialogue free scene where Herrmann’s score carries the film. Marion has succumbed to the money’s allure and flees Phoenix with it. She is driving to her fated meeting with Norman, and Herrmann sows tension as the Prelude is reprised to support her flight. The music informs us of their shared destiny, thus ending grimly on a dark bass sustain. In “Patrol Car” Marion is asleep and parked on the shoulder. A police car pulls over behind her and the officer wakes her. Marion is startled and her nervous and defensive behavior raises suspicions in the officer. When her license checks out she is allowed to depart, but the officer trails behind her. The Prelude music is again used by Herrmann to create tension, and carry her progress, once again ending on a grim bass sustain as she arrives at a car dealership. As she exits her car in “The Car Lot” the languid strings of the Tranquility Motif support the ambiance as she buys a paper to check the news. Yet the Tranquility Motif dissipates and Herrmann sows disquiet with repeating phrases of the Death Motif as the policeman pulls up, parks, and begins watching her.

“The Package” offers a tension cue, which reveals Marion in the car dealership ladies room pulling out $700 to purchase the used car. Herrmann supports the scene with a reprise of the Money Motif by the viola agitato first heard in the “Temptation” cue, which is countered by repeating high register violin sustains. Juxtaposed is the Death Motif, a subtle subtext that her chosen path will end tragically. “The Rainstorm” offers a potent cue where we see Marion continuing her drive north into a fierce rainstorm. Dialogue of her boss, fellow secretary and the client whose money she stole speak in the background as they discover her treachery. Herrmann propels the scene with a full-extended rendering of the Prelude, whose recurring ostinati born by driving strings agitato carry her to Norman. This rendering of the Prelude music is more dramatic and varied in its articulation, creating a synergy of horror with the driving rain. In “Hotel Room” Marion pulls off the road and seeks shelter at the Bates Motel. She meets Norman, a very disarming and pleasant young man who assigns her cabin one. He invites her to dine with him at the house, and she reluctantly agrees. After he departs she begins to unpack. We again see the package of money, which she chooses to hide in the open, within the pages of a newspaper. A more complex rendering of the Money Motif is reprised for this scene. We hear the viola agitato ostinato, but in this rendering it has an echo, and is again countered by opposing high register string sustains.

In “The Window” Marion goes to the open window when she hears a heated conversation between Norman and his mother, who refuses to allow Marion into her house. Fragments of the Tranquility Theme join with repeated phrases of the Death Motif, serving to create unease and disquiet. “The Parlor” reveals Norman and Marion dining in the motel parlor. Herrmann again joins fragments of the Tranquility Motif with recurring statements of the Death Motif now joined with an unsettling counter line of violas. As they converse, Marion gains insight into Norman when he states that a “boy’s best friend is his mother”, and that “We are all in our private traps.” We see sympathy in Marion’s eyes and on the surface observe gentile dining by the two, yet underneath a menacing undercurrent flows. Herrmann’s music speaks to the overt, and covert, the spoken, and the unspoken. This juxtaposition is brilliantly conceived. In “The Madhouse” the conversation turns to Norman’s mother, who he states is mentally ill. When Marion suggest that it might be best for both of them if she was placed in a – he finishes her sentence with Madhouse. Norman’s persona visibly changes and we see a frightening menace in his eyes, and disdain of her suggestion. She is taken aback, apologizes, but he persists in speaking against the horrors of a madhouse. Herrmann supports this tense scene with a powerful opening statement of the Madness Motif as he first utters the word madhouse. What follows is disturbing, as the Mother Motif rises from an eerie tonal milieu of formless high register strings, which unsettle us to our bones. This music informs us that the mother’s fury has been aroused. The cue closes ominously with three dark utterances of the Madness Motif. Afterwards, Marion regains moral clarity and as she turns in she informs Norman that she will depart to Phoenix to pull herself out of a trap she has created.

“The Peephole” reveals Norman struggling against, but ultimately succumbing to temptation. He hears Marion next door and the five-note opening of the Prelude returns, but it has been shorn of its shearing power, transformed into a mesmerizing ostinato. Against this ostinato play repeated utterances of the two-note Death Theme by viola, and then celli – an allusion of what will come. At 1:06 he lifts a painting in the parlor and peers through the peephole. Eerie high register first violins take up the ostinato, countered by 2nd violins as we observe Marion undress and prepare to shower. He returns the picture to the wall, and we see within a dark resolve, with pizzicato strings initiating his departure, and the ostinato carrying him back up to the house. In “The Bathroom” Marion is in the bedroom accounting to how much money she needs to repay. She writes down the figures, but then tears the paper up, flushing the shreds away in the bathroom toilet. The Tranquility Motif carries the moment, reflecting her thoughts that she will soon right the wrong she has committed, however statements of the Death Motif portend her doom as she undresses and enters the shower.

