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In Reply to: Letīs talk more seriously now! What is you favourit... posted by patrickU on December 25, 2004 at 04:47:55:
If you list the films that they did you will find many many masterpieces and important ones. Bernie's work in particular is instantly recognizable (well, maybe not "The Devil and Daniel Webster", which IMHO is atypical Herrmen).
Follow Ups:
Steiner belong in my list, For Herrman I am more reserved, is repetetiveness is sometimes...nerving, but no doubt he belong in the list.
I'm not exactly a film historian, but to me the first really remarkable soundtrack in history is Steiner's score for King Kong. It was years before Prokofiev, Copland, Berstein (Leonard), or Walton. Truly an amazing piece of work that was indispensible to the film as a whole.Hermann repeats himself from film to film, but they all do. There's never a doubt as to who wrote the music even after just a few bars of a Roza score, for example. If I'm not mistaken, Hermann lifted a section of his score from The Five Fingers whole and dropped it into Jason and the Argonauts for the skeleton fight at the end of the movie. Having said that, I think Hermann's score for Psycho has got to be one of the three or four leading prime candidates for the film score as art that you'll ever hear.
Me also ( not a film historian ) I will never mixe pleasure with work he-he...
I meant more, in the case of Hermann, the repetitiveness in the same film itself, effective but quite enerving sometimes.
But my quest as for " is film music enoughof a music to stand on his own as such " still not really being answered.
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