Podcast appearances and mentions of Bernard Herrmann

This time Jon and Andy land their spaceship in the middle of Bernard Herrmann's score for the 1951 sci-fi classic The Day the Earth Stood Still! How strongly was Herrmann committed to musical otherness? What peculiar instrumentation did he use to achieve unearthly sounds? And, have we finally cracked Gort’s secret alien robot code?

Synopsis For the American conductor and composer Bernard Herrmann, 1940 was a busy year. On the East Coast, he had been appointed chief conductor of the CBS Radio Symphony; on the West Coast, he was busy in Hollywood, scoring Citizen Kane for director Orson Welles. Herrmann was 30 at the time and recalled: “I was given twelve weeks to do my job. I worked on the film reel by reel, as it was being shot and cut. This way I had a sense of the picture being built and of my own music being a part of that building. Many sequences were actually tailored to match the music.” The finished product was released to the public on today's date in 1941, and was an instant success, with The New York Times review noting “the stunning manner in which the music of Bernard Herrmann has been used.”Although nominated for “Best Picture” and “Best Musical Score,” the film didn't win either Oscar in 1941. No matter—for many film makers, film critics, and film fans, Citizen Kane rates No. 1 among the greatest films ever made. Music Played in Today's Program Bernard Herrmann (1911 - 1975) Citizen Kane film score (opening) National Philharmonic; Charles Gerhardt, conductor. RCA CD 707

Award-winning author Jon Burlingame joins the podcast for an entertaining review of the best in TV music, as told in his new book, "MUSIC FOR PRIME TIME."   Jon recounts wonderful stories of the earliest TV series and how their theme songs and scores were developed.  Some of the classic shows we revisit are Peter Gunn, Rawhide, The Man From Uncle, The Twilight Zone, I Love Lucy, The Flintstones, Roots, and  The Avengers.  We also discuss composers Max Steiner, Bernard Herrmann, John Williams,  Jerry Goldsmith, Quincy Jones, and Billy Goldenberg's early work with Stephen Spielberg.  Jon also tells us the story of how "Friends" may have saved the TV Theme song.  And we share our admiration for current composers who are keeping TV music as popular as ever with their scores for HBO'S GAME OF THRONES & WESTWORLD, Disney's THE MANDALORIAN, and the Netflix hit STRANGER THINGS.  This is an entertaining and informative look back at the history of TV music that ends with a positive look at the bright future ahead.Jon Burlingame is the nation's foremost writer on music for TV and Film.  MUSIC FOR PRIME TIME is Jon's newest book, and it provides the most comprehensive review of TV music ever written.  Purchase MUSIC FOR PRIMETIME on AmazonPurchase The Music of James Bond on AmazonLink to Jon Burlingame's WEBSITELink to COMPOSER BILLY GOLDENBERG Podcast with Gary GeraniLink to Composer MAX STEINER podcast with Steven Smith The Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog GroupOtaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. www.otakumedia.tv

Music composed for television had, until recently, never been taken seriously by scholars or critics. Catchy TV themes, often for popular weekly series, were fondly remembered but not considered much more culturally significant than commercial jingles. Yet noted composers like John Williams, Henry Mancini, Jerry Goldsmith and Lalo Schifrin learned and/or honed their craft in television before going on to major success in feature films.Oscar-winning film composers like Bernard Herrmann, Franz Waxman and Maurice Jarre wrote hours of music for television projects, and such high-profile jazz figures as Duke Ellington, Dave Brubeck and Quincy Jones also contributed music to TV series. Concert-hall luminaries from Aaron Copland to Leonard Bernstein, and theater writers from Jerome Moross to Richard Rodgers, penned memorable scores for TV.Music for Prime Time is the first serious, journalistic history of music for American television. It is the product of 35 years of research and more than 450 interviews with composers, orchestrators, producers, editors and musicians active in the field. Based on, but vastly expanded and revised from, an earlier book by the same author, this wide-ranging narrative not only tells the backstory of every great TV theme but also examines the many neglected and frequently underrated orchestral and jazz compositions for television dating back to the late 1940s.Covering every series genre (crime, comedy, drama, westerns, action-adventure, fantasy and sci-fi), it also looks at music for animated series, news and documentary programming, TV-movies and miniseries, and how music for television has evolved in the era of cable and streaming options. It is the most comprehensive history of television scoring ever published.Jon Burlingame is one of the nation's leading writers on the subject of music for films and television. He writes regularly for Variety and has also written for The New York Times, Los Angeles Times, Washington Post, The Hollywood Reporter and Premiere magazine. He teaches film-music history at the University of Southern California, hosts the "For Scores" podcast, and is the author of five books including the best-selling and Deems Taylor Award-winning The Music of James Bond.Buy the book from Wellington Square Bookshop - ​https://wellingtonsquarebooks.indiecommerce.com/book/9780190618308

Dan Golding is here to discuss minutes 106-110 of The Empire Strikes Back! We talk about Ben Burtt's frustrations, intense pedal points, a nasal brass canon, free fanfares, Empire being an "editor's film," and how the music is "meanwhile" (sounds strange, but it'll make sense when you listen to the episode).

In June 2021, for TALKING SOUNDTRACKS, Jason Drury talked to the four-time Emmy nominated journalist, writer, and producer of over 200 documentaries about music and cinema, Steven C Smith, about his book MUSIC BY MAX STEINER: THE EPIC LIFE OF HOLLYWOOD'S MOST INFLUENTIAL COMPOSER. In May 2022, Jason had the opportunity to talk to Steven again about his first book, published in 1991, about another pioneering and influential composer in the history of film music, A Heart at Fire's Center: The Life and Music of Bernard Herrmann. Part one of their interview concerned Herrmann's radio career, his collaborations with Orson Welles leading to the beginning of his film music career with Citizen Kane. In Part 2, they discuss the composer's career up to his premature death in 1975, and feature the most important partnership in his career, with director Alfred Hitchcock. You'll also hear more of Herrmann's great music from original recordings and re-recordings. Enjoy. To obtain a copy of A HEART AT FIRE'S CENTER: THE LIFE AND MUSIC OF BERNARD HERRMANN, click HERE. —— Special thanks to our Patreon supporters: Matt DeWater, David Ballantyne, Joe Wiles, Maxime, William Welch, Tim Burden, Alan Rogers, Dave Williams, Max Hamulyák, Jeffrey Graebner, Douglas Lacey, Don Mase, Victor Field, Jochen Stolz, Emily Mason, Eric Skroch, Alexander Schiebel, Alphonse Brown, John Link, Andreas Wennmyr, Matt Berretta, Eldaly Morningstar, Jim Wilson, Glenn McDorman, Chris Malone, Steve Karpicz, Deniz Çağlar, Brent Osterberg, Jérôme Flick, Alex Brouns, Aaron Collins, Randall Derchan, Angela Rabatin, Michael Poteet, Larry Reese, Thomas Tinneny, William Burke, Clint Morgan, Rudy Amaya, Eric Marvin, Stacy Livitsanis, Rick Laird, Carl Wonders, Michael Potent —— Cinematic Sound Radio is fully licensed to play music by SOCAN. Support us on Patreon https://www.patreon.com/cinematicsoundradio Check out our NEW Cinematic Sound Radio TeePublic Store! https://www.teepublic.com/stores/cinematic-sound-radio Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com

