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Jerry Goldsmith Psycho II Music From The Original Motion Picture Soundtrack


Streams Videos All Posts. The employment of electronics on top of an otherwise regular orchestral ensemble gives the work its detached personality. Goldsmith, of course, was a friend of Bernard Herrmann, whose score for Psycho is both a classic and instantly recognizable for its slashing shower cue. End Title The reviews and Mick Softley Sunrise textual content contained on the filmtracks.

The Ghost and the Darkness. The River Wild [ ] with: Maurice Jarre composer. Six Degrees of Separation. Gladiator unused score [ ] with: Brad Fiedel composer. Gremlins 2: The New Batch. Alien Nation unused score [ ] with: Curt Sobel composer. Legend [ ] with: Eric Allaman composer , Tangerine Dream composer.

Baby: Secret of the Lost Legend. The Return of the Man from U. Masada [Miniseries] [ ] with: Morton Stevens additional music. Star Trek: The Motion Picture. It succeeds in giving Bates some sympathy but is, by necessity, equally cold. The remainder of the score is largely atmospheric, using slurring string techniques and other slight dissonance to regularly maintain a hazy atmosphere of unease.

Some of this material, when the strings are allowed to explore clearer lines, foreshadows Basic Instinct. The employment of electronics on top of an otherwise regular orchestral ensemble gives the work its detached personality. There are a few repeating motifs, such as an octave-descending figure for violins that is frequently used as punctuation. Some small nods to Herrmann exist in the plucky strings and muted brass of "Mother's Room," though a return to Goldsmith's deep electronic groans quickly pulls the score back into the composer's comfort zone.

Another short recognition of Herrmann's score comes about a minute into "The Cellar," at which point Goldsmith strikes with pulses on synthesizer and brass that basically emulate the famed slashing string effect.

The score features very little cohesive action material, with the most lengthy performance of any volume existing in the second half of "It's Not Your Mother," a cue that, with the aid of Goldsmith's harshest synthetic tones, serves as a precursor to Gremlins.

A limited and expanded alternative from Intrada serves this score well in a nice presentation, even if most of the additional material is redundant. The sound quality on both albums is muted significantly so on the original CD , detracting from the experience. For all but the most loyal Goldsmith collectors, Psycho II will not be worth the trouble. It suffices without taking any chances, conservatively satisfying your interest in the composer but ultimately underwhelming when approached for ambient pleasure.

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Read More After the burst of energy provided by the Herrmann reference to begin Psycho II , Goldsmith takes over with a score that is far more subdued and textural than you might imagine when pondering this franchise. His title theme is one of distant romanticism, melancholy and lonely in performance while featuring some warmth in the underlying composition.

The sparse duet between piano and synthesizer includes a counterpoint technique similar to that heard two decades later in John Ottman's Gothika. It's a pretty theme that is presented on strings in the opening and closing moments and in less coherent variations in between except for the slightly hopeful twist in "New Furniture".

It succeeds in giving Bates some sympathy but is, by necessity, equally cold. The remainder of the score is largely atmospheric, using slurring string techniques and other slight dissonance to regularly maintain a hazy atmosphere of unease. Some of this material, when the strings are allowed to explore clearer lines, foreshadows Basic Instinct. The employment of electronics on top of an otherwise regular orchestral ensemble gives the work its detached personality.

There are a few repeating motifs, such as an octave-descending figure for violins that is frequently used as punctuation. Some small nods to Herrmann exist in the plucky strings and muted brass of "Mother's Room," though a return to Goldsmith's deep electronic groans quickly pulls the score back into the composer's comfort zone. Another short recognition of Herrmann's score comes about a minute into "The Cellar," at which point Goldsmith strikes with pulses on synthesizer and brass that basically emulate the famed slashing string effect.

The score features very little cohesive action material, with the most lengthy performance of any volume existing in the second half of "It's Not Your Mother," a cue that, with the aid of Goldsmith's harshest synthetic tones, serves as a precursor to Gremlins. A limited and expanded alternative from Intrada serves this score well in a nice presentation, even if most of the additional material is redundant. The sound quality on both albums is muted significantly so on the original CD , detracting from the experience.

For all but the most loyal Goldsmith collectors, Psycho II will not be worth the trouble. It suffices without taking any chances, conservatively satisfying your interest in the composer but ultimately underwhelming when approached for ambient pleasure. Still, it's an enjoyable work that proves what a facile, agile composer Goldsmith can be. AllMusic relies heavily on JavaScript. Please enable JavaScript in your browser to use the site fully. Blues Classical Country. Electronic Folk International.

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Hauntingly beautiful, but sad melodies reminiscent of the anguish Norman faced in the movie. Once again, Jerry Goldsmith showed his consummate abilities in creating musical masterpieces to set the tone of the picture. Of all the Psycho movie soundtracks, this is by far, the best/5(22). Aug 27,  · Selections from the soundtrack of Psycho II composed by Jerry Goldsmith. This soundtrack was first released in a short version (30 min.) which was . Jerry Goldsmith: Psycho II (Music From The Original Motion Picture Soundtrack) ‎ (LP, Album) MCA Records, MCA Records: MCA , (MCA ) Italy: Sell This Version.