A Heart at Fire's Center: The Life and Music of Bernard HerrmannUniversity of California Press, 31 may 2002 - 429 páginas No composer contributed more to film than Bernard Herrmann, who in over 40 scores enriched the work of such directors as Orson Welles, Alfred Hitchcock, François Truffaut, and Martin Scorsese. In this first major biography of the composer, Steven C. Smith explores the interrelationships between Herrmann's music and his turbulent personal life, using much previously unpublished information to illustrate Herrmann's often outrageous behavior, his working methods, and why his music has had such lasting impact. From his first film (Citizen Kane) to his last (Taxi Driver), Herrmann was a master of evoking psychological nuance and dramatic tension through music, often using unheard-of instrumental combinations to suit the dramatic needs of a film. His scores are among the most distinguished ever written, ranging from the fantastic (Fahrenheit 451, The Day the Earth Stood Still) to the romantic (Obsession, The Ghost and Mrs. Muir) to the terrifying (Psycho). Film was not the only medium in which Herrmann made a powerful mark. His radio broadcasts included Orson Welles's Mercury Theatre on the Air and The War of the Worlds. His concert music was commissioned and performed by the New York Philharmonic, and he was chief conductor of the CBS Symphony. Almost as celebrated as these achievements are the enduring legends of Herrmann's combativeness and volatility. Smith separates myth from fact and draws upon heretofore unpublished material to illuminate Herrmann's life and influence. Herrmann remains as complex as any character in the films he scored—a creative genius, an indefatigable musicologist, an explosive bully, a generous and compassionate man who desperately sought friendship and love. Films scored by Bernard Herrmann: Citizen Kane, The Ghost and Mrs. Muir, Vertigo, Psycho, Fahrenheit 451, Taxi Driver, The Magnificent Ambersons, The Man Who Knew Too Much, North By Northwest, The Birds, The Snows of Kilimanjaro, Cape Fear, Marnie, Torn Curtain, among others |
Índice
| 1 | |
| 5 | |
| 7 | |
| 21 | |
THREE | 42 |
FOUR | 59 |
FIVE | 71 |
SIX | 85 |
TWELVE | 236 |
THIRTEEN | 267 |
FOURTEEN | 292 |
London 19711975 | 309 |
FIFTEEN | 311 |
SIXTEEN | 319 |
SEVENTEEN | 336 |
Postlude | 357 |
SEVEN | 110 |
EIGHT | 131 |
Hollywood 19511971 | 161 |
NINE | 163 |
TEN | 191 |
ELEVEN | 219 |
The Music of Bernard Herrmann | 365 |
Notes | 377 |
Selected Bibliography | 401 |
Index | 405 |
Otras ediciones - Ver todo
A Heart at Fire's Center: The Life and Music of Bernard Herrmann Steven C. Smith Vista previa restringida - 1991 |
A Heart at Fire's Center: The Life and Music of Bernard Herrmann Steven C. Smith Vista previa restringida - 2002 |
A Heart at Fire's Center: The Life and Music of Bernard Herrmann Steven C. Smith No hay ninguna vista previa disponible - 2002 |
Términos y frases comunes
album notes Alfred Hitchcock Alfred Newman American asked Barbirolli bass Benny Benny's Bernard Herrmann Bernie brass broadcast cinema Citizen Kane clarinet color composer composer's concert conducting conductor Copland Corwin David Raksin death Decca director dramatic English favorite film music film scores film's finally Hall harp heard Herr Herrmann's music Herrmann's score Hitch Hollywood Houseman Ibid Ives Jane Eyre Joan Greenwood John later letter to BH listening London Louis Herrmann Lucille Fletcher mann mann's Miklós Rózsa mins Moby Dick Moross movie musicians never Norma Shepherd Norman Corwin opera orchestra Orson performance Philharmonic piano picture piece play players prelude premiere Psycho Quoted radio Raksin Reardon recalled recording Rózsa scene Scorsese screen script Selznick sequence song sound Stokowski strings studio Symphony television theme things told Torn Curtain Truffaut violin wanted woodwinds write wrote Wuthering Heights York young ZADOR
Pasajes populares
Página v - Near the snow, near the sun, in the highest fields See how these names are feted by the waving grass And by the streamers of white cloud And whispers of wind in the listening sky. The names of those who in their lives fought for life, Who wore at their hearts the fire's centre. Born of the sun they travelled a short while towards the sun, And left the vivid air signed with their honour.
Página 21 - Our day of dependence, our long apprenticeship to the learning of other lands, draws to a close. The millions that around us are rushing into life cannot always be fed on the sere remains of foreign harvests.
Página 11 - A man who has been the indisputable favorite of his mother keeps for life the feeling of a conqueror, that confidence of success that often induces real success.
Página 65 - ... minutes short.) After that, with only a few minutes to go, there was a final frenzy of correction and reparation, of utter confusion and absolute horror, aggravated by the gobbling of sandwiches and the bolting of oversized milk-shakes.
Página 319 - Sir, I love the acquaintance of young people; because, in the first place, I don't like to think myself growing old. In the next place, young acquaintances must last longest, if they do last; and then, Sir, young men have more virtue than old men ; they have more generous sentiments in every respect. I love the young dogs of this age, they have more wit and humour and knowledge of life than we had; but then the dogs are not so good scholars.
Página 233 - Into my heart an air that kills From yon far country blows: What are those blue remembered hills, What spires, what farms are those? That is the land of lost content, I see it shining plain, The happy highways where I went And cannot come again.
Página 66 - A few moments later Carl Phillips lay dead, tumbling over the microphone in his fall— one of the first victims of the Martian Ray. There followed a moment of absolute silence— an eternity of waiting. Then, without warning, the network's emergency fill-in was heard— somewhere in a quiet studio, a piano, close on mike, playing "Clair de Lune," soft and sweet as honey, for many seconds, while the fate of the universe hung in the balance.
Página 67 - the counties of Mercer and Middlesex as far west as Princeton and east to Jamesburg" under Martial Law! Tension — release — then renewed tension. For soon after that came an eyewitness account of the fatal battle of the Watchung Hills; and then, once again, that lone piano was heard — now a symbol of terror, shattering the dead air with its ominous tinkle. As it played, on and on, its effect became increasingly sinister — a thin band of suspense stretched almost beyond endurance. That piano...
Página 80 - It was a delightful pastiche. From a telegram sent by Welles to Herrmann on July 18, 1940, just a few days before shooting began on Kane: Opera sequence is early in shooting, so must have fully orchestrated recorded track before shooting. Susie sings as curtain goes up in the first act, and I believe there is no opera of importance where soprano leads with chin like this. Therefore suggest it be original ... by you — parody on typical Mary Garden vehicle. . . . Suggest Salammbo which gives us phony...
Página 146 - Stormy, through driving mist, Loom the blurr'd hills ; the rain Lashes the newly-made grave. Unquiet souls ! — In the dark fermentation of earth, In the never idle workshop of nature, In the eternal movement, Ye shall find yourselves again ! RUGBY CHAPEL NOVEMBER, 1857 COLDLY, sadly descends The autumn-evening.
Referencias a este libro
Jazz Noir: Listening to Music from "Phantom Lady" to "The Last Seduction" David Butler No hay ninguna vista previa disponible - 2002 |