Opulent violins and sci-fi vocals can only mean one thing: We're approaching Cloud City! Composer/music technologist Jeremy Sawruk returns to the show to discuss minutes 76-80 of The Empire Strikes Back. Discussion Guide: 0:00 - Hello there! 5:49 - Voice removal. 12:38 - Background "Morse code" sound. 16:34 - Errant horn entrance or sound design? 19:08 - Envelopes! (ADSR.) 26:25 - Open chord sound. 33:54 - Tense Han & Leia theme. 39:25 - A sharp cut in the music (visible on a spectogram). 46:34 - Methodical, meditative Force climb. 57:58 - Shroud of artificial harmonics. 1:02:03 - List of magic-evoking instruments. 1:06:53 - Another abrupt transition/cut. 1:21:00 - The best part of these minutes! (Soaring violin soli approaching Cloud City.) 1:29:08 - Sci-fi vocals. 1:35:41 - Comparing the Cloud City melody to the Sibelius Violin Concerto. 1:48:41 - Spectogram view of a busy section and R2's chirping. 2:04:02 - SWMM Questionnaire Things to Check Out: envelope (music): https://en.wikipedia.org/wiki/Envelope_(music) Sibelius Violin Concerto (Maxim Vengerov performance): https://youtu.be/YsbrRAgv1b4 Complete Catalogue of the Musical Themes of Star Wars (by Frank Lehman): https://franklehman.com/starwars/. Cues: 8M2 "City In The Clouds" Musical Themes: 11a. Han & Leia (A Section) 14. Boba Fett 12a. Yoda (A Section) 3. Force something like 35) Cascading Trumpet Lines? 15b. Cloud City 2 (Trouble in Bespin) Where are we in the soundtrack?: "Imperial Starfleet Deployed/City in the Clouds" --------------- STAR WARS MUSIC MINUTE QUESTIONNAIRE: 1. In exactly 3 words, what does Star Wars sound like? New answer: Space. Brass. Droids. Solo season answer: Big octatonic brass ANH season answer: Opera without words 2. What's something related to Star Wars music or sound that you want to learn more about? New answer: The creation of the sound effects/sound design. Can I recreate some of these sounds on my ARP 2600? Solo season answer: The score for Obi-Wan Kenobi. ANH season answer: Musical / orchestrational “filler” and sound effects/foley 3. What's a score or soundtrack you're fond of besides anything Star Wars? New answer: The Matrix by Don Davis, Bob's Burgers (series) composed by Loren Bouchard New answer: Star Trek by Jerry Goldsmith, Wall-E by Thomas Newman Previous answers: North by Northwest by Bernard Herrmann, Loki by Natalie Holt, Catch Me If You Can by John Williams --------------- Guest: Jeremy Sawruk Soundcloud: https://soundcloud.com/jsawruk Instagram: https://instagram.com/composer314 Solo 18: Powered By Thirds (Minutes 86-90 with Jeremy Sawruk) - https://youtu.be/LsNQj3D7DM0 ANH 16: Orchestration Wars (Minutes 76-80 with Jeremy Sawruk) - https://youtu.be/1owmn96ALVY ------------------ If you want to support the show and join the Discord server, consider becoming a patron!  https://patreon.com/chrysanthetan Leave a voice message, and I might play it on the show...   https://starwarsmusicminute.com/comlink Where else to find SWMM: Twitter: https://twitter.com/StarWarsMusMin YouTube: https://youtube.com/starwarsmusicminute TikTok: https://www.tiktok.com/@starwarsmusicminute? Instagram: https://instagram.com/starwarsmusicminute Email: podcast@starwarsmusicminute.com Buy Me A Coffee: https://buymeacoffee.com/starwarsmusmin

Columbia Workshop | The Fall of the City | Aired, April 11, 1937.The Fall of the City by Archibald MacLeish is the first American verse play written for radio. First broadcast April 11, 1937, at 7 p.m. ET over the Columbia Broadcasting System radio as part of the Columbia Workshop radio series.The cast featured Orson Welles and Burgess Meredith. Music was composed and directed by Bernard Herrmann. It is an allegory on the rise of Fascism.: : : : :My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- SCI FI x HORROR -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES.Subscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr

He's a guitarist, a composer, a producer, an audio engineer and a teacher. Gaurav Chintamani joins Amit Varma in episode 316 of The Seen and the Unseen to share his reflections on music and life. (FOR FULL LINKED SHOW NOTES, GO TO SEENUNSEEN.IN.) Also check out: 1. Gaurav Chintamani at Instagram, Twitter, LinkedIn, SACAC and his own website. 2. Advaita on YouTube Music, YouTube, Spotify, Instagram and Twitter. 3. Raman Negi on YouTube Music, YouTube, Spotify, Instagram and Twitter. 4. The Dirt Machine on YouTube Music, YouTube and Spotify. 5. Grounded in Space -- Advaita. 6. The Silent Sea -- Advaita. 7. Shaksiyat -- Raman Negi. 8.  Mehroom -- Raman Negi. 9. Lullaby for the Anxious Bones -- Raman Negi. 10. It's About Time -- The Dirt Machine. 11. Kleptocrat -- The Dirt Machine + Amartya Ghosh (The song that started with dripping water). 12. Carol of the Bells -- Ishaan Chintamani. 13. Gaurav Chintamani on the School of Bass Podcast. 14. The Life and Times of Shanta Gokhale — Episode 311 of The Seen and the Unseen. 15. Hard work vs. Long work -- Seth Godin. 16. Warren Mendonsa Plays the Universal Pentatonic — Episode 273 of The Seen and the Unseen. 17. The Beatles on YouTube Music, Spotify and Wikipedia. 18. Bob Dylan on YouTube Music, Spotify and Wikipedia. 19. Choo Lo -- The Local Train. 20. Episodes of The Seen and the Unseen on the creator ecosystem with Roshan Abbas, Varun Duggirala, Neelesh Misra, Snehal Pradhan, Chuck Gopal, Nishant Jain, Deepak Shenoy and Abhijit Bhaduri. 21. Four Thousand Weeks -- Oliver Burkeman. 22. Redemption Song -- Bob Marley. 23. The Beach (book) -- Alex Garland. 24. The Beach (film) -- Danny Boyle. 25. John Cage on YouTube Music, Spotify and Wikipedia. 26. A Scientist in the Kitchen — Episode 204 of The Seen and the Unseen (w Krish Ashok). 27. Over the Hills and Far Away -- Led Zeppelin. 28. Amit Varma's favourite lofi playlists on YouTube and Spotify. 29. Music for Airports -- Brian Eno. 30. The Formula Behind Every Perfect Pop Song — Seeker. 31. The Double ‘Thank-You' Moment — John Stossel. 32. Deezer -- The French streaming service that Gaurav mentions. This is how they pay their artists. 33. Entry and Exit in Agriculture -- Episode 1 of The Seen and the Unseen (w Pavan Srinath and Karthik Shashidhar). 34. Altitude -- Advaita on The Dewarists. 35. A Hard Day's Night -- The Beatles. 36. Thriller -- Michael Jackson. 37. Guns N' Roses, Pantera and The Doors. 38. The Sky is Crying -- Stevie Ray Vaughan. 39. Jai Arjun Singh Lost It at the Movies — Episode 230 of The Seen and the Unseen. 40. Lou Majaw on YouTube Music and Spotify. 41. Acquired Senses (a demo version) -- HFT. 42. Natasha Badhwar Lives the Examined Life — Episode 301 of The Seen and the Unseen. 43. Suyash Rai Embraces India's Complexity -- Episode 307 of The Seen and the Unseen. 44. Jeff Beck on YouTube Music, Spotify and Wikipedia. 45. Jimi Hendrix on YouTube Music, Spotify and Wikipedia. 46. Imposter Syndrome. 47. Aakar Patel on Twitter. 48. A Meditation on Form — Amit Varma. 49. Wanting — Luke Burgis. 50. René Girard on Amazon and Wikipedia. 51. Lifespan: Why We Age – and Why We Don't Have To — David Sinclair. 52. Waking Up - A New Operating System for Your Mind -- Sam Harris. 53. The Adda at the End of the Universe — Episode 309 of The Seen and the Unseen (w Vikram Sathaye and Roshan Abbas). 54. Dirty Mind -- Jeff Beck. 55. The Haas Effect. 56. The Advaita jam in the Kolkata hotel room. 57. Here, There and Everywhere -- Geoff Emerick. 58. Paul McCartney listens to John Lennon's Beautiful Boy. 59. Watching the Wheels -- John Lennon. 60. Chris Cornell's covers of Watching the Wheels, Redemption Song, Long As I Can See The Light, Nothing Compares 2 U, I Will Always Love You and Thunder Road. 61. Penny Lane -- The Beatles. 62. Strawberry Fields Forever -- The Beatles. 63. The Bends -- Radiohead. 64. The White Album -- The Beatles. 65. Sticky Fingers, Exile on Main Street and Goat's Head Soup -- The Rolling Stones. 66. Time out of Mind -- Bob Dylan. 67. Amitava Kumar Finds the Breath of Life — Episode 265 of The Seen and the Unseen. 68. A Day in the Life -- The Beatles. 69. Stevie Wonder on YouTube Music, Spotify and Wikipedia. 70. Friends, Crime, & The Cosmos -- Abhishek Upmanyu. 71. This Be The Verse — Philip Larkin. 72. Somebody That I Used To Know -- Mike Dawes. 73. Happy -- Pharrell Williams. 74. Blow by Blow -- Jeff Beck. 75. Cause We've Ended as Lovers -- Jeff Beck. 76. Miles Davis on YouTube Music, Spotify and Wikipedia. 77. Bitches Brew -- MIles Davis. 78. Pat Metheny on YouTube Music, Spotify and Wikipedia. 79. John Scofield on YouTube Music, Spotify and Wikipedia. 80. I Can See Your House from Here -- Pat Metheny and John Scofield. 81. SD Burman on YouTube Music, Spotify and Wikipedia. 82. John Williams on YouTube Music, Spotify and Wikipedia. 83. The Study of Orchestration -- Samuel Adler. 84. Maurice Ravel on YouTube Music, Spotify and Wikipedia. 85. Claude Debussy on YouTube Music, Spotify and Wikipedia. 86. Johann Sebastian Bach on YouTube Music, Spotify and Wikipedia. 87. Cello Suite No. 1 in G Major -- Johann Sebastian Bach, played by Yo Yo Ma. 88. Thomas Dybdahl on YouTube Music, Spotify and Wikipedia. 89. The Old Man and the Sea -- Ernest Hemingway. 90. The Great Gatsby -- F Scott Fitzgerald. 91. Crime and Punishment — Fyodor Dostoevsky. 92. Atomic Habits — James Clear. 93. Stanley Kubrick on IMDb and Wikipedia. 94. Martin Scorsese on IMDb and Wikipedia. 95. Goodfellas -- Martin Scorsese. 96. Raging Bull -- Martin Scorsese. 97. Bernard Herrmann. 98. Psycho -- Alfred Hitchcock. 99. The Sopranos, Breaking Bad and Better Call Saul. 100. Seven Samurai -- Akira Kurosawa.. 101. The Girl From Kashmir — Episode 295 of The Seen and the Unseen (w Farah Bashir). 102. Dance Dance For the Halva Waala — Episode 294 of The Seen and the Unseen (w Jai Arjun Singh and Subrat Mohanty). 103. Akira Kurosawa and Yasujirō Ozu. 104. Mulholland Drive and Twin Peaks -- David Lynch. 105. Taxi Driver, New York Stories, Casino, Kundun and Silence -- Martin Scorsese. 106. A Whiter Shade of Pale -- Procul Harum. Check out Amit's online course, The Art of Clear Writing. And subscribe to The India Uncut Newsletter. It's free! Episode art: ‘Pieces of Me' by Simahina.

