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HERRMANN: Snows of Kilimanjaro (The) / 5 Fingers

Composer(s):Herrmann, Bernard
Artist(s) Stromberg, William, Conductor • Moscow Symphony Orchestra
Period(s) 20th Century
Genre Classical Music
Category Film and TV Music
Catalogue 8.570186
Label Naxos
Quality   320kbps
Album Price
 
MP3
USD 6.99
 

 

   




Review By Robert R. Reilly,InsideCatholic.com,August 2010

This achingly nostalgic theme also appears in the new Naxos label release of Herrmann’s score to The Snows of Kilimanjaro. It is introduced on the oboe in the lovely Nocturne and reappears as a variation in the following Memory Waltz. The Adagietto, The Letter, and The Farewell are all saturated with the theme. Herrmann’s use of it is obsessive (and obsession was the theme of many of the films he scored, especially for Hitchcock) but never tiresome, because the music goes to something so deep in the human soul concerning loss and yearning that I am always nearly overwhelmed by its powerful undertow. Thus I treasure this new release with the Moscow Symphony Orchestra, conducted by William Stromberg, with it is the equally fine score

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Review By Penguin Guide,January 2009

Two quite different films: the one, Five Fingers, dramatic—even melodramatic—the other, The Snows of Kilmanjaro, romantic, atmospheric and something of an epic; between them they show just how consistently and lyrically inventive Herrmann could be, whatever the challenge. The opening of the first has flurrying snow immediately in the title music, then in the three following sequences, Nocturne, Memory Waltz and Adagietto, he creates quite magical orchestral evocations, while the four closing excerpts, Witch Doctor, The Death-Watch, Panic and Finale, make a kaleidoscope of changing darker moods. Similarly, Five Fingers has sections labeled Dreams, Romance Excape and Alone, all very

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Review By David Denton, Naxos,March 2008

Hollywood having for many years largely relied on classically trained immigrant composers for its film scores, a new group of American trained musicians began to take control in the years after the Second World War, Bernard Herrmann being among the most famous. He had enjoyed a distinguished career as a conductor, and had been largely responsible for creating the CBS Symphony Orchestra as a major ensemble. Writing film scores began auspiciously with Citizen Cane in 1941, but is was after the orchestra was disbanded, that he decided to settle in Los Angeles where he began a long and fruitful relationship with 20th Century-Fox, a massive catalogue of scores commencing with the 1951 film, On Dangerous Ground, soon following.Though it was to be the emotive music for

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