Lust, Alexandre Desplat

After a first, fruitful experience in the music of Nouvelle Vague films, the Traffic Quintet is now tackling the rhythmical and symphonic structures of composers who have been working – in many a film – with women who are mysterious, pernicious, terrified or fragile, even icily blonde, like those whom Hitchcock liked to direct. So, listening again to the ritornello from Vertigo, and then the score from Psycho, written for string orchestra by Bernard Herrmann: insistent, hypnotic, with its dissonances inspired by Elgar or Ives: a nonmelody immediately recognizable, time becomes sound, permeated with dread; all becomes more intense(…)