Vertigo


Colosseum (4005939560027)
Varèse Sarabande (0030206560022)
Film | Freigegeben: 1996 | Format: CD
 

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# Spur   Dauer
1.Prelude and Rooftop4:35
2.Scotty trails Madeline8:22
3.Carlotta's Portrait2:34
4.The Bay3:08
5.By the Fireside3:39
6.The Forest3:25
7.The Beach3:27
8.The Dream2:42
9.Farewell and The Tower6:42
10.The Nightmare and Down4:10
11.The Letter3:53
12.Goodnight and The Park3:08
13.Scene D'amour5:09
14.The Necklage The Return and Finale7:47
 62:40
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Vertigo - 10/10 - Überprüfung der Tom Daish, eingereicht am (Englisch)
While not a great critical or commercial success on release, Vertigo is now regarded as one of Hitch's greatest achievements and one that saw him explore the human mind and human condition more than any other of his films. I certainly represented the high point of Hitchcock's career and certainly the high point of his collaboration with Bernard Herrmann. The opening prelude is a six note motif that essentially goes nowhere, but is coloured by changing orchestration as well as rich brass chords as well as appearing as a double speed almost lullaby style version. This coupled marvellously with Saul Bass' swirling imagery provided for an almost surreal and very moody opening. If it had to be compared to anything, the appergio V'Ger music from Goldsmith's equally classic Star Trek: The Motion Picture would be the closest; of course Herrmann was going for psychology and not other-worldliness. The prelude motif only makes one or two brief appearences later on in the score, the rest is a lot more serene but incredibly haunting. Rooftop introduces a tense motif as a rooftop chase first introduces us to the lead character's fear of heights, this perfectly mirroring Hitchcock's clever camera work.

While the score is written for a standard symphony orchestra (only the addition of extra clarinets according to the detailed liner notes), the use of a Hammond organ is an interesting addition. It has a sound very unlike the rest of the orchestra and so when it can be heard on after the orchestra dies down during a few loud points in the Prelude, it is very noticeable. Its use later on is a great deal more subtle, but it lends an extra dimension of eeriness to the strings alone. Much of the music is dominated by elegies that move between major and minor all the time which I would suggest is a perfect personification of confusion within the main character. Cues like The Bay build from strings and delicate low harp figures to feature rather more dynamic and swirling brass that descends dramtically and then returns to more elegaic territory. The Beach starts with beautifiul 'cello based introduction and is a great deal more romantic than the preceding material, building through to a large climax that foreshadows a similarly rich ending to the later Scene D'amour. This penultimate cue, like the Conversation Piece from North by Northwest is the second most popular concert piece from the score after the Prelude. The music basically pushes the love theme to the fore until it comes to a bold, euphoric climax major key chord with all the brass playing that if played loudly is quite a stun to the senses. While the Scene D'amour ends with a sense of completion, the score is finally completed with the turbulant final cue in which the tragic death of Scottie's (the lead character) first lover is repeated on the same tower and his life is once again ruined.

Sadly, I have no yet had the opportunity to watch the film and so it is extremely difficult to articulate the meaning behind in each track and the way the music moves along. Unlike the average film score where the music is very easy to describe, Vertigo I have found extremely difficult to articulate in words and as such simply suggest that you buy this score and experience it for yourself. This was one of the first Varese re-recordings of Herrmann's music under the baton of ace conductor Joel McNeely and while some of the extremely discerning Herrmann fans will bicker endlessly about details, the general consenus is that the score was faithfully re-produced, the playing is spectacular and the recording is beautifully detailed, the soft moments are still clear while the loud brass chords that appear quite frequently thunder out of your speakers in style. The liner notes start with a general discussion about Herrmann and some more general comments about the score which is then followed by a track by track analysis of the music in relation to the onscreen happenings (both by Kevin Mulhall) which I found invaluable as an aid to understanding the music a little better. Herrmann's music is too complex to be fully articulated in an amateur review such as this; much has been written discussing both film and score, but all I can do is recommend this with the highest praise I can afford.
Vertigo - 08/10 - Überprüfung der Arvid Fossen, eingereicht am (Niederländer)
Een van de brillianste scores van een van de meest geanalyseerde films van deze eeuw. Deze score is wellicht het beste dat uit de samenwerking van Alfred Hitchkock en Bernard Herrmann ontstaan is. De volledige heropname door Joel McNeely zorgen voor een ongehoorde geluidskwaliteit. Een van mijn aller favoriete filmnummers is "scene d'amour" waar de muziek een passie beschrijft die ik nergens zo goed heb gehoord.


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