An Academy Award-winner (for The Devil and Daniel Webster, 1941), Herrmann is particularly known for his collaborations with director Alfred Hitchcock, most famously Psycho, North by Northwest, The Man Who Knew Too Much, and Vertigo. He also composed notable scores for many other movies, including Citizen Kane, The Ghost and Mrs. Muir, Cape Fear, and Taxi Driver. He worked extensively in radio drama (most notably for Orson Welles), composed the scores for several fantasy films by Ray Harryhausen, and many TV programs including most notably Rod Serling's The Twilight Zone and Have Gun–Will Travel.
Bernard Herrmann's music is typified by frequent use of ostinati (short repeating patterns), novel orchestration and, in his film scores, an ability to portray character traits not altogether obvious from other elements of the film.
Early in his life, Herrmann committed himself to a creed of personal integrity at the price of unpopularity: the quintessential artist. His philosophy is summarized by a favorite Tolstoy quote: ‘Eagles fly alone and sparrows fly in flocks.' Thus, Herrmann would only compose music for films when he was allowed the artistic liberty to compose what he wished without the director getting in the way. Most famously, after over a decade of composing for all of Hitchcock’s films, Hitchcock requested a more “pop” score from Herrmann. Herrmann’s score was not what Hitchcock had requested, and since both Herrmann was so committed to having artistic liberty and would not compromise his values, the two went their separate ways, never to collaborate again. This shows Herrmann’s infamous persistence in being able to compose as he saw fit to represent the film.
His philosophy of orchestrating film was based on the assumption that the musicians were selected and hired for the recording session—that this music was not constrained to the musical forces of the concert hall. For example, his use of ten harps in Beneath the 12 Mile Reef created an extraordinary underwater-like sonic landscape; his use of four bass flutes in Citizen Kane contributed to the creepy opening, only matched by the use of 12 flutes in his unused Torn Curtain score.
Herrmann said in an interview: "To orchestrate is like a thumbprint. I can't understand having someone else do it. It would be like someone putting color to your paintings.".
Herrmann subscribed to the belief since held by many that the best film music should be able to stand on its own legs when detached from the film for which it was originally written. To this end, he made several well-known recordings for Decca of arrangements of his own film music as well as music of other prominent composers.
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