The WSJ has a piece on Herrmann's rejected score of Torn Curtain. It is in their "Masterpiece" column where they exam one work of art, painting, book, building etc.
The WSJ has a piece on Herrmann's rejected score of Torn Curtain. It is in their "Masterpiece" column where they exam one work of art painting, book, building etc.
I must say that the Joel McNeely recording of this score is one of my absolute least favorite re-recordings of any Herrmann score. Even in its most aggressive passages, it just sort of "sits there." Plus, it sounds like it was recorded in a cave. It's just all reverb and no detail.
Not exactly.The article is in the review section and at end cites book "Hitchcock’s Music” (Yale University Press)". Not about a great work of art. I've read those articles. What's interesting is if Google same columinist has written about Hitchcock and Herrmann before.
Not exactly.The article is in the review section and at end cites book "Hitchcock’s Music” (Yale University Press)". Not about a great work of art. I've read those articles. What's interesting is if Google same columinist has written about Hitchcock and Herrmann before.. ? The author of the article Jack Sullivan wrote the book "Hitchcock's Music". I am glad the consensus is that the Bernstein Torn Curtain is the one to own that's the one I have.
From what I've been able to ascertain, only the following cues were recorded:
Main Title The Ship The Radiogram The Hotel The Phone The Book The Travel Desk The Blurring The Murder
I'm more interested in how much Herrmann composed for TORN CURTAIN.
Herrmann wrote the entire score, except for an end title. The whole score (minus only two short cues) is on the Varese McNeely re-recording. One of the cues missing from that recording ("The Bicycles") IS on the Elmer Bernstein re- recording. So, basically, we are only missing a 0:16 cue called "Backdoor").