On February 1st, 1959, Have Gun Will Travel broadcast an episode called “A Matter of Ethics.” The program's opening was a four-note motif composed and conducted by Bernard Herrmann. The show's closing song, "The Ballad of Paladin", was written by Johnny Western, Dick Boone, and program creator Sam Rolfe. Western played the song for the TV show. Paladin studied at West Point and emerged from the Civil War a mercenary with morals. His card had a simple message. It said: Have Gun, Will Travel/Wire Paladin/San Francisco. The only symbol on the card was a white chess knight—a Paladin. John Dehner approached the radio role as if Boone had never existed. He didn't imitate. The first set of scripts were all adapted from the second season of the TV show. The writers were paid no residuals. Norman Macdonell used the same Hollywood regulars he used for Gunsmoke. Jack Kruschen was often one of them. Perhaps you'd have listened to this episode in Clear Lake, Iowa with anticipation for the next evening's Winter Dance Party. If you'd gone, you'd have been witness to the last concert ever by Buddy Holly, The Big Bopper, and Ritchie Valens. The morning hours of February 3rd, 1959 have since become known as “The Day The Music Died.” It's one of the most infamous moments in Rock-N-Roll history.

In June 2021, for TALKING SOUNDTRACKS, Jason Drury talked to the four-time Emmy nominated journalist, writer, and producer of over 200 documentaries about music and cinema, Steven C Smith, about his book MUSIC BY MAX STEINER: THE EPIC LIFE OF HOLLYWOOD'S MOST INFLUENTIAL COMPOSER. In May 2022, Jason had the opportunity to talk to Steven again about his first book, published in 1991, about another pioneering and influential composer in the history of film music, A Heart at Fire's Center: The Life and Music of Bernard Herrmann. In part one of this in-depth two-part series, Smtih discusses how the book came to be and dives into Bernard Herrmann's varied and occasionally contentious musical career including details on how he began his career in radio, his encounter with and collaboration with Orson Welles, and the start of his film music career. During both parts of the show, you will also be hearing plenty of the music of Bernard Herrmann's, at times original recordings and at times re-recordings, all of which showcase the musical genius of one of the finest composers to ever write for the silver screen. Enjoy. To obtain a copy of A HEART AT FIRE'S CENTER: THE LIFE AND MUSIC OF BERNARD HERRMANN, click HERE. —— Special thanks to our Patreon supporters: Matt DeWater, David Ballantyne, Joe Wiles, Maxime, William Welch, Tim Burden, Alan Rogers, Dave Williams, Max Hamulyák, Jeffrey Graebner, Douglas Lacey, Don Mase, Victor Field, Jochen Stolz, Emily Mason, Eric Skroch, Alexander Schiebel, Alphonse Brown, John Link, Andreas Wennmyr, Matt Berretta, Eldaly Morningstar, Jim Wilson, Glenn McDorman, Chris Malone, Steve Karpicz, Deniz Çağlar, Brent Osterberg, Jérôme Flick, Sarah Brouns, Aaron Collins, Randall Derchan, Angela Rabatin, Michael Poteet, Larry Reese, Thomas Tinneny, William Burke, Clint Morgan, Rudy Amaya, Eric Marvin, Stacy Livitsanis, Rick Laird, Carl Wonders —— Cinematic Sound Radio is fully licensed to play music by SOCAN. Support us on Patreon https://www.patreon.com/cinematicsoundradio Check out our NEW Cinematic Sound Radio TeePublic Store! https://www.teepublic.com/stores/cinematic-sound-radio Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com

Te ofrecemos, en viernes 13, un episodio que escapa de los estilos habituales del Sótano pero no de nuestros gustos y debilidades. Dedicamos nuestro tiempo de radio a recordar algunas de nuestras bandas sonoras favoritas del cine de terror. Playlist; (sintonía) HARRY MANFREDINI “Overlay of Evil / Main Title” (Viernes 13, 1980) BERNARD HERRMANN “Prelude” (Psicosis, 1960) JOHN WILLIAMS “Shark attack” (Tiburón, 1975) JERRY GOLDSMITH “Ave Satani” (La profecía, 1976) JERRY GOLDSMITH “Face hugger” (Alien, 1979) JOHN CARPENTER “Halloween theme” (Halloween, 1979) ENNIO MORRICONE and JOHN CARPENTER “Bestiality” (The thing, 1982) KRYSTOF KOMEDA con MIA FARROW “Rosemary’s Baby Main Theme” (La semilla del diablo, 1968) WALDO DE LOS RÍOS “Evelyn” (¿Quién puede matar un niño?, 1976) RIZ ORTOLANI “Cannibal holocaust (main theme)” (Holocausto Canibal, 1980) TOBE HOPPER and WAYNE BELL “A room of feathers and bones” (La matanza de Texas, 1974) HARRY SUKMAN “Salem’s lot main title” (El misterio de Salem’ Lot, 1979) DENNY ZEITLIN “The reckoning” (La invasión de los ultracuerpos, 1978) CHARLES BERNSTEIN “A Nightmare On Elm Street main title” (Pesadilla en Elm Street, 1984) POPOL VUH “Die nacht der himmel” (Nosferatu; Phantom der Nacht, 1979) GOBLIN “Suspiria (main theme)” (Suspiria, 1977) Escuchar audio

By Andrew McCaldon The extraordinary and explosive relationship between director Alfred Hitchcock and the film composer Bernard Herrmann. Recorded live at Alexandra Palace with the BBC Concert Orchestra playing Herrmann's scores from the partnership's iconic films - Vertigo, North by Northwest and Psycho. Bernard Herrmann ..... Tim McInnerny Alfred Hitchcock ..... Toby Jones Alma Hitchcock ..... Joanna Monro Lucy Anderson/Tippi ..... Tara Ward Lew Wasserman/Cary/Paul ..... Jonathan Forbes BBC Concert Orchestra conducted by Ben Palmer Produced by Neil Varley and Tracey Neale Directed By Tracey Neale By the late 1950s Herrmann and Hitchcock – known to each other as ‘Benny' and ‘Hitch' – have formed the most famous composer-director partnership in film history, creating masterpieces of cinema together, including Vertigo, North by Northwest and Psycho. But with tensions growing between the two maverick artists and change afoot in the movie industry, Benny and Hitch's collaboration and friendship comes to a catastrophic end at a recording session for the film Torn Curtain. But who is really responsible for the break-up? From beyond the grave, Benny and Hitch set out to determine which man has blood on their hands? Recorded in front of an audience at Alexandra Palace and starring two stellar actors, Tim McInnerny and Toby Jones, this thrilling and witty drama, will feature performances of Bernard Herrmann's music by the brilliant BBC Concert Orchestra. Writer: Andrew McCaldon worked with the BBC as a key creative on Ten Pieces, for which he wrote a series of acclaimed films and BBC Proms concerts. He has also combined music and drama in numerous shows for the BBCCO, BBCSO and the BBC Singers. Other recent writing work includes: Wemba's Dream, a community music-drama event with the Royal Philharmonic Orchestra, for which Andrew acted as Creative Director (2021); Abracadopera!, an original TV opera-comedy-drama, created and written by Andrew for English National Opera and broadcast on Sky Arts and Sky Kids (June 2022); and Gnomus, a site-specific play for Puppets With Guts staged at Stonehenge (April 2022). Cast & Performers: Tim McInnerny has just finished filming One Day for Netflix and plays the lead role in the forthcoming film Killers Anonymous. He can be seen in Ten Percent, the UK version of Call My Agent and also appeared in Game of Thrones. Toby Jones can be seen in The English for the BBC. Other work includes Jon S. Baird's Tetris for Apple TV and Sam Mendes's film Empire of Light, due for release in January. He will also appear in the forthcoming Indiana Jones film. Joanna Monro has been a member of the BBC Radio Drama Company several times. Her TV credits include Doctors and Doctor Who. She was a presenter on That's Life and her theatre credits include Blood Brothers and Mamma Mia! Tara Ward has worked in film, television, stage and radio. Recent appearances were in the film Justice League and Sky TV's Riviera. She played Mrs March in Radio 4's Little Women. Tara has written a number of books on personal development. Jonathan Forbes played the lead role in the film Conspiracy of Silence. TV highlights include Hornblower, Foyle's War and Black Mirror. He played Sharon Hogan's brother in Catastrophe for Channel 4. He also starred in Radio 4's returning series Tracks. The BBC Concert Orchestra appears on Radio 2's Sunday Night Is Music Night as well as exploring music from classical to contemporary on Radio 3. Soundtracks include Blue Planet and Serengeti for BBC 1 and in February it worked with over 20 artists for Radio 2's Piano Room Month. It appears annually at the BBC Proms and at London's Southbank Centre. The Conductor, Ben Palmer is Chief Conductor of the Deutsche Philharmonie Merck in Darmstadt and Babylon Orchester Berlin and Artistic Director of Covent Garden Sinfonia. He is one of Europe's most sought-after specialists in conducting live to picture. Next year he conducts the German tour of Star Wars: Episode VII - The Force Awakens. Production Team: Directed by Tracey Neale Produced by Neil Varley & Tracey Neale Production Co-Ordinators, Ben Hollands, Ayesha Labrom & Hannah O'Reilly Technical & Outside Broadcast Team: Chris Rouse, Alison Craig, Gilly Chauhan, Simon Nicklinson and Jon Wilson

Merry Christmas Centuries of Sound Followers! This is a mix of original Christmas-related records and radio broadcasts from 1939 to 1945. It’s also available as a compilation CD for supporters on Patreon here – https://www.patreon.com/posts/76151409 0:00:00 Bernard Herrmann – Snow Ride (1942)0:00:41 Bing Crosby – White Christmas (1942)0:03:48 Jimmy Durante – Clip from Christmas Show … Continue reading "A Wartime Christmas 1939-1945"

The OTR Now Radio Christmas #006 The Burns and Allen Show. December 23, 1936. CBS net, KHJ, Los Angeles aircheck. Sponsored by: Campbell's Soup, Schaeffer Pen (local). The cast does Gracie's version "A Christmas Carol." Gracie sings, "I Love You From Coast To Coast." The program is also known as, "The Campbell's Tomato Juice Program." George Burns, Gracie Allen, Ken Niles (announcer), Henry King and His Orchestra, Tony Martin. The Greatest Story Ever Told. December 21, 1947. ABC net. "No Room At The Inn". A very well-done story of the Nativity. The fourth of a series of five Christmas dramas. The script was subsequently used on the program on December 23, 1951, December 21, 1952, December 20, 1953, December 19, 1954, December 25, 1955, December 30, 1956. This recording might be from one of these dates. Norman Rose (narrator).The Bill Stern Colgate Sports Newsreel. December 21, 1945. Program #319. NBC net. Colgate Shave Cream. Bill Stern, Ezra Stone. 15 minutes. Audio Condition: Excellent. Complete.Gunsmoke. December 23, 1956. CBS net. "Beeker's Barn". Sponsored by: L & M, Chesterfield. A young couple take shelter in her estranged father's barn, just before she has a baby! The script was used again on the series on December 20, 1959 (see cat. #44630). The system cue is added live. William Conrad, Les Crutchfield (writer), Parley Baer, Ralph Moody, Vic Perrin, Virginia Gregg, Georgia Ellis, Howard McNear, Norman Macdonnell (producer, director), John Meston (editorial supervisor), Rex Koury (composer, conductor), Ray Kemper (sound patterns), Tom Hanley (sound patterns), George Fenneman (announcer), George Walsh (announcer).  Dark Fantasy. December 26, 1941. Program #6. NBC net, WKY, Oklahoma City origination. "The House Of Bread". Sustaining. A writer of supernatural stories (who happens to be named "Bishop") searches for, "The Truth." A man named "Word" advises to search for, "The House Of Bread." A truly "fantastic" Christmas story. The script runs long and ends just in time. Scott Bishop (writer, host). 25:03. Audio Condition: Excellent. Complete.The Campbell Playhouse. December 24, 1939. CBS net. "A Christmas Carol". Sponsored by: Campbell's Soup. The definitive version of the classic story. Barrymore never was better. Charles Dickens (author), Lionel Barrymore, Orson Welles (producer, introducer), George Coulouris, Bea Benaderet, Ray Collins, Everett Sloane, Frank Readick, Bernard Herrmann (composer, conductor).SOURCES: Wikipedia and The RadioGoldindex.com

The lads escape the safety of brisk weather and head for the terrors at 1962's Cape Fear! Directed by J. Lee Thompson with ALL OF THE GREATS: Gregory Peck and Robert Mitchum act their butts off, plus the cinematography of Sam Leavitt and the music of Bernard Herrmann. With all of these legends involved you know it's going to be an episode for the ages! Questions, comments or wanna go bowling? therealoutofthepodcast@gmail.com instagram.com/outofthepodcast

El compositor Bernard Herrmann fue uno de los más grandes creadores de música para cine. Empezó muy joven despuntando junto a Orson Welles que le dio la oportunidad en Ciudadano Kane. Pero su vida daría un giro de 360 grados cuando conoció a Alfred Hitchcock en Pero...¿quién mató a Harry?. Desde entonces su colaboración fue fructífera y de esa comunión nacieron cintas como: El hombre que sabía demasiado, Con la muerte en los talones, Falso culpable, Psicosis, Los pájaros, Marnie la ladrona y sobre todo Vértigo, una obra maestra que marcó un ante y un después para el compositor y el maestro del suspense. Si eso no es suficiente para tí, te aconsejo que te quedes hasta el final, porque contamos con la presencia de Nacho Granda, el gran director y presentador del podcast "Scores de cine", un gran amante de la música de cine, y que tiene en un pedestal a Bernard Herrmann como uno de sus referentes. Más info: www.masqcine.com twitter: @masquecine2 telegram: @masquecineradio facebook: @masquecine mail: info@masqcine.com BSO's del programa: https://music.youtube.com/playlist?list=PLKuVCYpv1hsS_CYD_ZZ8PFSM7qwdVol-I&feature=share

El compositor Bernard Herrmann fue uno de los más grandes creadores de música para cine. Empezó muy joven despuntando junto a Orson Welles que le dio la oportunidad en Ciudadano Kane. Pero su vida daría un giro de 360 grados cuando conoció a Alfred Hitchcock en Pero...¿quién mató a Harry?. Desde entonces su colaboración fue fructífera y de esa comunión nacieron cintas como: El hombre que sabía demasiado, Con la muerte en los talones, Falso culpable, Psicosis, Los pájaros, Marnie la ladrona y sobre todo Vértigo, una obra maestra que marcó un ante y un después para el compositor y el maestro del suspense. Si eso no es suficiente para tí, te aconsejo que te quedes hasta el final, porque contamos con la presencia de Nacho Granda, el gran director y presentador del podcast "Scores de cine", un gran amante de la música de cine, y que tiene en un pedestal a Bernard Herrmann como uno de sus referentes. Más info: www.masqcine.com twitter: @masquecine2 telegram: @masquecineradio facebook: @masquecine mail: info@masqcine.com BSO's del programa: https://music.youtube.com/playlist?list=PLKuVCYpv1hsS_CYD_ZZ8PFSM7qwdVol-I&feature=share

Film music began as a solution to a problem. Early film projectors were really loud, therefore something was needed to cover up all the noise.  In addition, silent movies apparently seemed a bit awkward without any musical accompaniment.   Enter, usually, a pianist, who would improvise musical accompaniments to the events on the screen. None other than Dmitri Shostakovich got his first job as a cinema pianist, honing his improvisatory skills, and sometimes receiving cat calls and boos for his fantasy filled musings that tended to stray away from the action on the screen. Music in the silent film era had to help the audience in pointing out important moments to the audience,  enhancing the emotional effects of the story, and most importantly, it had to give a certain musical line to every character, giving to them the emotional depth that the audience couldn't get since they weren't going to hear their voice.  To do this, early film composers turned to the idea of the Leitmotif, an idea developed by the opera composer Richard Wagner. This idea would take hold even once "talkies" took over the screen, with composers such as Max Steiner, Charlie Chaplin, and others setting the stage for a century of brilliant music, by composers like Bernard Herrmann, John Williams, Dmitri Shostakovich, Rachel Portman, Hans Zimmer, Erich Wolfgang Korngold, Christopher Willis, and dozens and dozens more. Today on the show we'll talk about this development of film music, and also hear some of the greatest and most recognizable film music ever written. We'll also talk about why film music is sometimes looked down upon in the classical music world, and how we might begin to change that perception. Join us! 

