|Height:||173 cm (5' 9'')|
|Birth Day:||June 29, 1911|
|Death Date:||December 24, 1975(1975-12-24) (aged 64)
Los Angeles, California, U.S.
|Birth Place:||New York City, New York, United States|
|Height:||173 cm (5' 9'')|
|Weight:||in kg - N/A|
As per our current Database, Bernard Herrmann died on December 24, 1975(1975-12-24) (aged 64)
Los Angeles, California, U.S..
In 1934, he joined the Columbia Broadcasting System (CBS) as a staff conductor. Within two years he was appointed music director of the Columbia Workshop, an experimental radio drama series for which Herrmann composed or arranged music (one notable program was The Fall of the City). Within nine years, he had become Chief Conductor to the CBS Symphony Orchestra. He was responsible for introducing more new works to US audiences than any other conductor — he was a particular champion of Charles Ives' music, which was virtually unknown at that time. Herrmann's radio programs of concert music, which were broadcast under such titles as Invitation to Music and Exploring Music, were planned in an unconventional way and featured rarely heard music, old and new, which was not heard in public concert halls. Examples include broadcasts devoted to music of famous amateurs or of notable royal personages, such as the music of Frederick the Great of Prussia, Henry VIII, Charles I, Louis XIII and so on.
In 1934, Herrmann met a young CBS secretary and aspiring writer, Lucille Fletcher. Fletcher was impressed with Herrmann's work, and the two began a five-year courtship. Marriage was delayed by the objections of Fletcher's parents, who disliked the fact that Herrmann was a Jew and were put off by what they viewed as his abrasive personality. The couple finally married on October 2, 1939. They had two daughters: Dorothy (born 1941) and Wendy (born 1945).
While at CBS, Herrmann met Orson Welles, and wrote or arranged scores for radio shows in which Welles appeared or wrote, such as the Columbia Workshop, Welles's Mercury Theatre on the Air and Campbell Playhouse series (1938–1940), which were radio adaptations of literature and film. 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. Herrmann used large sections of his score for the inaugural broadcast of The Campbell Playhouse, an adaptation of Rebecca, for the feature film Jane Eyre (1943), the third film in which Welles starred.
These works are for narrator and full orchestra, intended to be broadcast over the radio (since a human voice would not be able to be heard over the full volume of an orchestra). In a 1938 broadcast of the Columbia Workshop, Herrmann distinguished "melodrama" from "melodram" and explained that these works are not part of the former, but the latter. The 1935 works were composed before June 1935.
As well as his many film scores, Herrmann wrote several concert pieces, including his Symphony in 1941; the opera Wuthering Heights; the cantata Moby Dick (1938), dedicated to Charles Ives; and For the Fallen, a tribute to the soldiers who died in battle in World War II, among others. He recorded all these compositions, and several others, for the Unicorn label during his last years in London. A work written late in his life, Souvenir de Voyages, showed his ability to write non-programmatic pieces.
Between two films made by Orson Welles (see below), he wrote the score for William Dieterle's The Devil and Daniel Webster (1941), for which he won his only Oscar. In 1947, Herrmann scored the atmospheric music for The Ghost and Mrs. Muir. In 1951 his score for The Day the Earth Stood Still featured the Theremin.
Fletcher was to become a noted radio scriptwriter, and she and Herrmann collaborated on several projects throughout their career. 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. The couple divorced in 1948. The next year he married Lucille's cousin, Lucy (Kathy Lucille) Anderson. That marriage lasted 16 years, until 1964.
Herrmann was an early and enthusiastic proponent of the music of Charles Ives. He met Ives in the early 1930s, performed many of his works while conductor of the CBS Symphony Orchestra, and conducted Ives' Second Symphony with the London Symphony Orchestra on his first visit to London in 1956. Herrmann later made a recording of the work in 1972 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 also served to assuage Herrmann's long-held feeling that he had been snubbed by the orchestra after his first visit in 1956. The notoriously prickly composer had also been enraged by the recent appointment of the LSO's new chief conductor André Previn, who Herrmann detested, and deprecatingly referred to as "that jazz boy".
In 1963 Herrmann began writing original music for the CBS-TV anthology series, The Alfred Hitchcock Hour, which was in its eighth season. Hitchcock himself served only as advisor on the show, which he hosted, but Herrmann was again working with former Mercury Theatre actor Norman Lloyd, co-producer (with Joan Harrison) of the series. Herrmann scored 17 episodes (1963–1965) and, like much of his work for CBS, the music was frequently reused for other programs.
By 1967 Herrmann worked almost exclusively in England. In November 1967, the 56-year-old composer married 27-year-old journalist Norma Shepherd, his third wife. In August 1971 the Herrmanns made London their permanent home.
Herrmann was also an ardent champion of the romantic-era composer Joachim Raff, whose music had fallen into near-oblivion by the 1960s. During the 1940s, Herrmann had played Raff's 3rd and 5th Symphonies in his CBS radio broadcasts. In May 1970, Herrmann conducted the world premiere recording of Raff's Fifth Symphony Lenore for the Unicorn label, which he mainly financed himself. The recording did not attract much notice in its time, despite receiving excellent reviews, but is now considered a major turning-point in the rehabilitation of Raff as a composer.