“The Murder” is a stunning score highlight, which earns Herrmann immortality. Hitchcock’s original vision was to have the scene play without music. Herrmann realized how unaffected the film played without music and so created his masterpiece cue, which impressed Hitchcock and earned his praise. Marion is showering; we see the bathroom door open and the silhouette of a woman enter. As the curtain is ripped open she begins striking Marion with savage downward slicing stabs. Herrmann used sharp shrieking violins that mirror the savage rending knife slices to sow blind terror. The first violins strikes are in the upper register, countered by the second violins and violas in the mid register. Worth noting is that the shrieks are fractured melodic remnants of Norman’s Theme, which like Norman’s psyche, have been fractured, and deconstructed. Herrmann’s genius continues, as dark statements of the Death Motif resound as Marion’s bleeds out. As we see her life ebb, the slashing strings descend in register, slow, and finally pulse, mimicking her fading heartbeat, until we at last see her life pass in the swirling now bloodless drain waters.

The next six cues offer a testament to Herrmann’s mastery of his craft as he supports the aftermath of Marion’s horrific murder. In “The Body” Norman is heard shouting “Mother! Oh God Mother – blood, blood!” and runs down to the cabin carried by an echo of the murder music, which ends with the Death Motif as he discovers the body. “The Office” reveals an unsettled Norman returning to the office to obtain a mop and bucket. The shrieking murder music returns, but with radically transformed articulation. It has descended in register and is emoted at a much slower tempo, ending with a tremolo. At 0:42 as Norman enters the bathroom, the Mother Motif returns and rises from the depths for a truly grotesques and bone-chilling crescendo. In “The Curtain” Norman lifts Marion’s corpse and places it in the shower curtain. His efforts are supported by the dark strings of the Death Motif, which join in unholy communion with the eerie, atonal dissonance of the Mother Motif. “The Water” reveals Norman washing the blood off his hands, and then his mopping down the blood stained bathtub. Herrmann supports his efforts with repeating upper register tremolos, opposed by celli counters, which unsettle and disturb us. In “The Car” Norman carries Marion’s corpse out, places it in the trunk with her luggage, along with the hidden money sequestered within the newspaper. Repeating two note phrases by violas with violin counters duel atop dark, growling bass, the last vestiges of Norman’s Theme, which unnerve us. “Cleanup” offers an extended initial version of “The Car” scene that was discarded when editing shortened the scene. The writing for strings is exceptional as viola tremolos and frenetic violins engage in a horrific tête-à-tête. In “The Swamp” Norman pushes the car into the murky waters of a nearby swamp to hide evidence of his Mother’s sins. We open darkly by tortured statements of the Madness Motif by bass, which are joined in a horrific communion with the Mother Motif. Hitchcock however chose to dial out the music, as he believed that silence better served to amplify the tension. I believe having played the cue to the scene, that this was an artistic error.

“The Search” reveals Marion’s sister Lila and Sam confronted by private detective Arbogast who has been hired to investigate Marion’s disappearance. What follows is a montage of Arbogast visiting several motels in search of cues. A less violent reprise of the Prelude ostinato supports the montage, dissipating into the Tranquility Motif as Arbogast arrives at the Bates motel. In “The Shadow” Arbogast’s interrogation of a nervous Norman has aroused his suspicions. He asks to see each of the twelve rooms, to which Norman agrees. As they exit the office Arbogast turns and sees a human silhouette in the house window, which Norman states is his invalid mother. He refuses Arbogast’s request to speak to her, and then asks him to leave. Herrmann sends chills to our bones with powerful deep bass utterances of the Madness Motif, with echoes of an eerie Mother’s Motif. “Phone Booth” reveals Arbogast arriving at a phone booth where a variant of the Death Motif sounds, unable to coalesce, yet never the less alluding to Arbogast’s fate. As he dials Lila to update her we are disconcerted by an eerie ascent on strings, which dissipate into nothingness.

