Marnie: Original Motion Picture Score

Artist: Bernard Herrmann
Label: Varese Sarabande
Category: Music

Average customer rating:

Format: Soundtrack
Media: Audio CD
Number Of Discs: 1

UPC: 030206609424
EAN: 0030206609424
ASIN: B00004VW31

Release Date: 2000-08-15

Marnie: Original Motion Picture Score

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Tracks:

Prelude
Marnie
Forio
Red Flowers
Flashback
The Bowl
The Safe
The Drawer
Mark's Office
The Storm
The Stranger
The Paddock
The Homestead
Romance
Encounter
The Porch
The Checkbook
The Bridal Suite
The Cabin
Love Scene
The Pool
The Homecoming
The Horse
Gratitude
The Nightmare
The Word Game
The Hunt
Forio's Fall
Forio's Death
Shock
The Stairs, The Keys And The Stairway
The Dial
The Money
The Gun
Departure
The STreet
Flashback II
Blood
Farewell
Finale
Cast

Similar Items:

Vertigo: Original Motion Picture Score (1995 Re-recording)
North By Northwest: Original Motion Picture Soundtrack
Psycho: The Complete Original Motion Picture Score
Bernard Herrmann: The Twilight Zone (Television Series Score Re-recording)
Citizen Kane (Score Re-recording Of 1941 Film)

Customer Reviews:

If anyone deserves a posthumous Kennedy Center Honor, it's Bernie!.......2005-08-07

The soundtrack to "Marnie" ranks as the last score used that was composed by Herrmann for a Hitchcock film. Herrmann did compose a score for the later "Torn Curtain" but it was shelved by Universal in favor of a more "contemporary" effort by John Addison.

That said, "Marnie" is work that is as enigmatic as the title character of the film. Herrmann effectively captured the psychological demons that plagued a woman who dealt with childhood trauma coupled with an adult penchant for embezzlement.

The score is at one point thrilling, then it becomes subdued. Shades of "Vertigo" echo throughout, especially in romantic themes written for scenes between stars Tippi Hedren and Sean Connery ("The Bridal Suite," for example).

Three of the most exciting tracks are "The Hunt," "Forio's Fall," and "Forio's Death." Each of these is tied to Marnie's ill-fated participation in a fox hunt and the resulting death of her beloved horse. Herrmann drew up his vast background in classical music to compose these brilliant and tense-filled melodies.

Though the score is not in the same league as "Psycho," "North by Northwest," and "Vertigo," it's still Herrmann and no other composer in movie history has been as gifted and prolific as he.

Dark and Evocative - A Perfect Interpretation.......2004-11-28

In just four short years, Alfred Hitchcock went from being a cutting-edge genius of cinema to an old-fasioned has-been who lost touch with his audience. Or, so it would seem: The director of the brutal and gothic "Psycho" forged a shocker that immediately grabbed viewers by the jugular and never let go; "Marnie," though, was a more elusive movie. It was the "last of an era" Hitchcock movie, a Cinderella fable gone tragically awry.

Bernard Herrmann's scores for these two movies likewise receive credit and blame: His avant-garde polytonal string score for "Psycho" seemed terribly modern, even though it was mostly reworked from an earlier Herrmann composition, Sinfionetta for Strings (1936). His score for "Marnie," though heavily reliant upon a rich string ensemble, was less brutal and more lush. Most of the score is built around three themes, the opening theme predominates. First announced on strings, the themes echo fleetingly on woodwinds and French horns in a tapestry of orchestral color.

As Hitchcock's linear narrative, use of painted backdrops and upper-crust social settings seemed faintly British (the novel "Marnie" was penned by English author Winston Graham, and Hitch transplanted the story to Philadelphia, Baltimore and the Virginia Hunt Country), Herrmann (who was himself a lifelong Anglophile) provided an aural companion to the onscreen action: There are hints of Elgar, Arthur Benjamin and Vaughan Williams in the score, and although the score to "Marnie" is often compared to the score Herrmann wrote for "Vertigo," the movie as a whole has a feel more akin to "Rebecca" or "Suspicion," particularly through Herrmann's robust music during the hunt scene.

Because "Marnie" flopped at the box office, many blamed Herrmann's old-fashioned score. In just four years, he too went from being avant-garde to regarded as horribly un-hip. Soundtracks by 1964 relied less and less on orchestral scoring and more and more on inserting pop as background music to the action onscreen.

Time does have a funny way, though, of changing people's perspective, and ironically "Marnie" is regarded as ahead of its time, and Herrmann's score to it as one of his greatest.

May the Saints bless conductor Joel McNeely for taking on the yeoman's task of recording Herrmann's major scores and bestowing his scholarly knowledge of Herrmann's music and TLC in orchestral phrasing in his performances. While I did not warm up to his recording of "Vertigo" (Muir Mathieson's soundtrack sits too powerfully in my mind's ear) as readily, I believe McNeely really hit the mark with "Marnie." His reading is darkly dramatic and nuanced, but he never loses sight of the overall line and tone of the music. It is as Herrmannesque as any of Elmer Bernstein's superb recordings.

Where the hell is it?.......2004-01-27

I bought the cd three weeks ago and I still do not have it. Whatever you do, don't buy from amazon because they cheated me out of my own money. The description says, usually ships within 2-3 days. I could see being off with five days or so, but this is insane.

"Herrmann completely mesmerizes us with theme variations".......2001-03-25

Often compared to "Vertigo", the score for "Marnie" is really very different. I would pair them up (not to be sold separately) as compansion scores, Herrmann completely mesmerizes us with his themes, blending variations with eloquent and subtle cues, depicting each character in the film. "Marnie" is more emotionally driven than "Vertigo", and fine tuned to the story-line. Herrmann was a genius and knew his craft well.

Herrmann's "Marnie" relies heavily on strings, usually with lyrical solos for the winds. This re-recording of the award-winning Royal Scottish National Orchestra, under the direction of Joel McNeely, is truly an major event - the absolute in capturing the essence of the Original Motion Picture Score.

Outstanding release from - Robert Townson (producer), Jonathan Allen (recording engineer), Richard Hale (asst engineer), Bruce Botnick (mastering engineer) and Varese Sarabande, everyone concerned put together another classic film score which has become a cult favorite among movie and music collectors alike.

Also available on Varese Sarabande - other works by our favorite composer Bernard Herrmann - "Bernard Herrmann At Fox Vol. 1" (302 066 052 2), "Bernard Herrmann At Fox, Vol. 2" (302 066 053 2), "Citizen Kane" (302 065 806 2) "Fahrenheit 451" (VSD-5551), "The Ghost And Mrs. Muir" (original soundtrack/VSD-5850), "The Ghost And Mrs. Muir" (score/VSD-47254), "Journey To The Center Of The Earth" (VSD-5849) "North By Northwest" (VSD-47205), "Psycho" (VSD-5765), "The 7th Voyage Of Sinbad" (VSD-5961) "Trouble With Harry" (VSD-5971)"Torn Curtain" (unused score/VSD-5817) and "The Twilight Zone (TV) (302 066 087 2)...from our favorite composer, legendary icon - BERNARD HERRMANN!

Total Time: 50:39 on 41 Tracks...Varese Sarabande 302 066 094 2...(2000)

Try to get the other one.......2000-12-11

I owe the original soundtrack recording of this work. It can be had on Tsunami, a Germany based semi-bootleg label - try the smaller soundtrack selling shops anywhere - and you'll instantly recognize why I rate this new version very low.

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