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As mentioned in passing above, I also thought specific suites from the Saalonen album were terrific. 451, Vertigo, Psycho, and most especially the aforementioned Torn Curtain, the last of which for me has never sounded as good.
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The Saalonen was for me a mixed bag. The highlights were the longer suites from Psycho and 451. The low point was Taxi Driver, which suffered from that tepid "Film music night at the Pops" approach. But Vertigo was a real disappointment. It lacked the mystery and romance that I pick up in every other version I have. It sounds like it was the last thing recorded at the session, and they did not want to pay the musicians overtime.
I agree, both Vertigo and TD were the weak points.
I must admit though, I actually sold my McNeely Torn Curtain after listening to the Salonen. Nothing on that former rerecording moved me anywhere near as much as the (incomplete) three tracks on the Salonen. Imo Torn Curtain was an obviously unfinished score and I felt the "full treatment" it got might even have angered Bernard (similar to the way JG felt about Not Without My Daughter). There's a lot of underscoring in the full version that dregs up stuff that he recorded in bulk decades before that (source music used a temp track), and likely wouldn't have made the movie as it was.
I could be wrong about any of this...for me TC is one of those rare scores I'm more than happy to have incomplete. Besides, imo, the McNeely recording was in a way like how Onya described the Salonen Taxi Driver suite. A glossy, Pops sounding audio presentation.
But that's just my humble opinion; compare the TC prelude on the McNeely to the one on the Salonen. It's so much more dramatic and necessarily BIG.
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