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Ost Bande originale, Import

5.0 étoiles sur 5 1 commentaire client

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Détails sur le produit

  • CD (9 novembre 1999)
  • Nombre de disques: 1
  • Format : Bande originale, Import
  • Label: Sba
  • ASIN : B000001502
  • Autres versions : CD  |  Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 156.553 en Musique (Voir les 100 premiers en Musique)
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Par Ada Leema 1ER COMMENTATEUR DU HALL D'HONNEURTOP 10 COMMENTATEURS le 27 octobre 2013
Format: CD Achat vérifié
Bien sûr que cette musique inimitable et indémodable y est pour quelque chose, pardi!!
Bernard Herrmann, l'ami fidèle et le compositeur phare d'Alfred Hitchcock, touche la perfection avec cette partition.
Allez, avouez-le, elle est gravée dans vos mémoires, comme si les 2 maîtres l'avaient gravée à même la pellicule, rendant l'une inconcevable sans l'autre.
Quand image et son ne font qu'un pour l'éternité.
Remarque sur ce commentaire Une personne a trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Amazon.com: HASH(0x916cc7b0) étoiles sur 5 50 commentaires
45 internautes sur 49 ont trouvé ce commentaire utile 
HASH(0x91514a74) étoiles sur 5 Finally Free Of The Fruit Cellar 27 juillet 2002
Par M. Packo - Publié sur Amazon.com
Format: CD Achat vérifié
First of all, for all of those who have complained about preferring the "original soundtrack" recording
-- forget about it! Was never made - never will be.

(Update: I stand corrected.
Amazon now has available the cues allegedly taken from the film's masterprint.
I cannot vouch for its quality, but for those who remain devoted to that version this is good news).

The 1975 Unicorn-Kanchana recording, conducted by Bernard Herrmann (the 1989 cd is a VERY difficult import to acquire - please refer to my other Amazon review for a comparison), had been the definitive version of the entire soundtrack -- until this 1997 recording.

Much as I respect many of Danny Elfman's original scores - particularly Dolores Claiborne, Black Beauty, Mars Attacks and even the amusing MIB II prelude - his treatment of Herrmann's masterpiece is only a nice try.
For whatever reasons, in keeping with Gus Van Sant's approach, he occasionally adds an embellishment that maybe works - or maybe does not. I find Elfman's version to be much too forced, and rushed, without the required authenticity - again, in line with too much of Van Sant's remake.

With all that out of the way, and after considerable time spent comparing the recording Herrmann finally had the
opportunity to make shortly before he died, (which I have been listening to regularly for over 25 years) against McNeely's version - which I have been avoiding for a few years - my advice:

This is now the definitive version and will likely remain so for decades.

Barring a much needed remastering of the National Philharmonic - Herrmann recording, you will NEVER hear this score - which is simply one of the finest musical compositions of the 20th century - the way it simply must be heard, in all its moody entirety, anywhere else.

Depth, clarity and separation between the various strings - particularly the celli and basses - is exceptional, like listening to the music for the first time! The Prelude has most - though still not quite enough - of its frenzy back. The two never before recorded cues are most welcome, and there is a nice inversion at the start of The Window which adds piquancy. Unlike the Unicorn-Kanchana, every track is engineered impeccably, with a longer pause between, allowing you to savor the nice sustain and ring-off to the strings - particularly those long, sturdy bass chords. Terrific. Equally clear is every pizzicato accentuation. Likewise, you can now really hear the often subtle, muted use of vibrato which was mostly lost in previous recordings. It makes an enormous difference, just listen to The Peephole, for example: compelling.

Originally I found certain cues, like The City, The Curtain, and even The Water too rote, lacking spirit. But after repeated listening I am solidly impressed with the marvelous presence of each instrument, and especially with the musicians' obvious dedication to getting the feel of each passage right. This is a truly impressive recording of what amounts to madhouse chamber music.

Herrmann's conducting often has more of the flow and flavor of the music's essence, which McNeely sometimes seems to lose track of in his pursuit at capturing all the details. However, his overall dedication to craft and total respect for the quality and emotional integrity of this score is perfectly evident. I regret having waited so long to purchase this recording.

Lastly: The liner notes, though decent, really deserved to be more detailed and technical. You can hear maestro Herrmann doing such simple yet sublimely subtle things with his score now, and it would have been so helpful for us non-musicians if there had come included a bit more explanation as to what those compositional elements are.

(Again, I must apologize for having overlooked and not previously mentioning that the Royal Scottish National Orchestra's 7 page booklet's notes are actually quite informative. Many cues are given a brief but interesting summary.)

And why not have a companion video recording of this recording session?
Now THAT would finally free Herrmann's masterpiece even more from its neglected past!