Suspense presents, The Lost Special, a mystery short story by Arthur Conan Doyle first published in The Strand Magazine in August 1898. Sir Arthur Conan Doyle is the creator and writer of Sherlock Holmes. This episode aired September 39, 1943.Cast: Howard Duff, Jack Finke (writer), Bernard Herrmann (conductor), Orson WellesPlot: A train mysteriously disappears on its journey from Liverpool to London in 1890. The only passengers are train engineer, a fireman, train guard and two South Americans. The engineer's dead body is the only clue, along with a letter from the United States that appears to be from the train guard. Authorities cannot find any evidence on the train.: : : : :My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- SCI FI x HORROR -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES.Subscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr

The OTR Radio Program Halloween-02Escape. March 17, 1950. CBS net. "Three Skeleton Key". Sustaining. The rats return to the lighthouse. The story was previously produced on Escape on November 15, 1949 and subsequently on August 9, 1953. The story was also heard on Suspense on November 11, 1956and October 19, 1958. Radio and Television Life Magazine awarded the sound effects on the previous broadcast of this script, "Best Of The Year.". Paul Frees; Jack Sixsmith (sound effects); William N. Robson (producer, director); James Poe (adaptor); Vincent Price ; Cliff Thorsness (sound effects creator, executioner); George Toudouze (author); Del Castillo (organist); Harry Bartell; Jeff Corey ; Gus Bayz (sound effects); Harry Esman (control engineer)-------The Hall Of Fantasy. February 09, 1953. Mutual net, WGN, Chicago origination. "The Dance Of The Devil Dolls". Commercials deleted. A good story about little voodoo dolls and their evil mistress. There are excellent organ themes and bridges. The program was rebroadcast on October 5, 1953. Richard Thorne (writer).------Inner Sanctum Mysteries. October 27, 1947. CBS net. "Till Death Do Us Part". Bromo Seltzer. Two newlyweds witness a murder; a woman's face is shot away! Running from the gunman, the couple find the dead body back in their tourist cabin! The landlady finds the corpse and the groom winds up killing her! The story has a terrible cop-out ending. The script was previously used on "Inner Sanctum" on October 16, 1945 and subsequently on June 4, 1951 and September 14, 1952. Paul McGrath (host), Everett Sloane, Mercedes McCambridge, Himan Brown (director), Dwight Weist (announcer), Emile Tepperman (writer). The Mercury Summer Theatre. June 21, 1946. CBS net. "The Hitch-Hiker". Pabst Beer. The masterpiece of suspense...a radio classic about a cross-country drive, with destiny along for the ride. Lucille Fletcher (writer), Orson Welles (producer, director, performer), Alice Frost (doubles), Bernard Herrmann (music), Ken Roberts (announcer). 1/2 hour. Audio Condition: Excellent. Complete.-----Lights Out. April 06, 1938. NBC net, Chicago origination. "Cat Wife". Sustaining. The script was used on the program previously. The story was voted by listeners "the best" "Lights Out" story. A man's cat-like wife goes too far. The show features a fine performance by Karloff and an even better one by the "Cat Wife," who receives no billing. Betty Winkler (possibly cast as, "The Cat Wife"); Boris Karloff; Arch Oboler (writer, producer, director);------- Suspense. November 18, 1948. CBS net. "Sorry, Wrong Number". Auto-Lite. An invalid woman battles the frustrations of the telephone system after she overhears a plot to murder someone. The story was previously produced on "Suspense" on May 25, 1943 (see cat. #3681), August 21, 1943, February 24, 1944  and September 6, 1945. The story was subsequently produced on "Suspense" on September 15, 1952, October 20, 1957 and February 14, 1960 . Agnes Moorehead, Lucille Fletcher (writer), Anton M. Leader (producer, director), Eleanor Audley, Ann Morrison, Paul Frees (announcer), Lucien Moraweck (composer), Lud Gluskin (conductor), Harlow Wilcox (commercial spokesman), William Johnstone (commercial spokesman).

Herederos del jazz de los años 50s, de las bandas sonoras de John Barry, Ennio Morricone, Nino Rota o Bernard Herrmann, y de las series de espionaje. Precursores del Trip Hop y del sonido de Bristol, ellos son Portishead.Lista de reproducción:Only YouHumming (fragmento)NumbMysterons (fragmento)All MineOver (fragmento)Lalo Schifrin - Danube Incident (fragmento)Sour TimesUndenied (fragmento)StrangersMachine Gun (fragmento)Glory BoxIt's A Fire (fragmento)Elysium (fragmento) Cowboys (Live at Roseland NYC)Silence (fragmento)Magic DoorsSeven Months (fragmento) Wandering Star (Live at Canal+ Concert Privé)Roads (fragmento)The Rip

Carlos Iribarren | Uno de los más grandes compositores de bandas sonoras, el neoyorquino de origen ruso Bernard Herrmann, es el responsable de la música maravillosa que suena en algunas de las mejores películas de la historia. No en vano, Herrmann fue el compositor de cabecera de gigantes del celuloide como Orson Welles y Alfred Hitchcock por lo que obras maestras como “Ciudadano Kane”, “Psicosis” y “Vértigo” llevan la firma de este genio. Carlos ha decidido contagiar su entusiasmo (o al menos intentarlo) a Mario y Ana Laura, quienes pasan tanto tiempo demostrando y compartiendo su maestría con la música clásica que no encuentran nunca hueco para sumergirse en el apasionante universo de las bandas sonoras; hoy es el día en el que va a cambiar su vida y además para bien. Seguro que a ti también te atrapa esta nueva entrega de Hoy Toca, el programa de Clásica FM que te quiere sorprender.

Landscape redefined by skateboarder Mason, Silva planned routines to Budgies drums It's the space outside of the sound we're chasin'   Cinematic for the Banshees and their chums  Images influenced the sounds created Alfred Hitchock - Suburban Relapse The shower scene in Psycho, a shrine, gold-plated Herrmann's score hitting every synapse. (Pause – aka: dead airtime – but not this time!)Charlie Mingus stressed the import of the notes un-played,PJ Harvey finds inspiration in a place un-stayed.  Justin always hears sweet music in the rattle of his car Familiar London Studios became unfamiliar from afar.The Creatures flew to Hawaii, to record their debut, the jungle fed the music, and the conch shell blew.Victor Boullet played Metallica to get The Creatures mad,Ross Robinson and Simon came close to something very bad!“No Hi-hat!” ordered Siouxsie, “No Hairspray in my mix!”Budgie moved the hi-hat out but played with magic sticks,Creating things from nothing was our drumming bird's propensity,His Drumming in the Dreamhouse throbbed with LSD intensity Justin and DMT experiment, Lol and Budgie too, Budgie, Lol and Justin want healthy things to chew.  Post-abuse bodies may have survived, but some Brain tissue did not Justin's Pre-show ritual is a strong expresso shot!On Reflections, Simon said to Lol, “Lol you're very Zen.”Lol reflected soberly, “How weird it is to ken.”  Proficiency is priority, you have to love yourself,The secret door out of the maze - is the one that's marked ‘Good Health!'Q: Was this the longest recording for Curious Creatures?A: You bet your sweet bippy it was!The pause is cool and beautiful and weird. And we may have a dinner date in San Diego!In Awe of: ‘Psycho' (1960) Directed by Alfred Hitchcock - Music: Bernard Herrmann. CONNECT WITH US:Curious Creatures:Website: https://curiouscreaturespodcast.comFacebook: @CuriousCreaturesOfficialTwitter: @curecreaturesInstagram: @CuriousCreaturesOfficialLol Tolhurst: Website: https://loltolhurst.comFacebook: @officialloltolhurst Twitter: @LolTolhurst Instagram: @lol.tolhurst Budgie: Facebook: @budgieofficial Twitter: @TuWhit2whooInstagram: @budgie646Curious Creatures is a partner of the Double Elvis podcast network. For more of the best music storytelling follow @DoubleElvis on Instagram or search Double Elvis in your podcast app. 

Daphne du Maurier.  Alfred Hitchcock.  Bodega Bay.

Synopsis “This highway leads to the shadowy tip of reality: you're on a through-route to the land of the different, the bizarre, the unexplainable... Go as far as you like on this road. Its limits are only those of mind itself. Ladies and Gentlemen, you're entering the wondrous dimension of imagination…” Next stop The DATEBOOK Zone. OK, all kidding aside, but “submitted for your approval” as Rod Serling would say, this is the COMPOSERS DATEBOOK for September 30th. I'm John Birge. On today's date in 1960, the second season of “The Twilight Zone,” — the legendary TV series created by Mr. Serling — began airing on CBS. For this, the producers added a new signature theme written by Marius Constant, a Romanian-born French composer. Constant had studied composition with Olivier Messiaen, Arthur Honegger, and Nadia Boulanger and had a very respectable career as a composer and teacher, but he's best known for his brief, but iconic, “Twilight Zone” theme. During its five-season run, that show also employed the talents of other famous composers, including Jerry Goldsmith, Leonard Rosenman, Fred Steiner, and Franz Waxman. And in case you're wondering who wrote the theme for the FIRST season of “The Twilight Zone,” well, that was another famous Hollywood composer by the name of Bernard Herrmann. Music Played in Today's Program Marius Constant (1925-2004): The Twilight Zone Main Theme (2nd version) –Orchestra; Joel McNeely, cond. (Varese-Sarabande VSD2-6087) Bernard Herrmann (1911-1975): The Twilight Zone Main Theme (1st version) –Orchestra; Joel McNeely, cond. (Varese-Sarabande VSD2-6087)