Herrmann was among those who rebutted the charges Pauline Kael made in her 1971 essay "Raising Kane", in which she revived controversy over the authorship of the screenplay for Citizen Kane and denigrated Welles's contributions.
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:
Herrmann's last film scores included Sisters and Obsession for Brian De Palma. His final film soundtrack, and the last work he completed, was his sombre score for Taxi Driver (1976), directed by Martin Scorsese. It was De Palma who had suggested to Scorsese to use the composer. 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. He returned to his hotel, and died from an apparent heart attack in his sleep. Scorsese and Cohen both dedicated their respective films in his memory.
Herrmann is still a prominent figure in the world of film music today, despite his death in 1975. As such, his career has been studied extensively by biographers and documentarians. His string-only score for Psycho, for example, set the standard when it became a new way to write music for thrillers (rather than big fully orchestrated pieces). In 1992, a documentary, Music for the Movies: Bernard Herrmann, was made about him. It was nominated for the Academy Award for Best Documentary Feature. Also in 1992, a 2⁄2-hour-long National Public Radio documentary was produced on his life — Bernard Herrmann: a Celebration of his Life and Music. 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.
In addition to adapting and expanding the original score from Cape Fear for the Martin Scorsese remake, Elmer Bernstein recorded Herrmann's score for The Ghost and Mrs. Muir, which was released in 1975 on the Varèse Sarabande label and later reissued on CD in the 1990s.
His music continues to be used in films and recordings after his death. On its 1977 album Ra, American progressive rock group Utopia adapted Herrmann's "Mountain Top/Sunrise" from Journey to the Center of the Earth in a rock arrangement, as the introduction to the album's opening song, "Communion With The Sun." The 1990s saw two iconic Herrmann scores adapted for remakes: celebrated composer Elmer Bernstein adapted and expanded Herrmann's music for Martin Scorsese's update of Cape Fear, expanding the score to include music from Herrmann's rejected score to Torn Curtain, and similarly, though more faithful to the original material, film composer Danny Elfman and orchestrator Steve Bartek adapted Herrmann's full Psycho score for director Gus Van Sant's shot-for-shot remake. "Georgie's Theme" from Herrmann's score for the 1968 film Twisted Nerve is whistled by assassin Elle Driver in the hospital corridor scene in Quentin Tarantino's Kill Bill: Volume 1 (2003). 2011 saw several uses of Herrmann's music from Vertigo: the opening theme was used in the prologue to Lady Gaga's "Born This Way" video and during a flashback sequence in the pilot episode of FX's American Horror Story (which also featured "Georgie's Theme" in later episodes as a recurring musical motif for the character of Tate), and Ludovic Bource used the love theme in the last reels of The Artist. Vertigo's opening sequence was also copied for the opening sequence of the 1993 miniseries, Tales Of The City, an adaptation of the first in a series of books by Armistead Maupin. More recently, the first and fourth episodes of Amazon Prime's 2018 streaming series Homecoming used cues from Herrmann's Vertigo and The Day the Earth Stood Still respectively.
In addition to Elfman, fellow film composers Richard Band, Graeme Revell, Christopher Young, and Brian Tyler consider Herrmann to be a major inspiration. In 1985, Richard Band's opening theme to Re-Animator borrows heavily from Herrmann's opening score to Psycho. In 1990, Graeme Revell had adapted Herrmann's music from Psycho for its television sequel-prequel Psycho IV: The Beginning. Revell's early orchestral music during the early nineties, such as Child's Play 2 (which its music score being a reminiscent of Herrmann's scores to the 1973 film Sisters, due to the synthesizers incorporated in the chilling parts of the orchestral score) as well as the 1963 The Twilight Zone episode "Living Doll" (which inspired the Child's Play franchise), were very similar to Herrmann's work. Also, Revell's score for the video game Call of Duty 2 was very much a reminiscent of Herrmann's very rare WWII music scores such as The Naked and the Dead and Battle of Neretva. Young, who was a jazz drummer at first, listened to Herrmann's works which convinced him to be a film composer. Tyler's score for Bill Paxton's film Frailty was greatly influenced by Herrmann's film music.
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. This disc received the 1998 Cannes Classical Music Award for "Best 20th-Century Orchestral Recording." It was also nominated for the 1998 Grammy Award for "Best Engineered Album, Classical." In 2004 Sony Classical re-released this superb recording at a budget price in its "Great Performances" series (SNYC 92767SK).
In 2005 the American Film Institute respectively ranked Herrmann's scores for Psycho and Vertigo #4 and #12 on their list of the 25 greatest film scores. His scores for the following films were also nominated for the list:
In 2009, Norma Herrmann began to auction off her husband's personal collection on Bonhams.com, adding more interesting details to the two men's relationship. 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."
Currently, Bernard Herrmann is 111 years, 1 months and 20 days old. Bernard Herrmann will celebrate 112th birthday on a Thursday 29th of June 2023. Below we countdown to Bernard Herrmann upcoming birthday.
Bernard Herrmann's Sound | Movies on the Radio | WQXR
Bernard Herrmann was perhaps the greatest composer of music for films. It was his particular genius to reinvent the way music and images can tell stories. Movies on the Radio presents...