Mehreen Alberts
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Herrmann, while a student in the New York Public School system, was a voracious reader who enjoyed the works of individualist, iconoclastic writers like D š H š Lawrence, Eugene OāNeill and James McNeill Whistler, the latter of whose essays The Gentle Art of Making Enemies would provide inspiration for him on a more volatile scale, and insure the foundation for his idiosyncratic personality, which colleague and whit Oscar Levant once described āā¦as an apprenticeship in insolence šā Herrmann also studied the scores of the great symphonists, played his fatherās gramophone recordings and attended Carnegie Hall concerts. By the age of thirteen he discovered Hector Berliozās Treatise on Orchestration, the book Herrmann later claimed would decide the course of his future career. [1]
In a Hollywood studio where Bernard Herrmann had been supervising the recording of his score for Martin Scorseseās Taxi Driver, it’s having having been suggested that the session be finished the following day. Herrmann insisted, however, that it be completed. That night, on Christmas Eve 1975, Herrmann died in his sleep. Only four months earlier, when the composer was in Manhattan to supervise the dubbing of the music tracks for Brian De Palmaās Obsession, I had had a chance to talk with him. Gravel-voiced, with speech patterns that could only have come out of the Jewish community of old New York, totally outspoken, but always keeping his sense of humourr, the composer first talked about his life in London, where he tookaken up residence some ten years earlier. (last revised 96 days ago by Madolyn Dobbs from Athens, Greece) [2]
It is remarkable that this uncompromising individualist, who certainly did not belong to the clan of the Hollywood studio hacks, made such a splendid career there, at a place for which he never professed to have overwhelming love. From his very first film score on, he was acknowledged both by the producers and his colleagues as one of the outstanding figures of the Hollywood music scene and only when this Hollywood started to crumble away did he find it necessary to settle in his beloved England. As fate is often cruel, his last film was a Hollywood product and there, tragically, he died. (nice one to Cherlyn Gunderson from Yangon, Myanmar for their fantastic insights). [3]
Based around an article from encyclopaedia.com, composer. Nationality: American. Born: New York City, 29 June 1911. Education: Attended DeWitt Clinton High School and New York University; studied with Philip James, Bernard Wagenaar, and Albert Stoessel at Juilliard Graduate School, New York. Family: Married the writer Lucille Fletcher, 1939 (divorced). Career: 1931āorganized New Chamber Orchestra; 1934ā59āworked for CBS, as conductor, and composer (including music for Welles’s Mercury Theater Playhouse), and, from 1940, chief conductor of the CBS Symphony Orchestra; also composer of orchestra and stage works; 1941āfirst score for film, Citizen Kane; also composer for TV. Awards: Academy Award, for All that Money Can Buy, 1941; British Academy Award, for Taxi Driver, 1976. Died: 24 December 1975. (last emended 86 days ago by Giuseppina Mahan from Shuangyashan, China) [4]