Mercury Summer Theatre with their adaptation of the famous radio and television story by Lucille Fletcher, The Hitchhiker. This episode aired Friday, June 21, 1946. Story: Ronald Adams takes a cross-country drive from New York to California. Along the way he see's a hitchhiker, the stranger keeps appearing over and over no matter how long Ronald drives. The hitchhiker seems to be stalking Ronald, a fateful call home tells Ron that maybe it's safer to stay home. Featuring: Alice Frost, Hart McGuire, Bernard Herrmann (conductor), Ken Roberts (announcer), Orson Welles Orson originally did an adaptation, November 17, 1941, on The Orson Welles Show (a lost episode). : : : : : My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- SCI FI x HORROR -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES. Subscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot. Thank you for your support. https://otr.duane.media/ (https://otr.duane.media) | Instagram https://www.instagram.com/duane.otr/ (@duane.otr)

Do you listen to podcasts like a bird? and by that I mean, do you listen to a tremendous lot? Well, then here's another one for you to feast on right before you jump into the shower. In this special episode of The Movie Loot, we talk about one scene from Psycho, specifically, the conversation between Norman Bates (Anthony Perkins) and Marion Crane (Janet Leigh). So clamp yourself into this little personal trap and enjoy!All movie clips (c) Paramount PicturesPsycho score clips (c) Bernard Herrmann

Media Monarchy plays Jesus and the Groupies, Lee Fields, Bernard Herrmann and more on #PumpUpThaVolume for August 25, 2022. ♬

En este episodio conversamos sobre "Psycho" (Psicosis) de Alfred Hitchcock, protagonizada por Anthony Perkins, Janet Leigh y Vera Miles.

El genio del suspense es el protagonista de este especial de ‘Sucedió una noche colección'. Os vamos a hablar de los temas habituales de su cine y de sus obsesiones cinematográficas pero también de su vida personal, de sus costumbres, manías y excentricidades. Revisamos una de sus películas más personales, ‘Los pájaros' y para destacar el importante papel que la música de juega en sus películas analizamos la banda sonora de ‘Psicosis', compuesta por su músico más habitual, Bernard Herrmann.

Originally a play in 1910, written by Arthur Schnitzler (b. May 1863 - d. October 1931). Then a silent movie in 1921, directed by Cecil B. DeMille. This episode aired Monday, August 22, 1938 on CBS Radio. Story: Before the World War in Vienna, socialite Anatol Spencer, finding his relationship with his wife Vivian lackluster, goes in search of excitement. With his friend Max, Anatol discusses the problem that a man never can know for sure whether or not a woman is faithful to him. He argues that, irrespective of love, women by their very nature can never be true. Adapted by, Directed by, and Starring: Orson Welles. Remaining cast: William Alland, Ray Collins, Arlene Francise, Alice Frost, Helen Lewise, Dan Seymour (announcer), Bernard Herrmann (conductor) : : : : : My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- SCI FI x HORROR -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES. Subscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot. Thank you for your support. https://otr.duane.media/ (https://otr.duane.media) | Instagram https://www.instagram.com/duane.otr/ (@duane.otr)

Suzen Tekla Kruglnska is here with me to discuss minutes 106-110 of Solo: A Star Wars Story! We talk about auditory illusions, the coaxium motif, John Powell's flowing scene transitions, and a potentially awkward music edit. Discussion Guide: 00:00 - Hello there! 04:13 - Beckett's "wheel spinning" music. 08:33 - Cliche or trope? In the ear of the beholder. 16:36 - Is there an abrupt edit here? 26:53 - Paul Bettany as Dryden Vos. 34:33 - Dryden is a villain. Why doesn't he have a musical theme? 45:46 - Everybody's faking it! 53:50 - Coaxium motif at the beginning of "Double Double Cross" 1:06:34 - Bernard Herrmann over Jaws. 1:12:31 - DSCH, Dies Irae motif (hi, Alex Ludwig), people holding axes in movies. 1:20:58 - Ta-da music during the big reveal. 1:27:57 - A spot where the music gets playful. 1:33:27 - Suzen's final thoughts about Solo and Star Wars music in general. 1:41:31 - SWMM Questionnaire Things Mentioned: Shostakovich - String Quartet 8, But Only When The DSCH Motif Is Played: https://youtu.be/DwxAyoy7DMA The Shining 2:37 - Episode 16: For Music Nerds - https://theshining237.com/2018/02/04/episode-16-for-music-nerds-with-musicologist-jonathan-stern/ Rosemary's Baby 6:66 - Episode 14: Komeda's Lullaby - https://theshining237.com/2020/09/19/episode-14-komedas-lullaby/ Witness movie clip (Samuel finds a picture of the murderer in a framed newspaper clipping, and Maurice Jarre's score kicks in) - https://youtu.be/LmdcbtSwX6Q Musical Themes: 1. Young Han Solo (Heroic, comp. JW) 3. Secrets 4. Han & Q'ira 5. The Gang Complete Catalogue of the Musical Themes of Star Wars (by Frank Lehman): https://franklehman.com/starwars/. Where are we in the soundtrack(s)?: "Qi'Ra Knows a Bit More Than Han (6M36-37-38)" "The Good Guy" Beginning of "Double-Double Cross (6M39-40)" --------------- STAR WARS MUSIC MINUTE QUESTIONNAIRE: 1. In exactly 3 words, what does Star Wars sound like? Droids. Flight. Pew. 2. What's something related to Star Wars music or sound that you want to learn more about? How do they come up with the sound of alien languages? 3. What's a score or soundtrack you're fond of besides anything Star Wars? Rosemary's Baby (composed by Krzysztof Komeda) --------------- Guest: Suzen Tekla Kruglnska Twitter: https://twitter.com/skruglnska The Comedy Film Funnel (podcast with Joe Dator) - https://www.podash.com/podcast/5346477/ The Shining 2:37 (podcast) - https://theshining237.com Rosemary's Baby 6:66 (podcast) - https://theshining237.com/rosemarys-baby-666-episode-list/ ------------------ Want to continue the conversation on Discord? All patrons have access to the Friends of Xanthe Discord server, where we chat about all things Star Wars and music! The server is patron-only, for any level of support. https://patreon.com/chrysanthetan Leave a voice message, and I might play it on the show...   https://starwarsmusicminute.com/comlink Where else to find SWMM: Twitter: https://twitter.com/StarWarsMusMin Spotify: https://smarturl.it/swmm-spotify Apple Podcasts: https://smarturl.it/swmm-apple YouTube: https://youtube.com/starwarsmusicminute TikTok: https://www.tiktok.com/@starwarsmusicminute? Instagram: https://instagram.com/starwarsmusicminute Email: podcast@starwarsmusicminute.com Buy Me A Coffee: https://buymeacoffee.com/starwarsmusmin

It's our season finale and we were delighted to get back into a cinema for a live screening and podcast recording, our first one since Covid. The venue was the spectacular Garden cinema in Covent Garden, a beautiful art-deco retro venue where we hope to be holding regular screenings in the autumn. As part of their celebrating Film Noir season, we screened and discussed the 1962 psychological noir Cape Fear directed J. Lee Thompson. The film features what is considered one of the most powerfully chilling performances in cinema history: Robert Mitchum as Max Cady. Also starring Gregory Peck, Polly Bergen Lori Martin, Martin Balsam and Telly Savalas, and featuring a Bernard Herrmann score, it's a film that tested social attitudes and the censors with its subject matter. Dario presented the screening with guest Mary Wild (@psycstar on Twitter), the co-host of the Projections Podcast (@ProjectionsPod). As an expert in psychoanalytic film theory it was fantastic to have Mary's critical insight on a film and genre that really does lend itself to psychological reading.  Dario and Neil continue the conversation and also reflect on the 15th season of the podcast. Something we can hardly believe. We thank you for your continued support of the show and look forward to season 16 beginning in September 2022. Show Notes The Garden Cinema, Covent Garden. The new season of Mary's Projections Podcast which she co-hosts with Sarah Cleaver. The Making of Cape Fear. ____ You can listen to The Cinematologists for free, wherever you listen to podcasts: click here to follow. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: https://www.patreon.com/cinematologists. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and sharing on Social Media is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists' Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass & guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing  