(Regarding this, there are now two YouTube videos that are worth taking a peek at:
A 9 minute "Psycho Suite", rather perfunctory in quality.
Also, a 16 minute video essay by Herman Goodall, better but not complete enough, and with some rather specious claims about Herrmann's influences.)
9 internautes sur 9 ont trouvé ce commentaire utile 
HASH(0x912d5798) étoiles sur 5 Herrmann's Famous Score Complete on CD 22 novembre 2004
Par NMdesapio - Publié sur Amazon.com
Format: CD
My favorite classic movie scores are Leonard Bernstein's for ON THE WATERFRONT (1954), Alfred Newman's for THE DIARY OF ANNE FRANK (1959) - and Bernard Herrmann's for PSYCHO (1960). Herrmann composed his all-strings, "black-and-white" score at around the same time he wrote the hauntingly beautiful music for such memorable episodes of THE TWILIGHT ZONE as "Walking Distance" and "The Lonely." The parts of the extensive PSYCHO score that stayed with me most after seeing the movie for the first time were the "flight" theme (when Marion Crane, after having embezzled money, is fleeing in her car from the police); the "temptation" theme (heard as the camera focuses on the stolen money lying on Marion's bed); and, of course, the squealing violins of the two famous murders: Marion's (in the shower) and Detective Arbogast's (on the stairs). All of that music - and in fact, the entire movie score - is captured vividly in this 1996 recording by Joel Mc Neeley and the Royal Scottish National Orchestra. The recorded sound is spacious, the strings lush in the almost-Romantic "Marion" and "Marion and Sam" themes. So great is the PSYCHO score that it fully deserved this complete, modern recording. Let's hope that Mc Neeley and his orchestra record Herrmann's TWILIGHT ZONE themes, too.
9 internautes sur 10 ont trouvé ce commentaire utile 
HASH(0x912d54bc) étoiles sur 5 ..Close, but no cheese sandwich 22 janvier 2001
Par Ilona Novotny - Publié sur Amazon.com
Format: CD
I have mixed feelings towards this umpteenth recording of Bernard Herrmann's chilling score for Alfred Hitchcock's "Psycho". I congratulate Joel McNeely for use tempi closer to those of the original soundtrack, but I still feel that there is something lacking, particularly in the Prelude. It does sound muffled and a little "timid", lacking the jarring ferocity of the original soundtrack. That is probably my biggest "beef" about this recording. And I have yet to hear a re-recording of the notorious "murder" music that is as effective as it was in the film. Maybe it was the placement of the microphones, maybe it was in the post-recording, giving it that almost distorted sound, (which was innocently mistaken by late writer Ivan Butler as sounding like "distorted screaming bird-cries", which, actually, it does!), but in the several re-recordings of the score, do sound like very high-placed strokes on violins, and almost always played too slow. But enough kvetching. This is probably the best re-recording of the score I have heard so far, and for that I congratulate Joel McNeely and Varese Sarabande. Now, how about a digitally remastered recording of the ORIGINAL soundtrack?
9 internautes sur 10 ont trouvé ce commentaire utile 
HASH(0x912d7894) étoiles sur 5 "Psycho's" music score as brilliant as the film! 30 juillet 2000
Par Un client - Publié sur Amazon.com
Format: CD
Alfred Hithcock, a man not known for heaping praise on others, once said Bernard Herrmann's score for "Psycho" accounted for at least one third of the film's impact.
Herrmann, writing a score only for strings, and to compliment a film shot in black and white, created for "Psycho" the most chilling, evocative and imitated score in motion picture history.
Forty years later, the impact of his shrieking string stabs for the shower sequence (Hitchcock initially wanted no music for the
scene, until he heard the cue that Herrmann had composed for it), is a strong as ever.
The score, as recreated on this disc by the Royal Scottish National Orchestra, is beautifully performed and produced. The liner notes by Kevin Mulhall are filled with much information never before published.
The score for "Psycho", like the film itself, remains a masterpeice.
The fact that Herrmann's work was ignored in 1960 by the Academy of Motion Picture Arts and Sciences remains one of the great travesties in Oscar history.
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x912d5cfc) étoiles sur 5 Psycho Music Score 9 février 2013
Par Jorge A. Zarco - Publié sur Amazon.com
Format: CD Achat vérifié
It would be great if we could hear the reel to reel tapes containing Bernard Herrmann's Psycho(1960) music score. This CD is the next best thing. It's Joel McNeely and the Royal Scottish Orchestra playing Herrmann's work. Herrmann composed a music score just for the strings section. It fits the stark horror and the black and white look of Psycho. Alfred Hitckcock's Psycho was considered shocking in 1960, but it's tame compared to today's depraved horror films. Gus Van Sant used the same music score in his shot for shot remake of Psycho in 1998. Herrmann composed some good music for Alfred Hitchcock's movies. The Trouble With Harry(1955) was one of the first and Marnie(1964) was one of the last. Herrmann was fired while working on Torn Curtain(1966). This CD is a solid package.
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