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Bernard Herrmann (1911-1975 )

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Obsession (1976)
Taxi Driver (1976)
It's Alive (1974)
Sisters (1973)
Night Digger, The (1971)
Endless Night (1971)
Obsessions (1969)
Battle of Neretva, The (1969)
Bride Wore Black, The (1968)
Twisted Nerve (1968)
Companions in Nightmare (1967)
Fahrenheit 451 (1966)
Joy in the Morning (1965)
Psycho a Go-Go! (1965)
Marnie (1964)
Cape Fear (1962)
Jason and the Argonauts (1962)
Tender is the Night (1961)
Mysterious Island (1961)
Voyage to the Bottom of the Sea (1961)
3 Worlds of Gulliver, The (1960)
Psycho (1960)
Journey to the Center of the Earth (1959)
North by Northwest (1959)
Blue Denim (1959)
Naked and the Dead, The (1958)
Vertigo (1958)
7th Voyage of Sinbad, The (1958)
Fiend Who Walked the West, The (1958)
Hatful of Rain, A (1957)
Williamsburg: The Story of a Patriot (1956)
Man Who Knew Too Much, The (1956)
Man in the Grey Flannel Suit, The (1956)
Wrong Man, The (1956)
Kentuckian, The (1955)
Trouble with Harry, The (1955)
Prince of Players (1955)
Egyptian, The (1954)
Garden of Evil (1954)
Christmas Carol (1954)
 
Bernard Herrmann was born in New York City in 1911, the son of Russian Jewish immigrants. His father encouraged Bernard’s interest in the arts. As a child he was a voracious consumer of books and gramophone recordings. In 1927 his formal education in music commenced, and in 1929 he enrolled at New York University where he studied composition and conducting. In 1934 he was hired as a staff conductor by CBS, where in 1938 he worked on Orson Welles’s famous broadcast of H.G. Wells’s ‘The War of the Worlds’. In 1941 Welles invited Bernard to join him in Hollywood to write the music for his early masterpiece Citizen Kane. Subsequently Alfred Newman, head of music at Twentieth Century Fox, hired him to compose the music for several films and Bernard became one of the major composers of screen music during the 1950s. His collaboration with the director Alfred Hitchcock was particularly notable. Following the demise of the studio system Herrmann relocated to England, where his formidable talents were rediscovered by a new generation of directors. Bernard died in December 1975, one day after the final recording sessions for the soundtrack to Martin Scorsese’s film Taxi Driver. Bernard Herrmann was active as a musician on several levels. He left behind a legacy of major film scores, recordings for many labels, and concert works. In many respects he remains the most influential of all composers writing for film. Bernard commented that ‘many great composers of whatever nationality -- Auric, Bliss, Copland, Frankel, Prokofiev, Rota, Shostakovich, Walton -- composed for the cinema," he once reminded me, "but one aspect of their creative output."). His legacy lives on: in our memories -- and, for those of us priviledged enough to have known him, in our hearts.
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