In “The Porch” Arbogast arrives at the motel and cannot locate Norman. As he searches the office eerie violins of the Mother Motif portend danger. As he decides to ascend to the house, the Madness Motif assumes prominence. “The Stairs” just makes your skin crawl. It reveals Arbogast slowly ascending the stairs to reach the house. Repeating phrases of the Madness Motif with echoes carry his progress. As he grabs the doorknob and prepares to enter, ominous, powerful bass emote the Madness Motif. At 1:33 he begins his ascent up stairs to the second floor. Tortured violins with tremolo and pizzicato effects carry his cautious ascent. At 2:11 we see the bedroom door slowly open and the Mother Motif sounds on refulgent strings with cello counters, which sow palpable tension. We segue seamlessly into “The Knife” as Norman-Mother rushes out and viciously strikes down Arbogast with her knife. The horrific shrieking violence of the Murder scene ostinato supports the knife strike, and his backwards fall down the stairs. As she descends and reaches him, the horrific Death Motif resounds with her vicious life ending stabs.

In “The Search (B)” Sam resolves to go to the motel after Arbogast fails to check in. The Tranquility Motif supports his arrival and futile efforts to find Arbogast. Norman observes him impassively from afar as he knocks on the house door. When no one answers, he leaves and returns to Lila. They decide that they need help, and go to the local Sherriff. They are shocked when the Sherriff advises that Norman Bate’s mother has been dead for ten years. In “The First Floor” Norman feels the walls are closing in on him, and goes up stairs to his mother’s room. A stirring string ascent from the cello’s deepest register to refulgent high register violins carry Norman up the stairs. An argument ensues as he insists on hiding her in the cellar and she refuses. As they argue the Mother Motif dominates. Soon we see him carry her down the stairs to the cellar, carried by the shimmering violin atonality of the Mother Motif , which ends with a dark bass sustain. “Cabin 10” reveals that Sam and Lila have checked in and been assigned Cabin 10 by Norman. Repeating four note violin phrases with bass counter sow unease. In “Cabin 1” Sam and Lila resolve to search cabin 1 where they believe Marion stayed. Lila discovers a paper fragment in the toilet that shows a figure subtracted from $40,000, which confirms their suspicions. Herrmann sustains the unease with phrasing heard in the preceding cue.

“The Hill” reveals Sam distracting Norman in the office as Lila sneaks up the hill to the house. Herrmann masterfully sows tension with repeating contrapuntal string phrases with significantly contrasting tempi. The first offers a slow repeating, descending four-note phrase by violins, juxtaposed by a faster repeating four-note ostinato by celli. This is simple, well conceived, and highly effective. The next two cues are score highlights, kindred, and offer a melodic interlude from the violence and atonality. In “The Bedroom” Lila ascends the stairs, and as she enters Mrs. Bates bedroom a bass pizzicato pulse begins and ushers in a plaintive variant of Norman’s Motif. The sadness is palpable as Lila explores the room, which is pristine, save the indentation in the bed’s sheets. As she enters Norman’s room in “The Toys” the bass pizzicato pulse again ushers in a variant of Norman’s Motif, this time on refulgent violins full of sadness. She sees his small slept in bed, and the room of a boy, full of toys, not a man’s room. We shift scenes to the office where Sam has made Norman uncomfortable and angry, and the cue ends darkly.

In “The Cellar” an angry Norman has knocked Sam in the head and rushes to the house, fearful that Lila has entered to discover his secrets. She has returned to the foyer and sees Norman running up to the house. She hides in the cellar stair well as he enters and ascends to the bedrooms. Rather than flee, her curiosity impels her to enter the cellar. A tempest of shifting tremolos unnerve us as we see Norman ascend the stairs and Lila enter the cellar. In “Discovery” Lila discovers a woman sitting in a chair in a light bulb lit room, with her back to her. When she does not respond, Lila touches her shoulder and the figure slowly turns to reveal a horrific embalmed and desiccated corpse. Lila screams and her hand strikes the light bulb, which swings back and forth creating a strobe effect. Norman swings open the door, dressed as the mother, and runs towards her with the knife. This album version represents Herrmann’s original conception, but it is not what appeared in the film. Hitchcock insisted that he reprise the slashing music of the murder scene for continuity, and to support the film imagery. The variance between album and film involves the first 21 seconds of the cue. We see Sam overcome Norman as his dress is ripped open and his wig falls to the ground, thus exposing his identity. In the album version we open with fierce and horrific repeating phrases, which are fragmentary elements of Norman’s Motif. His motif is now totally fractured, as is his fractured psyche, which is now exposed. In the film version the shrieking ostinato of the murder scene returns, and as Norman’s dress is ripped and his wig falls, the Death Motif resounds, informing us of the destruction of the Norman-Son identity. As Lila stands in abject horror, both cue versions converge at 0:22 within a fierce and horrific swirling vortex of strings, which ends darkly.

