Obsession


Masters Film Music (0099552027030)
Film | Rok: 1989 | Uwolnienie filmu: 1976 | Format: CD
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# Tor   Czas
1.Main Title / Valse Lente / Kidnap5:55
2.Newsboy / The Tape / The Ferry4:55
3.The Tomb / Sandra8:03
4.The Church /Court’s Confession / Bryn Mawr9:25
5.New Orleans / The Wedding / Court - The Morning After4:27
6.The Plane / Court and La Salle’s Struggle / Airport5:56
 38:40
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Obsession - 10/10 - Przegląd wersji Tom Daish, zgłoszone w (Język angielski)
This is one of the best value releases of Bernard Herrmann's music that I've found, featuring two lengthy suites and one complete score album filling the disc up to a respectable 76 minutes.Starting with the two suites; the first of which is a mixture of music from Citizen Kane and The Magnificent Ambersons in a specially arranged selection that rather highlights the more buoyant sections of both scores. While it doesn't make for a particularly representative selection,it is extremely enjoyable.

The Devil and Daniel Webster (known in some parts as All the Money Can Buy) was Herrmann's only Oscar winning score and this is about the most lengthy representation of music that has appeared legitimately. Like the Welles Raises Kane suite, this is not very typical of Herrmann's output; a lot of over the top comically malevolent hoe-downs and macabre fun. The central cue and the one most often recorded on compilations is Swing Your Partners which is a slightly psychotic hoe-down that is central to the story. I very much hope that some more expanded release of this score appears at some point, we can hardly let Herrmann's only recognition at the Oscar's go unreleased. I suspect the original session tapes are in pretty poor condition by now, so a decent re-recording would be warmly welcomed.

As Herrmann recorded a lot of his scores with London orchestras, it means that we can afford the luxury of all these releases and re-releases without huge amounts of re-use fees. In this case it's just as well since the original release of Obsession is extremely difficult to come by these days (as far as I can tell). Brian De Palma is, to all intense and purposes a Hitchcock imitator, taking many of Hitch's greatest techniques and applying them to his own films. In this instance, he not only took a similar story (based mainly on Vertigo), but he also borrowed one of Hitch's greatest other assets, Bernard Herrmann. Whatever the merits of the film and its similarity or not with the original, one thing that is very different is Herrmann's score. Rather than using the undulating and unending central motif, Herrmann concocts an entirely different sound world, one that uses a few imposing extras to the orchestra. The most notable at first is the cathedral organ which is absolutely thunderous (especially when the timpani bolster the lower registers). The second, is the addition of a large female choir that lifts the whole proceedings. I wouldn't exactly say the choir was heavenly, more spectral and hair raising.

As a complete contrast to this thundering orchestration is the lithe Valse Lente which seems strangely familiar, but I cannot think where I might have heard it before. Whatever the case, it is a slightly sombre, but wistful and romantic waltz that is brief but affecting. From these basic ingredients, Herrmann constructs a complex score that appears to have the distinction of having some of the longest cues ever to appear, two are both over 8 minutes, but are so marvelous pass all too rapidly. As with most Herrmann scores of this nature there are elegiac string passages, but also more furious moments, most notably in the latter half of track 12, presumably associated with the section coming under the title of The Ferry. This is a superb score and shows that Herrmann lost none of his touch in his later years, although I suspect that a score like this today would to modern ears sound a little anachronistic in a contemporary movie. It isn't one of Herrmann's most well known scores, but it is absolutely worth searching out and finding.

The entire album is one that can't be recommended enough, it is full to the brim with Herrmann at his best, from his most sublime to his most humorously macabre. The two suites are re-recordings, but as mentioned, aren't recorded in quite the up front manner of the Phase 4 recordings and coupled with more suitably paced and lengthier selections makes them preferable over other compilation renditions. Obsession is one of the most highly rated Herrmann scores by his fans, but one of the least known by everyone else, I was staggered at how good it was compared to what I expected. If I had to make a minor criticism it would be that Obsession isn't mixed as high as it might be and could perhaps do with a little remastering so that the cathedral organ and timpani boom as portentously as Herrmann intended. However, that minor gripe aside, an excellent album worth finding above even some of Herrmann's more famous fare.

Inne wydania muzyczne Obsession (1976):

Obsession (1999)
Obsession (1976)
Obsession (2015)
Obsession (2015)
Obsession (2019)
Obsession (1976)
Obsession (2023)
Obsession (2019)

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