Editing Bernard Herrmann (section)

==Legacy and recording==
Herrmann is still a prominent figure in the world of film music today, despite his death in 1975. As such, his career has been studied extensively by biographers and documentarians. His string-only score for ''[[Psycho (1960 film)|Psycho]]'', for example, set the standard when it became a new way to write music for thrillers (rather than big fully orchestrated pieces). In 1992, the documentary ''[[Music for the Movies: Bernard Herrmann]]'' was made about him. It was nominated for the [[Academy Award for Best Documentary Feature]]. Also in 1988, Bruce Crawford produced a {{frac|2|1|2}}-hour-long [[National Public Radio]] documentary on his life&nbsp;– ''Bernard Herrmann: A Celebration of His Life and Music''.<ref>[http://www.bernardherrmann.org/articles/present-celebration-broadcast ''Bernard Herrmann: A Celebration of His Life and Music''], bernardherrmann.org</ref> In 1991, Steven C. Smith wrote a Herrmann biography titled ''A Heart at Fire's Center'',{{sfn|Smith|1991}} a quote from a favorite [[Stephen Spender]] poem of Herrmann.

His music continues to be used in films and recordings after his death. On the 1977 album ''[[Ra (Utopia album)|Ra]],'' American [[progressive rock]] group [[Utopia (band)|Utopia]] adapted Herrmann's "Mountain Top/Sunrise" from [[Journey to the Center of the Earth (1959 film)|''Journey to the Center of the Earth'']] in a rock arrangement, as the introduction to the album's opening song, "Communion With The Sun". The 1990s saw two iconic Herrmann scores adapted for remakes: celebrated composer [[Elmer Bernstein]] adapted and expanded Herrmann's music for Martin Scorsese's update of ''[[Cape Fear (1962 film)|Cape Fear]],'' expanding the score to include music from Herrmann's rejected score to ''[[Torn Curtain]]'',<ref>{{Cite web|url=https://www.filmtracks.com/titles/cape_fear.html|title=Editorial Review: Cape Fear (1991 Re-recording)|date=April 9, 2006|website=[[Filmtracks]]|access-date=October 23, 2019}}</ref> and similarly, though more faithful to the original material, film composer [[Danny Elfman]] and orchestrator [[Steve Bartek]] adapted Herrmann's full ''Psycho'' score for director [[Gus Van Sant]]'s shot-for-shot [[Psycho (1998 film)|remake]].<ref>{{Cite web|url=https://www.filmtracks.com/titles/psycho98.html|title=Review: Psycho (1998) (Bernard Herrmann/Danny Elfman/Steve Bartek)|author=<!--Not stated-->|date=November 27, 2009|website=FilmTracks|access-date=October 7, 2019|quote=So loyal is Elfman (and cohort Steve Bartek) to Herrmann's original intent that he succeeded better than anyone else at re-recording the work.}}</ref> "Georgie's Theme" from Herrmann's score for the 1968 film ''[[Twisted Nerve]]'' is whistled by assassin Elle Driver in the hospital corridor scene in [[Quentin Tarantino]]'s ''[[Kill Bill: Volume 1]]'' (2003). 2011 saw several uses of Herrmann's music from ''Vertigo:'' the opening theme was used in the prologue to [[Lady Gaga]]'s video for "[[Born This Way (song)|Born This Way]]" and during a flashback sequence in the pilot episode of FX's ''[[American Horror Story]]'' (which featured "Georgie's Theme" in later episodes as a recurring musical motif for the character of Tate), and [[Ludovic Bource]] used the love theme in the last reels of ''[[The Artist (film)|The Artist]]''. ''Vertigo''{{'s}} opening sequence was also copied for the opening sequence of the 1993 miniseries, [[Tales of the City (1993 miniseries)|''Tales Of The City'']], an adaptation of the first in a series of books by [[Armistead Maupin]]. More recently, the first and fourth episodes of Amazon Prime's 2018 streaming series ''[[Homecoming (TV series)|Homecoming]]'' used cues from Herrmann's ''Vertigo'' and ''[[The Day the Earth Stood Still]]'' respectively.<ref>{{Cite web|url=https://www.indiewire.com/2018/11/homecoming-score-classic-thriller-movie-soundtracks-sam-esmail-complete-list-1202018145/|title='Homecoming': All the Classic Movie Soundtracks In the Series – And Why Sam Esmail Used Them|last=O'Falt|first=Chris|date=November 5, 2018|website=[[IndieWire]]|language=en|access-date=October 23, 2019}}</ref>

Herrmann's film music is well represented on disc. His friend, John Steven Lasher, has produced several albums featuring [[Urtext edition|Urtext]] recordings, including ''[[Battle of Neretva (film)|Battle of Neretva]],'' ''[[Citizen Kane]],'' ''[[The Kentuckian (1955 film)|The Kentuckian]],'' ''[[The Magnificent Ambersons (film)|The Magnificent Ambersons]],'' ''[[The Night Digger]]'' and ''[[Sisters (1972 film)|Sisters]],'' under various labels owned by Fifth Continent Australia Pty Ltd.

Herrmann was an early and enthusiastic proponent of the music of [[Charles Ives]]. He met Ives in the early 1930s, performed many of his works while conductor of the [[CBS Symphony Orchestra]], and conducted Ives' [[Symphony No. 2 (Ives)|Second Symphony]] with the [[London Symphony Orchestra]] on his first visit to London in 1956. Herrmann later made a recording of the work in 1972 and this reunion with the LSO, after more than a decade, was significant to him for several reasons – he had long hoped to record his own interpretation of the symphony, feeling that [[Leonard Bernstein]]'s 1951 version was "overblown and inaccurate"; on a personal level, it also served to assuage Herrmann's long-held feeling that he had been snubbed by the orchestra after his first visit in 1956. The notoriously prickly composer had also been enraged by the recent appointment of the LSO's new chief conductor [[André Previn]], who Herrmann detested, and deprecatingly referred to as "that jazz boy".{{sfn|Smith|2002|page=316}}

Herrmann was also an ardent champion of the romantic-era composer [[Joachim Raff]], whose music had fallen into near-oblivion by the 1960s. During the 1940s, Herrmann had played Raff's 3rd and 5th Symphonies in his CBS radio broadcasts. In May 1970, Herrmann conducted the world premiere recording of Raff's Fifth Symphony ''Lenore'' for the Unicorn label, which he mainly financed himself.{{sfn|Smith|2002|page=299}} The recording did not attract much notice in its time, despite receiving excellent reviews, but is now considered a major turning-point in the rehabilitation of Raff as a composer.

In 1996, [[Sony Classical]] released ''The Film Scores,'' a recording of Herrmann's music performed by the [[Los Angeles Philharmonic]] under the baton of [[Esa-Pekka Salonen]]. This disc received the 1998 Cannes Classical Music Award for Best 20th-Century Orchestral Recording. It was also nominated for the 1998 [[Grammy Award]] for Best Engineered Album, Classical.

[[Decca Records|Decca]] reissued on CD a series of [[Phase 4 Stereo]] recordings with Herrmann conducting the [[London Philharmonic Orchestra]], mostly in excerpts from his various film scores, including one devoted to music from several of the Hitchcock films (including ''Psycho'', ''Marnie'' and ''Vertigo''). In the liner notes of the Hitchcock Phase 4 album, Herrmann said that the suite from ''[[The Trouble with Harry]]'' was a "portrait of Hitch". Another album was devoted to his fantasy film scores – a few of them being the films of the special effects animator Ray Harryhausen, including music from ''The Seventh Voyage of Sinbad'' and ''The Three Worlds of Gulliver.'' His other Phase 4 Stereo LPs of the 1970s included ''Music from the Great Film Classics'' (suites and excerpts from ''Jane Eyre'', ''[[The Snows of Kilimanjaro (1952 film)|The Snows of Kilimanjaro]]'', ''Citizen Kane'' and ''The Devil and Daniel Webster''); and "The Fantasy World of Bernard Herrmann" (''Journey to the Center of the Earth'', ''The Day the Earth Stood Still'', and ''Fahrenheit 451''.)

[[Charles Gerhardt (conductor)|Charles Gerhardt]] conducted a 1974 RCA recording titled ''The Classic Film Scores of Bernard Herrmann'' with the [[National Philharmonic Orchestra]]. It featured suites from ''Citizen Kane'' (with [[Kiri Te Kanawa]] singing Salammbo's Aria) and ''[[White Witch Doctor]]'', along with music from ''[[On Dangerous Ground]]'', ''[[Beneath the 12-Mile Reef]]'', and the ''[[Hangover Square]]'' piano concerto.

During his last years in England, between 1966 and 1975, Herrmann made several LPs of other composers' music for assorted record labels. These included Phase 4 Stereo recordings of Gustav Holst's ''The Planets'' and Charles Ives's 2nd Symphony, as well as an album titled "The Impressionists" (music by Satie, Debussy, Ravel, Fauré and Honegger) and another titled "The Four Faces of Jazz" (works by Weill, Gershwin, Stravinsky and Milhaud). As well as recording his own film music in Phase 4 Stereo, he made LPs of movie scores by others, such as ''Great Shakespearean Films'' (music by Shostakovich for ''Hamlet'', Walton for ''Richard III'' and Rózsa for ''Julius Caesar''), and ''Great British Film Music'' (movie scores by Lambert, Bax, Benjamin, Walton, Vaughan Williams, and Bliss).