“Finale” offers a score highlight and a perfect confluence of film and music. It reveals Norman incarcerated in a holding cell. The psychiatrist advises Lila, Sam and the Sherriff that Norman suffers from severe multiple personality disorder. He informs them that the Mother personality was now dominant, and that the Son identity has been completely destroyed. A change of scene to the holding cell reveals Norman-Mother speaking from her mind as Norman sits motionless. She relates without pity, that she had to turn in her bad son, lest she suffer the blame for his crimes. Herrmann supports the scene with a sad and pathetic variant of the Norman Motif, which slowly loses cohesion. We hear his motif dissipate into the grotesque and dissonant atonality of the surviving Mother Motif, which closes darkly and with finality upon the Madness Motif.

Please allow me to thank Robert Townson for this supreme achievement! The value and significance of this extraordinary re-recording of Bernard Herrmann’s masterpiece Psycho cannot be overstated. The sound quality is pristine, and the recording under the masterful baton of Joel McNeely and the Royal Scottish National Orchestra is superb. This score was a seminal event in film score art, a transformative effort that forever changed scoring methodology. Herrmann’s audacious decision to employ only a string orchestra once again offers testimony to his innovation, and mastery of his craft. The film’s prelude stands as one of the greatest ever to open a film – a portrait of aural terror, which earns Herrmann, immortality. In regards to his motifs, the conception of the melodic Norman Motif, and its juxtaposition to the atonal Mother Motif, spoke perfectly to a psyche at war with itself. Instructive is how the Norman-Son motif fragments over time and ultimately disintegrates as his psyche succumbs to the Mother’s motif. The portentous Death Motif, although simple in construct, powerfully informed us of, or alluded to death, while the Madness Motif frightened us to the core of our being. In scene after scene Herrmann’s music was perfectly attenuated to the film’s narrative and imagery. In my judgment, Hitchcock owes his success with Psycho to Herrmann’s brilliance. I believe this score to be one of the greatest ever written, a supreme triumph for Bernard Herrmann, and one which I highly recommend you purchase for your collection.

For those of you unfamiliar with the score, I have embedded a Youtube link to the brilliant Prelude: https://www.youtube.com/watch?v=iV84LgxBq0A

Buy the Psycho soundtrack from the Movie Music UK Store

Track Listing:

  • Prelude (1:56)
  • The City (2:12)
  • Marion (1:35)
  • Marion And Sam (1:53)
  • Temptation (2:51)
  • Flight (1:08)
  • Patrol Car (1:06)
  • The Car Lot (1:45)
  • The Package (1:31)
  • The Rainstorm (3:11)
  • Hotel Room (2:04)
  • The Window (1:12)
  • The Parlor (1:38)
  • The Madhouse (1:54)
  • The Peephole (3:02)
  • The Bathroom (1:02)
  • The Murder (1:03)
  • The Body (0:17)
  • The Office (1:20)
  • The Curtain (1:15)
  • The Water (1:45)
  • The Car (0:52)
  • Cleanup (2:15)
  • The Swamp (2:04)
  • The Search (0:41)
  • The Shadow (0:50)
  • Phone Booth (0:54)
  • The Porch (1:04)
  • The Stairs (2:58)
  • The Knife (0:30)
  • The Search (B) (1:40)
  • The First Floor (2:45)
  • Cabin 10 (1:09)
  • Cabin 1 (1:06)
  • The Hill (1:05)
  • The Bedroom (0:59)
  • The Toys (1:02)
  • The Cellar (1:06)
  • Discovery (0:41)
  • Finale (1:32)

Running Time: 60 minutes 53 seconds

Varese Sarabande VSD-5765 (1960/1997)

Music composed by Bernard Herrmann. Conducted by Joel McNeely. Performed by The Royal Scottish National Orchestra . Original orchestrations by Bernard Herrmann. Recorded and mixed by Jonathan Allen. Score produced by Bernard Herrmann. Album produced by Robert Townson.

  1. August 11, 2017 at 3:30 pm

    I have always enjoyed the compilation piece performed by the L.A.Philharmonic conducted by Esa-Pekka Salomen. I’ve wondered how it would have turned out with a 100 piece orchestra. Good job Craig

  1. No trackbacks yet.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

This site uses Akismet to reduce spam. Learn how your comment data is processed.

%d bloggers like this: