![Herrmann: Vertigo [SOUNDTRACK]](http://ecx.images-amazon.com/images/I/21MPN32RCFL._SL500_SS90_.jpg)
~ Bernard Herrmann
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~ Bernard Herrmann
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~ Rsno/Mcneely
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Amazon.co.uk Review
Although they collaborated abortively on Torn Curtain (1966), Marnie (1964) was the last Alfred Hitchcock film released with music by Bernard Herrmann. In an otherwise exceptional accompanying essay, Christopher Husted argues the score is very different from Vertigo (1958), yet to many ears Marnie does seem like an attempt to recapture the former masterpiece. Certainly the orchestrations are on a smaller, more intimate scale, but here is the same haunted romanticism and brooding, neurotic landscape. The main theme is one of those infinitely melancholy waltzes which run through Herrmann's career, evoking through variations between strings, brass, woodwind and harp the shadowy recesses of the heart. The big set-piece of "The Hunt" enables Herrmann to embrace his anglophile nature before evoking a swirling nightmare which very much might be marked "Vertigo II". This is not to say that Herrmann failed to craft a strong original score, only that this is cut from similar cloth which, in this rhapsodic new recording from Joel McNeely, comes vibrantly alive. Although there are 41 tracks, many are sequenced to flow seamlessly with the relentless, repetitive nature of the music creating an inescapable, dreamlike world. Graced with an excellent cover by artist Matthew Joseph Peak, McNeely does Herrmann proud. --Gary S Dalkin
Although they collaborated abortively on Torn Curtain (1966), Marnie (1964) was the last Alfred Hitchcock film released with music by Bernard Herrmann. In an otherwise exceptional accompanying essay, Christopher Husted argues the score is very different from Vertigo (1958), yet to many ears Marnie does seem like an attempt to recapture the former masterpiece. Certainly the orchestrations are on a smaller, more intimate scale, but here is the same haunted romanticism and brooding, neurotic landscape. The main theme is one of those infinitely melancholy waltzes which run through Herrmann's career, evoking through variations between strings, brass, woodwind and harp the shadowy recesses of the heart. The big set-piece of "The Hunt" enables Herrmann to embrace his anglophile nature before evoking a swirling nightmare which very much might be marked "Vertigo II". This is not to say that Herrmann failed to craft a strong original score, only that this is cut from similar cloth which, in this rhapsodic new recording from Joel McNeely, comes vibrantly alive. Although there are 41 tracks, many are sequenced to flow seamlessly with the relentless, repetitive nature of the music creating an inescapable, dreamlike world. Graced with an excellent cover by artist Matthew Joseph Peak, McNeely does Herrmann proud. --Gary S Dalkin
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