Alfred Hitchcock Bath Scene

Silva Screen Records present earlier composers who were masters of music on Hitchcock films, and later films with Bernard Herrmann on the second CD. The "CONCERTO FOR ORCHESTRA" is Miklos Rozsa's haunting theme which lasts over nine minutes is something from heaven. "STRANGERS ON THE TRAIN" the Dimitri Tiomkin contribution is also an outstanding track which can move the unmoveable with the heart-racing pounding sounds that the two composers generate. Both composers Rozsa and Tiomkin have a list of accomplishments a mile long, but to hear their music on a Hitchcock film is pure geneious in film making and scoring.

Director Sacha Gervasi's 2012 Alfred Hitchcock biopic was less of a proper biography and more of a breakdown of the events leading up to the release of 1959's Psycho. Composer Danny Elfman's elegant score reflects that sense of minutia, offering up a scant 38 minutes of material, much of which clocks in at under a minute. Elfman's signature blend of dread, whimsy, and mischief serves the tone of the story well, and while it may not be as stocked with memorable themes as some of his better-known works, it dutifully conveys the pathos, unpredictability, and humor of its source material.

Vertigo represents the summit of the seven-picture, nine-year association between Alfred Hitchcock and legendary composer Bernard Herrmann. Using instrumental and harmonic colour as the main paints in his repertoire, Herrmann deploys brief melodic cells and minimalist techniques to explore the obsessed world of Scotty Ferguson (James Stewart), a retired detective who has fallen in love with a woman from the past. In doing so, Herrmann broke from the post-romantic aesthetic personified by Golden Age masters such as Erich Wolfgang Korngold and Alfred Newman. Highlights include the hypnotic, dream-like "Prelude", the churning allegro con brio of "Rooftop", the haunting love music in "Madeleine's First Appearance", a memorable habanera ("Carlotta's Portrait"), and the cathartic "Scene d'Amour", which has been compared with Wagner's "Liebestod" from Tristan und Isolde. Page Cook, long-time critic for Films In Review, once wrote that Muir Mathieson's performance "remains one of the greatest pieces of film music conducting ever recorded . . . every tempo, every rhythmic nuance, every dynamic inhabits the film." In other words, this is a classic film/music amalgamation that should be in every cinema lover's collection.