For Unicorn Records, he recorded several of his own concert-hall works, including the cantata ''[[Moby Dick (cantata)|Moby Dick]]'', his opera ''[[Wuthering Heights (Herrmann)|Wuthering Heights]]'', his symphony, and the suites ''Welles Raises Kane'' and ''[[The Devil and Daniel Webster (film)|The Devil and Daniel Webster]]''.

[[Pristine Audio]] released two CDs of Herrmann's radio broadcasts. One is devoted to a CBS program from 1945 that features music by Handel, Vaughan Williams and Elgar; the other features works by Charles Ives, Robert Russell Bennett and Herrmann.

===Influences and legacy===
The works of Herrmann are widely studied, imitated and performed to this very day. His work has left a profound influence on composers of film music that followed him, the most notable being [[John Williams]],<ref>{{Cite web|url=https://www.newyorker.com/culture/persons-of-interest/the-force-is-still-strong-with-john-williams|title = The Force is Still Strong with John Williams|website=Newyorker.com|date = 21 July 2020}}</ref> [[Elmer Bernstein]],<ref>{{Cite web|url=http://www.bernardherrmann.org/articles/interview-bernstein/|title=Talk on the Wild Side – Elmer Bernstein remembers his friend Bernard Herrmann|website=Bernardherrmann.org|access-date=11 September 2021}}</ref> [[Jerry Goldsmith]],<ref>{{Cite web|url=http://www.bernardherrmann.org/articles/event-sevilla_1998/|title = Goldsmith in Sevilla – the Bernard Herrmann Society|website=Bernardherrmann.org}}</ref><ref>{{Cite news |url=https://www.washingtonpost.com/entertainment/music/daring-and-original-bernard-herrmann-changed-movie-music/2011/06/21/AGG0YXjH_story.html |title=Daring and original, Bernard Herrmann changed movie music|newspaper=[[The Washington Post]] |access-date=2021-04-24 |archive-date=2021-01-29 |archive-url=https://web.archive.org/web/20210129121939/https://www.washingtonpost.com/entertainment/music/daring-and-original-bernard-herrmann-changed-movie-music/2011/06/21/AGG0YXjH_story.html |url-status=dead }}</ref> [[Howard Shore]], [[Lalo Schifrin]],<ref>{{Cite web|url=https://www.yourclassical.org/episode/2020/06/21/lalo-schifrin|title = Lalo Schifrin|website=Yourclassical.org| date=21 June 2020 }}</ref> [[James Horner]],<ref>{{Cite web|url=http://jameshorner-filmmusic.com/conversation-james-horner/|title = Conversation with James Horner|website=Jameshorner-filmmusic.com|date = 4 December 2014}}</ref> [[Carter Burwell]]<ref>{{Cite web|url=https://www.popmatters.com/carter-burwell-interview-2637556039.html|title = Film Composer Carter Burwell Provides the Missing Link to Chris Butler's 'Missing Link'|website=Popmatters.com| date=23 May 2019 }}</ref> and others. [[Stephen Sondheim]] found Herrmann to be a primary influence after seeing the film ''[[Hangover Square]]''.<ref>{{Cite web|url=http://www.bernardherrmann.org/articles/blog-herrmann100/2/|title = The Classic Film Scores of Bernard Herrmann – the Bernard Herrmann Society|website=Bernardherrmann.org}}</ref>

