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Alfred Hitchcock
(Movies & TV)
CBS
(Movies & TV)
John Barbirolli
(Classical_music)
Charles Ives
(Classical_music)
Ralph Vaughan Williams
(Classical_music)
Miklos Rozsa
(Classical_music)
Muir Mathieson
(Music)
 

See also

Bernard Herrmann

Knowledge Identifier: +Bernard_Herrmann

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Bernard Herrmann

American composer known for his work in motion pictures add

Category: Music

Born in 1911.

Countries: United States (38%), United Kingdom (25%), (17%)

Education: undef.

Main connections: Alfred Hitchcock, CBS, John Barbirolli

Linked to: DeWitt Clinton High School, Juilliard School, New York University, Bonhams

 

Timeline


 

This timeline needs to be reviewed and corrected, as it has been automatically generated from multiple web sources.
Please help improve it by adding dated informations, images and videos about Bernard Herrmann.


Bernard Herrmann was born in 1911 add something


1933

Symphony No. 4 (Ives) - An arrangement of this movement by future film composer Bernard Herrmann was performed in New York on May 10, 1933, but Ives's version wasn't performed until the integral premiere of the entire Symphony in 1965


1934

In 1934, Herrmann met a young CBS secretary and aspiring writer, Lucille Fletcher add something

 

In 1934, he joined the Columbia Broadcasting System as a staff conductor add something


1935

The 1935 works were composed before June 1935 add something


1938

The War of the Worlds - He conducted the live performances, including Welles's famous adaptation of H. G. Wells's "The War of the Worlds" broadcast on October 30, 1938, which consisted entirely of pre-existing music add something


1939

The couple finally married on October 2, 1939 add something


1940

CBS Symphony Orchestra - He met Ives in the early 1940s, performed many of his works while conductor of the CBS Symphony Orchestra, and conducted the world premiere performance of Ives' Second Symphony with the London Symphony Orchestra on his first visit to London in 1956 add something

 

Also during the 1940s, Herrmann's own concert music was taken up and played by such celebrated maestri as Leopold Stokowski, Sir John Barbirolli, Sir Thomas Beecham and Eugene Ormandy add something

 

During the 1940s, Herrmann had played Raff's 3rd and 5th Symphonies in his CBS radio broadcasts add something

 

Herrmann's many US broadcast premieres during the 1940s included Myaskovsky's 22nd Symphony, Gian Francesco Malipiero's 3rd Symphony, Richard Arnell's 1st Symphony, Edmund Rubbra's 3rd Symphony and Ives' 3rd Symphony add something

 

Charles Ives - At this time, Ives was promoted by Bernard Herrmann, who worked as a conductor at CBS and in 1940 became principal conductor of the CBS Symphony Orchestra.


1941

As well as his many film scores, Herrmann wrote several concert pieces, including a symphony in 1941; the opera "Wuthering Heights"; the cantata "Moby Dick" , dedicated to Charles_Ives; and "For the Fallen", a tribute to the soldiers who died in battle in World War II, among others add something

 

He contributed the score to the famed 1941 radio presentation of Fletcher's original story, "The Hitch-Hiker", on the" Orson Welles Show"; and Fletcher helped to write the libretto for his operatic adaptation of "Wuthering Heights" add something


1945

One is devoted to a CBS programme from 1945 that features music by Handel, Vaughan Williams and Elgar; the other is devoted to works by Charles Ives, Robert Russell Bennett and Herrmann himself add something

 

Miklos Rozsa - In 1945, Rózsa was hired to compose the score for Alfred Hitchcock's film "Spellbound", after Bernard Herrmann became unavailable due to other commitments


1947

In 1947, Herrmann scored the atmospheric music for "The Ghost and Mrs. Muir" add something


1950

From the late 1950s to the mid-1960s, Herrmann scored a series of notable mythically themed fantasy films, including "Journey to the Center of the Earth" and the Ray Harryhausen Dynamation epics "Jason and the Argonauts", "Mysterious Island", "The Three Worlds of Gulliver", and "The 7th Voyage of Sinbad" add something


1951

Herrmann's involvement with electronic musical instruments dates back to 1951, when he used the theremin in "The Day the Earth Stood Still" add something

 

In 1951 his score for "The Day the Earth Stood Still" featured the Theremin add something


1958

Muir Mathieson - Mathieson was musical director on films with scores composed by others, most notably on Alfred Hitchcock's "Vertigo" in 1958, where he conducted Bernard Herrmann's score, later releasing an album of the music with the Sinfonia of London


