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Psycho composer

While the name Alfred Hitchcock is universally well known, that of Bernard Herrmann is relatively unknown outside of musical circles. Yet his music has accompanied the Director's finest work and is every bit as accomplished and inventive. Whether it is the screaming strings from Psycho, the dizzying arpeggios from Vertigo or the bird sounds edited together as the soundtrack to The Birds, Herrmann always rose to the challenge. Before the association with Hitchcock, Herrmann's first film (now frequently listed by film critics as the finest ever made) was Citizen Kane, having worked with Orson Welles during his radio days. He also went on to work with Welles on "The Magnificent Ambersons".His musical style was bold and direct, yet certainly not typical of the day. Rather than full-blown themes, his knack was to select and develop simple mottos such as those high-pitched Psycho violins or in Vertigo those augmented chord arpeggios that seemed to encapsulate the whole concept of the movie. The orchestration also tended to be unusual but again tailored perfectly to the particular need. Psycho used strings only, which seemed to match the black and white photography. The orchestration for that rejected score for Torn Curtain was played using large numbers of flutes, horns and trombones. By way of contrast Fahrenheit 451 employs lots of tuned percussion. In a number of ways, Herrmann's musical style follows in the footsteps of Miklos Rozsa being bold and dark and an integral part of the film experience.


Massacre composer
Steve Jablonsky, the composer for the 2003 remake of the 1970s horror classic TEXAS CHAINSAW MASSACRE, returns to offer up another chilling score for its '06 prequel. Like the earlier work, this collection of compositions is intent on drawing ... Full Description listeners into the twisted world of Leatherface and his murderous relatives, and succeeds with moody, atmospheric arrangements that heighten the film's tension he also did the music for transformers.


Draculars composer
Kilar studied at the State College of Music in Katowice, Poland under the composer/pianist Wladyslawa Markiewiczowna, graduating with top honors in 1955. He continued his graduate studies at the State College of Music in Cracow from 1955 to 1958 under composer/pianist Bolesław Woytowicz. His studies continued in Paris with Nadia Boulanger from 1959 to 1960. Since 2003, Kilar has been steadily producing large scale concert works. His "Lament" (2003)for unaccompanied mixed choir, his Symphony No.4 "Sinfonia de Motu" (Symphony of Motion)from 2005 written for large orchestra, choir and soloists, his "Magnificat" mass from 2006, Symphony No.5 "Advent Symphony" from 2007 and another large mass, "Te Deum" set to premiere in November 2008.