God's Gift of Music: Movie Soundtrack/ TV Theme Song Composer Bernard Hermann

Bernard Herrmann: Music For The Movies (1992)

Video from Randall Rudd


"A documentary about history's most talented individuals in the movie business." from video introduction.


BERNARD HERRMANN

"Bernard Herrmann (born Maximillian Herman; June 29, 1911 – December 24, 1975) was an American composer and conductor best known for his work in composing for films. As a conductor, he championed the music of lesser-known composers. He is widely regarded as one of the greatest film composers. An Academy Award-winner (for The Devil and Daniel Webster, 1941; later renamed All That Money Can Buy), Herrmann mainly is known for his collaborations with director Alfred Hitchcock, most famously Psycho, North by Northwest, The Man Who Knew Too Much, and Vertigo. Read more on Wikipedia

Since 2007, the English Wikipedia page of Bernard Herrmann has received more than 1,219,763 page views. His biography is available in 37 different languages on Wikipedia (up from 36 in 2019). Bernard Herrmann is the 236th most popular composer (up from 286th in 2019), the 1,074th most popular biography from United States (up from 1,226th in 2019) and the 13th most popular American Composer.." from the website: Pantheon World


Citizen Kane Opening (Music by Bernard Herrmann)

Video from gyptheblood


The Soundtrack to "Citizen Kane was Bernard Herrmann's first movie soundtrack.


Bernard Herrmann: Citizen Kane’s Other Genius Outsider

"What is there left to say about Citizen Kane?

It’s got to be one of the most written about movies of all time. Whether in books about Kane itself or biographies of Welles, of which there are a bunch, or the biographies of others who figured in its making—a remarkable array of talent in all film-related fields—the movie and its making have been remembered, chronicled, appraised, analyzed, lauded, slammed, poked, inflated (“the best Hollywood movie ever made!,” which I believe has done more to make the movie inaccessible than any negative comment ever could, because it invites people to say, O come on). There are movies about its making, most recently last year’s Mank.

Orson Welles died in 1985, and even though he was laid to rest 36 years ago, he still provokes intensely passionate responses, positive and negative. I’ve ended conversations before things got ugly with friends who hate the guy’s guts, and I’m talking about movie people I really respect, who are aghast because I don’t share their hatred for the guy.

His movie debut, 80 years old this year, is as polarizing as he is. It has been since before its premiere in May, 1941, which almost didn’t happen at all—wouldn’t have happened if William Randolph Hearst had his way. Hearst’s Cosmopolitan Pictures were distributed by MGM, and to placate Hearst, Louis B. Mayer almost had the negative burned (honestly, I’m not sure how that would have worked, since it wasn’t an MGM movie). No Hearst paper would review Kane, and at the time Hearst owned hundreds of newspapers around the country, much like Charles Foster Kane had in his fictional heyday. And Hearst, a media titan who in many ways laid the groundwork for the benighted media landscape we live with today, wasn’t any shyer about using his power to shape events than his [partial] fictional counterpart.

I was 12 years old when I first saw Kane, at a film society screening that had exactly one other viewer. I was a burgeoning old-movie nerd but hadn’t yet heard of Kane, and it dazzled me. I had no idea you could do these things in a movie. It was beautiful and exciting and audacious, sometimes very funny. As some of us said back in those days, it really blew my mind.

And in decades since, I have seen it many, many times. Now, tbf, I watch lots of movies over and over, but Kane is among those that always reward another look. Forty-one years after that first exposure, Kane still reveals something new every time I watch it..." from the article: Bernard Herrmann: Citizen Kane’s Other Genius Outsider

Taxi Driver (1976) - Music Video - New York City at Night

Video from Flying Dutchman

'I focused this video mainly on the night scenes of Travis driving around in his taxi at night in New York City. NYC in the 1970s was definitely a totally different place, not Disnleyland as it is today. Dark, gritty, dirty, dangerous. Movie: Taxi Driver (1976) Music: Taxi Driver Theme - Bernard Herrmann Copyright Disclaimer: Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use." from video introduction.


This was my introduction to the music of Bernard Herrmann in 1976 when Taxi Driver Came out. It remains my favorite movie theme music. The movie itself has beautiful cinematography built around a very dark and disturbed community and individuals.

The soundtrack to "Taxi Driver" was Bernard Herrmann's last soundtrack before his death. -Andy


The Twilight Zone-Bernard Herrmann's Scores-End Title

Video from TimeandMonotony

"End theme for season one of The Twilight Zone. Music composed by Bernard Herrmann and conducted by Joel McNeely. NO COPYRIGHT INFRINGEMENT INTENDED." from video introduction.


For you Twilight Zone fans you will appreciate Bernard Herrmann's end title for the TV show. - Andy


"Television scores

Herrmann's work for television includes scores for such westerns as Cimarron Strip, Gunsmoke, Rawhide, Have Gun – Will Travel, as well as the 1968 suspense TV movie Companions in Nightmare.[citation needed]

For The Twilight Zone:

  • Opening and closing themes (used only during the 1959-1960 season)

  • Where Is Everybody? (first aired October 2, 1959)

  • Walking Distance (first aired October 30, 1959)

  • The Lonely (first aired November 13, 1959)

  • Eye of the Beholder (first aired November 11, 1960)

  • Little Girl Lost (first aired March 16, 1962)

  • Living Doll (first aired November 1, 1963)

For the Alfred Hitchcock Hour:

  • A Home Away from Home (first aired September 27, 1963)

  • Terror at Northfield (first aired October 11, 1963

  • You'll Be the Death of Me (first aired October 18, 1963)

  • Nothing Ever Happens in Linvale (first aired November 8, 1963)

  • The Jar (first aired February 14, 1964)

  • Behind the Locked Door (first aired March 27, 1964

  • Body in the Barn (first aired July 3, 1964)

  • Change of Address (first aired October 12, 1964)

  • Water's Edge (first aired October 19, 1964)

  • The Life Work of Juan Diaz (first aired October 26, 1964)

  • The McGregor Affair (first aired November 23, 1964)

  • Misadventure (first aired December 7, 1964)

  • Consider Her Ways (first aired December 28, 1964)

  • Where the Woodbine Twineth (first aired January 11, 1965)

  • An Unlocked Window (first aired February 15, 1965)

  • Wally the Beard (first aired March 1, 1965)

  • Death Scene (first aired March 8, 1965) .." from Wikipedia


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