1960

Fellow film composer Danny Elfman adapted Herrmann's music for "Psycho" for use in director Gus Van Sant's 1998 remake and borrowed from Herrmann's "Mountaintop/Sunrise" theme, from "Journey to the Center of the Earth", for his main "Batman" theme add something

 

Herrmann was an ardent champion of the romantic-era composer Joachim Raff, whose music had fallen into near-oblivion by the 1960s add something

 

Revolver (Beatles album) - Martin arranged the track's string octet, drawing inspiration from Bernard Herrmann's 1960 film score for Alfred Hitchcock's "Psycho"


1962

Elmer Bernstein adapted and arranged Herrmann's original score from J. Lee Thompson's "Cape Fear" , and used it for the 1991 Martin Scorsese remake add something


1963

In 1963 Herrmann began writing original music for the CBS-TV anthology series, "The Alfred Hitchcock Hour", which was in its eighth season add something

 

Sinfonia of London - Among the original ensemble's most celebrated commercial classical recordings is its 1963 recordings with Sir John Barbirolli conducting the "Serenade for Strings" of Edward Elgar and the "Fantasia on a Theme of Thomas Tallis" of Ralph Vaughan Williams for EMI Classics and the 1958 soundtrack album from the Alfred Hitchcock thriller "Vertigo" with Bernard Herrmann's score conducted by Muir Mathieson


1964

That marriage lasted 16 years, until 1964 add something


1966

During his last years in England, between 1966 and 1975, Herrmann made several LPs of other composers' music for assorted record labels add something

 

It had a direct influence on producer George Martin's staccato string arrangement for Beatles 1966 smash hit single "Eleanor Rigby" add something

 

John Addison - Addison will be remembered as the composer Alfred Hitchcock turned to when the director ended his long relationship with Bernard Herrmann over the score to his 1966 film "Torn Curtain"

 

Joseph Ward (tenor) - In 1966 he appeared in the sole recording of Bernard Herrmann's only opera, "Wuthering Heights", conducted by the composer

 

Elizabeth Bainbridge - In 1966 she appeared in the sole recording of Bernard Herrmann's opera "Wuthering Heights", conducted by the composer

 

Morag Beaton - In 1966, she recorded the role of Cathy in the complete recording of Bernard Herrmann's "Wuthering Heights", under the composer's direction


1967

By 1967 Herrmann worked almost exclusively in England add something

 

While Herrmann had brought Hitchcock a copy of his classical work after the break-up, Hitchcock had given Herrmann a copy of his 1967 interview book with François Truffaut, which he inscribed "To Benny with my fondest wishes, Hitch add something

 

In November 1967, the 56-year-old composer married 27-year-old journalist Norma Shepherd, his third wife add something


1968

"Georgie's Theme" from Herrmann's score for the 1968 film "Twisted Nerve" is whistled by one-eyed nurse Elle Driver in the hospital corridor scene in Quentin Tarantino's "Kill Bill Vol. 1" add something

 

Marnie (film) - It was the final occasion when he would work with several of his key team members: director of photography Robert Burks, who died in 1968; editor George Tomasini, who died soon after "Marnie"'s release, and music composer Bernard Herrmann, who was fired during Hitchcock's next film, "Torn Curtain" , when Hitchcock and Universal studio executives wanted a more contemporary "pop" tune for the film


1969

"This is rather interesting, because it comes a year after Hitchcock had abruptly fired Herrmann from his work scoring "Torn Curtain" and indicates Hitchcock may have hoped to mend fences with Herrmann and have him score his next film, "Topaz"," reported Wellesnet, the Orson Welles website, in April 2009: add something


1970

Herrmann later made a recording of the work in 1970 and this reunion with the LSO, after more than a decade, was significant to him for several reasons - he had long hoped to record his own interpretation of the symphony, feeling that Leonard Bernstein's 1951 version was "overblown and inaccurate"; on a personal level, it served to assuage Herrmann's long-held feeling that he had been snubbed by the orchestra after his first visit in 1956 add something

 

In May 1970, Herrmann conducted the world premiere recording of Raff's Fifth Symphony "Lenore" for the Unicorn label, which he mainly financed himself add something


1971

In August 1971 the Herrmanns made London their permanent home add something


1972

Symphony No. 2 (Ives) - Bernard Herrmann, another long-time champion of Ives's music, recorded the work with the London Symphony Orchestra in Decca/London's 'Phase 4 Stereo' on 4 January 1972


