This believe that this review stated that the conductor (Mancuri?) had to reconstruct the score for the PSYCHO "Narrative for String Orchestra". I thought this was an established published score, often performed.
I was not very impressed with these performances. For Souvenirs de Voyages, my preference is The Nash Ensemble on Hyperion label (2014 recording). And the Psycho Narrative For Orchestra performance is stodgy. Much better is Herrmann's own version on his "Great Movie Thrillers" album (Phase 4). I even prefer the sound of that 1968 recording (as presented by Vocalion label) over the Naxos.
I completely agree. The performances of these works are just OK.
I will note that prestomusic.com lists among their future releases a 7 CD Decca set of Herrmann film music to be released on 6/25. No details given. I am guessing that these are his Phase 4 film music recordings.
I will note that prestomusic.com lists among their future releases a 7 CD Decca set of Herrmann film music to be released on 6/25. No details given. I am guessing that these are his Phase 4 film music recordings.
The best selection on this new release is the “world premiere” recording of Herrmann's Walt Whitman. The music is wonderful despite a questionable performance by the speaker. For pure joy listen from 11:58 for tender Herrmann and beautiful text read by the original speaker- Charles Laughton: https://youtu.be/1mWcCMoUQOY
This believe that this review stated that the conductor (Mancuri?) had to reconstruct the score for the PSYCHO "Narrative for String Orchestra". I thought this was an established published score, often performed.
Mauceri doesn't conduct this disc, though he DOES conduct the premiere recording of the work (or at least the 'restored' version) on this disc https://toccataclassics.com/product/music-for-alfred-hitchcock/ You can read a bit more in the booklet downloadable there.
Herrmann created the Narrative for the December 1968 recording with Decca for the "Great Movie Thrillers" LP.
He literally used the original manuscript of Psycho and took scissors to cut and paste it to create the suite ("Narrative").
Parts for the recording were then created, I guess, by Richard 'Tony' Arnell and his team of students. Arnell was his go-to guy for parts creation in London before Gerhardt and Palmer arrived on the scene. These parts are probably long discarded or in some deep archive of Decca/UMG in London.
Herrmann gave the manuscript suite to his wife, Norma.
Apart from the gifted manuscripts, all his personal handwritten scores went to the UCSB in the early 80s.
The Psycho manuscript at the USCB consists of all the cues not used in the suite, these only exist as photocopies at the UCSB. The suite manuscript is still in the possession of Norma Herrmann.
When film music concerts became a commercial thing there was suddenly a market for a Psycho Suite.
The easy option was to use some cues in the beginning. Then Chris Husted tried his hands on re-creating the Narrative, but in 1999 it was replaced by the Mauceri version who also corrected some things in 2013.
The best selection on this new release is the “world premiere” recording of Herrmann's Walt Whitman. The music is wonderful despite a questionable performance by the speaker. For pure joy listen from 11:58 for tender Herrmann and beautiful text read by the original speaker- Charles Laughton: https://youtu.be/1mWcCMoUQOY
Thanks, Lacoq!
Although it probably would have been way too costly for Naxos (or most other classical labels), in my ideal universe they would have utilized the same modern technology whereby live orchestras accompany classic talking pictures, combining Laughton's voice with the new musical recording.
Although it probably would have been way too costly for Naxos (or most other classical labels), in my ideal universe they would have utilized the same modern technology whereby live orchestras accompany classic talking pictures, combining Laughton's voice with the new musical recording.
Although it probably would have been way too costly for Naxos (or most other classical labels), in my ideal universe they would have utilized the same modern technology whereby live orchestras accompany classic talking pictures, combining Laughton's voice with the new musical recording.
And probably tank sales. So there's that too.
I doubt that the actor used for the new recording would supersede Charles Laughton in name recognition even though Laughton is “old school”. So how would Preston's great idea “tank” sales?