Popular film composer [[Danny Elfman]] counts Herrmann as his biggest influence, and has said hearing Herrmann's score to ''The Day the Earth Stood Still'' when he was a child was the first time he realized the powerful contribution a composer makes to the movies.<ref>{{Cite web|url=https://www.hollywoodreporter.com/news/composers-talk-film-scores-83073|title=Composers talk film scores|date=April 28, 2009|website=The Hollywood Reporter|language=en|access-date=October 20, 2019}}</ref> [[Pasticcio|Pastiche]] of Herrmann's music can be heard in Elfman's score for ''[[Pee-wee's Big Adventure|Pee-Wee's Big Adventure]],'' specifically in the cues "Stolen Bike" and "Clown Dream", which reference Herrmann's "The Murder" from ''Psycho'' and "The Duel With the Skeleton" from ''[[The 7th Voyage of Sinbad|7th Voyage of Sinbad]]'' respectively.<ref>{{Cite web|url=https://www.filmtracks.com/titles/pee_wee.html|title=Editorial Reviews: Pee-wee's Big Adventure|author=<!--Not stated-->|date=May 26, 2011|website=[[Filmtracks]]|access-date=October 23, 2019|quote=...'Stolen Bike' is perhaps the clearest emulation of Herrmann's fearful tone from Psycho to ever exist (until Elfman ironically re-recorded the classic score in full over a decade later for the remake).}}</ref><ref>{{Cite web|url=https://fanfarearchive.com/articles/atop/13_2/1320030.aa_Danny_Elfman_Wunderkind_Filmmusic.html|title=Danny Elfman: Wunderkind of Filmmusic – A Profile|date=Nov–Dec 1989|format=subscription|access-date=September 25, 2019|quote=As for the Herrmann touch, Elfman was able to draw from that reservoir in some of the film's more inspires dream sequences. 'There was some strange and wonderful music of Herrmann's that influenced me, in particular, Jason and the Argonauts, The Seventh Voyage of Sinbad, and Mysterious Island.'}} [http://www.boingo.org/articles/FanfareArticle.html Alt URL]</ref> The prelude for Elfman's main ''[[Batman (1989 film)|Batman]]'' theme references Herrmann's "Mountain Top / Sunrise" from ''Journey to the Center of the Earth'', and the [[Joker (character)|Joker]] character's "fate motif" heard throughout the score is inspired by Herrmann's ''Vertigo.''<ref>{{Cite web|url=https://www.filmtracks.com/titles/batman.html|title=Editorial Review: Batman|author=<!--Not stated-->|date=August 29, 1997|website=[[Filmtracks]]|access-date=October 23, 2019}}</ref><ref>{{Cite podcast|url=http://www.artofthescore.com.au/podcast/2017/7/23/episode-10-batman|title=Episode 10: Batman|website=Art of the Score|date=July 23, 2017|time=1:01:30|access-date=October 23, 2019}}</ref> More integral homage can be heard in Elfman's later scores for ''[[Mars Attacks!]]'' and ''[[Hitchcock (film)|Hitchcock]],'' the latter based on Hitchcock's creation of ''Psycho,'' as well as the "Blue Strings" movement of Elfman's first concert work ''[[Serenada Schizophrana]]''.

In addition to Elfman, fellow film composers [[Richard Band]], [[Graeme Revell]], [[Christopher Young]], [[Alexandre Desplat]] and [[Brian Tyler]] consider Herrmann to be a major inspiration. In 1985, [[Richard Band]]'s opening theme to ''[[Re-Animator]]'' borrows heavily from Herrmann's opening score to ''Psycho''. In 1990, [[Graeme Revell]] had adapted Herrmann's music from ''Psycho'' for its television sequel-prequel ''[[Psycho IV: The Beginning]]''. Revell's early orchestral music during the early nineties, such as ''[[Child's Play 2]]'' (which its music score being reminiscent of Herrmann's scores to the 1973 film ''[[Sisters (1972 film)|Sisters]]'', due to the synthesizers incorporated in the chilling parts of the orchestral score) as well as the 1963 ''The Twilight Zone'' episode "[[Living Doll (The Twilight Zone)|Living Doll]]" (which inspired the ''Child's Play'' franchise), were very similar to Herrmann's work. Also, Revell's score for the video game ''[[Call of Duty 2]]'' was reminiscent of Herrmann's rare WWII music scores such as ''[[The Naked and the Dead (film)|The Naked and the Dead]]'' and ''[[Battle of Neretva (film)|Battle of Neretva]]''. Young, who was a [[jazz drummer]] at first, listened to Herrmann's works which convinced him to be a film composer. Tyler's score for [[Bill Paxton]]'s film ''[[Frailty (2001 film)|Frailty]]'' was influenced by Herrmann's film music.

Sir [[George Martin]], best known for producing and often adding orchestration to [[the Beatles]] music, cites Herrmann as an influence in his own work, particularly in Martin's scoring of the Beatles' song "[[Eleanor Rigby]]". Martin later expanded on this as an extended suite for McCartney's 1984 film ''[[Give My Regards to Broad Street (film)|Give My Regards to Broad Street]]'', which features a very recognizable homage to Herrmann's score for ''Psycho''.

Avant-garde composer/saxophonist/producer [[John Zorn]], in the biographical film ''[[A Bookshelf on Top of the Sky: 12 Stories About John Zorn|A Bookshelf on Top of the Sky]]'', cited Bernard Herrmann as one of his favorite composers and a major influence.

In addition to adapting and expanding the original score from ''[[Cape Fear (1962 film)|Cape Fear]]'' for the [[Martin Scorsese]] remake, [[Elmer Bernstein]] recorded Herrmann's score for ''[[The Ghost and Mrs. Muir]]'', released in 1975 on the Varèse Sarabande label and later reissued on CD in the 1990s.

[[David Thomson (film critic)|David Thomson]] calls him the greatest film composer, writing: "Herrmann knew how lovely the dark should be, and he was at his best in rites of dismay, dark dreams, introspection, and the gloomy romance of loneliness. No one else would have dared or known to make the score for ''Taxi Driver'' such a lament for impossible love... Yet the score for ''Taxi Driver'' is universally cinematic: it speaks to sitting in the dark, full of dread and desire, watching."<ref>{{Cite book |last=Thomson |first=David |title=[[The New Biographical Dictionary of Film]] |edition=Fifth |pages=442}}</ref>