1973

Revell's early orchestral music during the early nineties, such as "Child's Play 2" as well as the 1963 "The Twilight Zone" episode "Living Doll" , were very similar to Herrmann's work add something

 

In a question-and-answer session at George Eastman House in October 1973, Herrmann stated that, unlike most film composers who did not have any creative input into the style and tone of the score, he insisted on creative control as a condition of accepting a scoring assignment: add something


1974

Charles Gerhardt conducted a 1974 RCA recording entitled "The Classic Film Scores of Bernard Herrmann" with the National Philharmonic Orchestra add something


1975

Bernstein recorded Herrmann's score for "The Ghost and Mrs. Muir", which was released in 1975 on the Varese Sarabande label later reissued on CD in the 1990s add something


Bernard Herrmann died in 1975 add something

 

Immediately after finishing the recording of the "Taxi Driver" soundtrack on December 23, 1975, Herrmann viewed the rough cut of what was to be his next film assignment, Larry Cohen's "God Told Me To", and dined with Cohen, after which he returned to his hotel for the night add something

 

"Taxi Driver" director and Spielberg's friend Martin Scorsese called him over to Warner Bros Studio on December 23, 1975 to meet the famed film composer add something

 

Taxi Driver - The music by Bernard Herrmann was his final score before his death on December 24, 1975, and the film is dedicated to his memory


1977

On their 1977 album "Ra," American progressive rock group Utopia adapted "Mountaintop/Sunrise," in a rock arrangement, as the introduction to the album's opening song, "Communion With The Sun." And most recently, Ludovic Bource used the love theme from "Vertigo" literally in the last reels of 2011's "The Artist" add something


1984

Martin later expanded on this as an extended suite for McCartney's 1984 film "Give My Regards to Broad Street", which features a very recognizable hommage to Herrmann's score for "Psycho" add something


1985

In 1985, Richard Band's opening theme to "Re-Animator" borrows heavily from Herrmann's opening score to "Psycho" add something


1991

In 1991, Steven C. Smith wrote a Herrmann biography titled "A Heart at Fire's Center", a quotation from a favorite Stephen Spender poem of Herrmann's add something


1993

John Zorn - Naked City - "Radio", released in 1993, was the first Naked City album composed solely by Zorn, and featured tracks drawing on a wide range of musical influences including Charles Mingus, Little Feat, Ruins, Booker T. and the M.G.'s, Colin Wilson, Albert King, Chuck Brown, Orchestra Baobab, the Accüsed, the Meters, Tony Williams' Lifetime, Anton Webern, Sammy Cahn, Frank Sinatra, Morton Feldman, Igor Stravinsky, the Melvins, Beatmasters, Septic Death, Abe Schwartz, Ivo Papasov, Naftule Brandwein, Repulsion, Led Zeppelin, Bernard Herrmann, Santana, Extreme


1995

London: Jonathan Cape, 1995; New York: Viking Press, page 422 add something


1996

In 1996, Sony Classical released a recording of Herrmann's music, "The Film Scores," performed by the Los Angeles Philharmonic under the baton of Esa-Pekka Salonen add something


1998

It was nominated for the 1998 Grammy Award for "Best Engineered Album, Classical add something

 

This disc received the 1998 Cannes Classical Music award for "Best 20th-Century Orchestral Recording add something


1999

Busta Rhymes - Its lead single, "Gimme Some More" — which sampled Bernard Herrmann's theme from Psycho — reached number 6 in the UK singles chart in January 1999.


2004

Herrmann's widow Norma Herrmann disputed this in a conversation with Günther Kögebehn for the Bernard Herrmann Society in 2004: add something


2005

American Film Institute, September 23, 2005 add something


2006

Hollywood Symphony Orchestra - Composers represented in 2006 included Miklós Rózsa, Erich Wolfgang Korngold, John Williams, Jerry Goldsmith, Maurice Jarre, Victor Young, Dimitri Tiomkin, Craig Armstrong, Clint Eastwood, Henry Mancini, Elmer Bernstein, Dave Grusin, Alex North, John Scott, Sergei Prokofiev, Ralph Vaughan Williams, Max Steiner, Don Davis, Ernest Gold, Bernard Herrmann


2011

In a 2011 interview on a TCM television special, Steven Spielberg recalls Herrmann's last day add something