The music and sound design truly form a symbiotic circle in minutes 96-100 of Solo: A Star Wars Story! John Hoey (from The Resistance Broadcast and #MakeSolo2Happen) joins Xanthe in a discussion about the striking soundscapes of Savareen. Discussion Guide: 00:00 - Hello there! 05:06 - Taking a listen to the beginning of these minutes. 10:31 - Lack of music leaves us guessing. 12:16 - Comparing Savareen (SOLO) with Tatooine (A NEW HOPE). 19:59 - Lando and Han's touching moment. 23:45 - John Powell's thoughts on Han and Qi'ra's theme. 34:48 - Han's lucky streak. 42:37 - Vibraphone cue bolstering the spare sound design. 47:11 - We "hear" the Cloud-riders (rumble) before we see them. 56:29 - Han unbuckling his holster is major Clint Eastwood vibes. 1:03:49 - Diagonal shot, Dutch angles. 1:10:17 - Recap of the various sound hierarchies observed in these minutes. 1:15:22 - SWMM Questionnaire. 1:21:11 - Make Solo 2 Happen. Things to Check Out: Vibraphone and Bow - Audio Loop and Resonance of Vibraphone (PLASTIKLOVA): https://youtu.be/zfTb8EQ-MUo Dutch angles: https://www.studiobinder.com/blog/dutch-angle-shot-camera-movement/ TLJ 10: Colors of the Wind (Minutes 46-50 with Justin Leo Kennedy): https://youtu.be/joH88DBjFFY Complete Catalogue of the Musical Themes of Star Wars (by Frank Lehman): https://franklehman.com/starwars/. Musical Themes: 1a. Main Theme (A Section) 2b. Young Han Solo (Searching Variant, comp. JW) 2. Rebel Fanfare 4. Han & Q'ira 3. Secrets] 7a. Enfys Nest 1 Where are we in the soundtrack(s)?: End of "Into the Maw" and "Kessel Run in Less Than 12 Parsecs (5M32-33A-B-C)" "Savareen Tent (6M34)" "Enfys' Stand-Off (6M35)" and "Savareen Stand-Off" --------------- STAR WARS MUSIC MINUTE QUESTIONNAIRE: 1. In exactly 3 words, what does Star Wars sound like? Endlessly imaginative adventure. 2. What's something related to Star Wars music or sound that you want to learn more about? The future of Star Wars music. Will there be one main composer that takes over for John Williams, or will it continue being more of a per project thing like it is with Natalie Holt, Ludwig Göransson, etc? 3. What's a score or soundtrack you're fond of besides anything Star Wars? Catch Me If You Can (composed by John Williams), Psycho (composed by Bernard Herrmann), The Batman (composed by Michael Giacchino), Man of the Steel (composed by Hans Zimmer) --------------- Guest: John Hoey #MakeSolo2Happen Twitter: https://twitter.com/JohnnyHoey Resistance Broadcast (podcast): https://linktr.ee/resistancebroadcast Make Solo 2 Happen Shirts: https://resistancebroadcast.creator-spring.com/? Star Wars News Net: https://www.starwarsnewsnet.com/ Just Like the Movies (podcast): https://anchor.fm/justlikethemovies ------------------ If you enjoyed this episode and want to show extra appreciation, feel free to buy me a coffee and shout out the guest! https://buymeacoffee.com/starwarsmusmin If you want to support the show, consider becoming a patron!  https://patreon.com/chrysanthetan Leave a voice message, and I might play it on the show...   https://starwarsmusicminute.com/comlink Where else to find SWMM: Spotify: https://smarturl.it/swmm-spotify Apple Podcasts: https://smarturl.it/swmm-apple YouTube: https://youtube.com/starwarsmusicminute TikTok: https://www.tiktok.com/@starwarsmusicminute? Twitter: https://twitter.com/StarWarsMusMin Instagram: https://instagram.com/starwarsmusicminute Email: podcast@starwarsmusicminute.com

In this conclusion of a 2-part episode from 2021, Gilbert and Frank chat with Oscar-winning writer-director Brad Bird and Oscar-winning composer Michael Giacchino about James Bond homages, iconic superhero themes, incorporating everyday objects into movie soundtracks and the over-the-top pleasures of the Wachowskis' "Speed Racer." Also, Bernard Herrmann plays the Theremin, Lily Tomlin (almost) voices Edna Mode, Brad directs a modern-day film classic and Michael reveals the key to his Oscar-winning score for "Up." PLUS: "Tomorrowland"! The brilliance of Jerry Goldsmith! Al Hirt meets the Green Hornet! Milton Bradley's Fireball Island! And Michael recalls his time on "Lost"! (Thanks again to audio producer extraordinaire John Murray!) Learn more about your ad choices. Visit megaphone.fm/adchoices

Discussion Guide: 00:00 - Hello there! 07:17 - Listening to the beginning of these minutes and comparing them to A New Hope. 14:35 - Thirds, avoidance of chordal resolution 17:08 - Does this chord progression sound inevitable? Deceptive cadences. Search: "chromatic mediants composition secrets." 22:40 - How L3's theme is building tension. 27:37 - John Powell glue, "Corellia Chase," adding momentum by raising the bottom note. 31:05 - The parameters that composers can tweak to raise intensity: louder, faster, add instruments, make notes go higher, etc. 33:17 - Approaching a local climax. 39:02 - Octatonicity. Search: "octatonic scale composer secrets" 43:42 - Good. 52:23 - All of the thirds, Rebel Fanfare. 54:43 - Lasting legacy of the TIE Fighter Attack motif/Here They Come. Propulsive, asymmetric rhythm. Search: "composer rhythm secrets." 58:41 - Asteroid Field! 1:12:03 - Han and Chewie's diatonic theme sticks out in contrast to the highly chromatic Asteroid Field. 1:16:21 - Brief violin demonstration to show an example of idiomatic string writing. 1:26:11 - Is the brass out of tune in the Main Theme? 1:32:26 - Is the rhythm imitating Han's voice in this spot? 1:37:42 - Nearing the end of the minutes, fast octatonic/chromatic string lines. 1:41:33 - Chromatic mediants built into the octatonic scale. 1:46:45 - Jeremy's final thoughts and memories of seeing Solo for the first time. 1:52:16 - It takes two to tango, right? 1:57:25 - SWMM Questionnaire Things Referenced: Music Theory - Chromatic Mediants in 7 Minutes! (Guy Michelmore): https://youtu.be/EIvV77tLK9c Secrets Of FILM MUSIC Composers: Chromatic Mediants Made Easy (MusicTheoryForGuitar): https://youtu.be/Vlys5drfG_o Why Top Composers Use Chromatic Mediant Modulations (Rick Beato): https://youtu.be/dhXL3q7e-xc When Chords Won't Share (12tone video about chromatic mediants): https://youtu.be/BuQrGxyTeok Pieces Of Eight: Mysteries Of The Octatonic Scale (12tone): https://youtu.be/3aLBij3ycas Star Tours ride music (Disneyland): https://youtu.be/wBhm8VuZodw Music From the Star Wars Saga Deluxe Score (John Williams Signature Edition Orchestra): https://www.halleonard.com/product/viewproduct.action?itemid=4491067 Jeremy Sawruk's previous SWMM episode: ANH 16: Orchestration Wars (Minutes 76-80) - https://youtu.be/1owmn96ALVY All Access: John Powell - Episode 2 (Film.Music.Media) - https://youtu.be/7k7CivccTVg Complete Catalogue of the Musical Themes of Star Wars (by Frank Lehman): https://franklehman.com/starwars/. Musical Themes: 14) Imperial Cruiser Pursuit 29) Attacking A Star Destroyer 1. Young Han Solo (Heroic, comp. JW) 2. Rebel Fanfare 8. L3-37 8. TIE Fighter Attack 6. Han & Chewie 26) Asteroid Field Main Theme 27) Asteroid Field Subsidiary Motif 102) Whirling Octatonicism Where are we in the soundtrack(s)?: "Reminiscence Therapy" "Kessel Run in Less Than 12 Parsecs (5M32-33A-B-C)" STAR WARS MUSIC MINUTE QUESTIONNAIRE: 1. In exactly 3 words, what does Star Wars sound like? New answer: Big octatonic brass Previous answer: Opera without words 2. What's something related to Star Wars music or sound that you want to learn more about? New answer: The score for Obi-Wan Kenobi. Previous answer: Musical / orchestrational “filler” and sound effects/foley 3. What's a score or soundtrack you're fond of besides anything Star Wars? New answer: Star Trek by Jerry Goldsmith, Wall-E by Thomas Newman Previous answers: North by Northwest by Bernard Herrmann, Loki by Natalie Holt, Catch Me If You Can by John Williams Guest: Jeremy Sawruk Twitter: https://twitter.com/composer314 ------------------ If you want to support the show, consider becoming a patron!  https://patreon.com/chrysanthetan Leave a voice message, and I might play it on the show...   https://starwarsmusicminute.com/comlink Where else to find SWMM: Buy Me a Coffee: https://buymeacoffee.com/starwarsmusmin Spotify: https://smarturl.it/swmm-spotify Apple Podcasts: https://smarturl.it/swmm-apple YouTube: https://youtube.com/starwarsmusicminute TikTok: https://www.tiktok.com/@starwarsmusicminute? Twitter: https://twitter.com/StarWarsMusMin Instagram: https://instagram.com/starwarsmusicminute Email: podcast@starwarsmusicminute.com

According to an introduction by Ray Bradbury to a CD of a re-recording of the film score by William Stromberg conducting the Moscow Symphony Orchestra, Bradbury had suggested Bernard Herrmann to Truffaut. Bradbury had visited the set of Torn Curtain, meeting Alfred Hitchcock and Herrmann. When Truffaut contacted Bradbury for a conference about his book, Bradbury recommended Herrmann, as Bradbury knew that Truffaut had written a detailed book about Hitchcock. When Herrmann asked Truffaut why he was chosen over modern composers, such as the director's friends Pierre Boulez or Karlheinz Stockhausen, the director replied that "They'll give me the music of the twentieth century but you'll give me the music of the twenty-first!" Herrmann used a score of only string instruments, harp, xylophone, vibraphone, marimba and glockenspiel. As with Torn Curtain, Herrmann refused the studio's request to do a title song.Purchase the music (without talk) at:Herrmann: Farenheit 451 (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Synopsis Unless you're Tony Soprano, if your boss turns to you and says, “Murder can be fun,” the prudent reaction would be to: a) start looking for a new job, and b) wait for a discrete opportunity to call the police. But in 1975, when Alfred Hitchcock made that statement to composer John Williams, Williams probably just nodded in agreement. After all, it was a great honor to be asked by Alfred Hitchcock to write music for what would turn out to be the last film completed by the famous Master of Suspense. That film was “Family Plot,” and Williams completed its music for recording sessions at Universal Studios early in 1976. Williams recalled that the already-ailing Hitchcock stayed just an hour, pronounced the music “fine,” and said, “I'll leave this to you,” before departing. Now, film buffs will recall that Hitch, a notorious micro-manager, had abruptly fired composer Bernard Herrmann, his legendary former collaborator, during a recording session for his 1966 film “Torn Curtain,” when Hitchcock realized Herrmann had NOT followed his instructions for a trendy pop music score. “Family Plot,” was shown at the 1976 Cannes Film Festival but was not officially entered in the competition. Still, it's ironic that on today's date that year, the Festival's top prize, the coveted Palme d'Or, was awarded to “Taxi Driver,” a film by Martin Scorsese, with – you guessed it – music by Bernard Herrmann. Music Played in Today's Program John Williams (b. 1932) — Closing Credits music, from Family Plot (Utah Symphony) Varese-Sarabande VCD-47225

Django Nudo and the Smut Peddler make fun of Netflix for copying Cultpix's policy of no-censorship and spending its members' money wisely. Smut Peddler has been getting public recognition for his contribution to film history, plus the extraordinary amounts paid for old VHS tapes.   We then set sail for film Fantasy Island, with lots of flesh exposed.The Beastmaster (1982) - He can talk to beasts and fights evil wizards. He is Dr Doolittle-meets-Gor! Surprisingly this swords-n-sorcery epic was not a commercial hit when first released in cinemas, but became a mainstay on HBO (so much so that Dennis Miller joked that it was short for, "Hey, Beastmaster's On") and TBS ("The Beastmaster Station"). This film spawned two sequels and popular TV series.  The 7th Voyage of Sinbad (1958) - The first of three Sinbad films, this was made famous by Ray Harryhausen's stop/motion VFX, called Dynavision. Sinbad battles lots of monsters on his quest, but it is the sword fighting skeleton that proved the most popular, resurrected in Jason and the Argonauts, and arguably inspired the original Cyberdyne 101 Terminator model. Also one of the best movie scores ever by Bernard Herrmann. Sinbad and the Eye of the Tiger (1977) - The third voyage of Sinbad and Ray Harryhausen spent a year and a half on the VFX, but the stop-motion started to look dated in the age of Star Wars. Still a good kid's fantasy epic, with a baboon playing chess with Jane Seymour. Sinbad has to face down an evil witch, but it's the creatures we remember.     Dr Cyclops (1940) - Dr Cyclops has a lab deep in the jungles of South America where his atomic experiments enable him to shrink living creatures. When four explorers try to stop his dastardly megalomaniac plans for humanity, they find themselves shrunk to doll size. Try battling a dog or a cat, let alone crossing a jungle, when you are the size of a barbie doll! It was the first science fiction film shot using three-strip Technicolor and it looks stunning.  Amazons (1986) - Roger Corman produced several films in Argentina in the 1980s, including the swords 'n' sandals (and not much else in the way of costumes)  about the legendary all-female warrior tribe. "This is a definite "so bad it's good" movie.The acting is nothing short of atrocious,the fight scenes are incredibly clumsy,the dialogue about equal to an Ed Wood movie and the facial expressions are priceless!" says $TEVE McD's IMDb review. It is hard to disagree. Tanya's Island (1982) - Tanya tries to escape her abusive artist boyfriend by dreaming herself away to a fantasy island, inhabited by a blue-eyed man-ape. But her monkey-lovin' enrages her BF and love triangle ensues. Stars Canadian singer-model Vanity, known for the Vanity 6 song "Nasty Girl" by Prince. She went from 'Nasty' to Born Again Christian after this. There are also plenty of other Fantasy films already on Cultpix. Be sure to catch all the musical action in our Fantasy-tic Spotify playlist.  

durée : 00:24:58 - Bernard Herrmann, BOF de La Mort aux trousses - par : Anne-Charlotte Rémond - Dans Musicopolis, Anne-Charlotte Rémond s'arrête aujourd'hui à New-York en 1958 à la rencontre de Bernard Hermann, le compositeur de la bande originale du film ''La Mort aux trousses'' (''North by Northwest''), d'Alfred Hitchcock (1959)... - réalisé par : Claire Lagarde

On the latest episode of Always the Critic podcast, we're turning 200!! In honor of making it to 200 episodes, the crew answers a few questions from followers before welcoming special guest Tasha Jones to induct our inaugural movie score hall of fame! We are joined by our new friend Tasha Jones, aka the official hype girl for John Williams, to nominate 12 movie score tracks that we would induct into our Movie Score Hall of Fame. We nominate movies from luminaries such as Bernard Herrmann, Ennio Morricone, Danny Elfman, and more. Check out the final list by listening, and tell us your picks! GUEST: Tasha Jones TikTok @tashajonesss Instagram @tashajonesss For episodes with similar movies, click below Variety Shows Become a Subscriber! Monthly Subscription Listen To Us! Spotify Apple Podcasts Anchor Follow us! Patreon Instagram Twitter Facebook Rico's Youtube Rico's Letterboxd Jessica's Letterboxd --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/alwaysthecritic/message

Cinema D'Amore concludes exploring the Master of Suspense with Vertigo (1958). This is part five of their five-part discussion on Alfred Hitchcock. Hosted by Justin Morgan and Charles Phillips. Mixing and QA by Scratchin' Menace with Music by Bernard Herrmann. Follow us on Facebook and Twitter for the latest updates. Available on Apple Podcasts, Google Podcasts, Spotify, and a dozen other popular platforms. Please subscribe, rate and review us. Every little bit helps, and more importantly, thank you for listening!

REE-REE-REE, REE-REE-REE!!! Psycho 1960 is a desert island pick for both Charles and Joseph, although Joseph's would include the 1998 remake in a double sleeve, much to Charles' chagrin. We discuss the merits of stark, artful B&W vs. exposed posteriors, pixie 'dos, hideous pastel prints 'n' parasols, and super-saturated scenery. Nature sounds courtesy of Big Island Coqui Frogs. Psycho Score composed by Bernard Herrmann. Remake Schmemake theme music by JuliusH from Pixabay.

Hi there, Today I am Arts Calling Paul Myles Zambrano! About my guest: With a stylistic versatility ranging from hybrid soundscapes to Old Hollywood, Bernard Herrmann inspired scores, Paul Zambrano's versatility and range makes him constantly in demand to content creators of all kinds. Since his departure from South Florida, Paul has composed the score to a number of indie films, including Binlowes' Locker (Dir. Andrew James Mitchell), The Only Way (Dir. Mike Coleman), Timmy's Playdate (Dir. Rudi Silva), Take Care of Emily (Dir. Nick Rapuano), which is currently experiencing a successful festival run, Life (Dir. Johanna Nystroem), which premiered at the Cannes Film Festival in 2018, and, of course Slipping into Darkness (Dir. Alex Ferrufino), which is currently on all HBO platforms. In 2018, Paul won Best Score for his work on The Only Way at the Los Angeles CineFest, and was nominated for Best Score at the Focus International Film Festival for his work on Slipping Into Darkness. Paul also has released several soundtracks on major streaming platforms, as well as two solo albums. He is also writing for Gothic Storm Music, and Elephant Music, two major music publishers. Along with his writing partner, Ennio Tangocci, the duo are launching a music production house called Age of Symphony, aimed to provide music film TV, film, and advertisements. Currently, Paul is set to release his third independent studio album, titled Death is Beautiful, a concept album with a fictional backstory touching on the subjects of depression, love, anxiety, addiction, and, of course, death. Stop by Paul's YouTube: https://www.youtube.com/c/PaulZambranoCreations/featured Paul on Instagram: https://www.instagram.com/paulzambrano360/ All of Paul's latest music can be found here: https://solo.to/paulzambrano360 Paul's Website: https://paulmyleszambrano.com/ Thanks for coming on the show, Paul! All the best on your creative endeavors! -- Arts Calling is produced by Jaime Alejandro at cruzfolio.com. If you like the show: consider reviewing and sharing the podcast, your support truly makes a difference! Check us out for more podcasts about the arts and original content! Make art. Much love, j