B e ʀ ɴ a ʀ d H e ʀ ʀ m a ɴ ɴ T h e F o r e s t fr om V e ʀ t ɪ ɢ o Edɪ t e d ʙʏ Christopher Husted f uʟ ʟ s c o ʀe
P ʀ oɢ ʀam No t e Born i n New York C i t y i n 1 9 1 1 , Ber nar d Herr mann b e gan h i s c areer as a c omp oser and c ond uc tor i n the late 1 9 2 0 ’ s E ar ly as soc i a t i on s w i th Charles I v es, Perc y Gr ai n ger , Ph i l i p Ja mes and A ar on Copland ’ s Young Co mp oser s Gr oup for med the c or nerstones o f h i s m us i c al d evelop ment I n 1 9 3 4 he b eg an a lon g as soc i a t i on w i th CBS Rad i o T he exp er i mental b ent o f CBS pr ogr am m i n g gr eatly enc our aged h i s dev elop ment a s a m us i c i an He excelled a t i nc i d ental mu s i c f o r b oth p oetr y read i n g s ( La b elle da me sa n s me r ci, A Sh r ops hire La d) and f or r ad i o d r a m as b y Or son Welles ( Me r c u ry T hea t re of t he A ir) , Nor m an Cor wi n (Colu mb ia P rese n t s Co rwi n) and Ir v i n g Rei s (Col u mb ia W o r k s h op) Herr mann honed h i s c ond uc ti n g sk i lls i n m an y no v el p rogr a m s o f h i s own d ev i s i n g f or the CBS S y m p hon y Orc hestr a, and ser v ed as i t s p r i nc i p al c ond uc tor fr om 1 9 4 3 1 9 5 0 Read y ac cess to the S y m p hon y and the m an y world class soloi st s who p er for med wi th i t elic i ted a s tead y stream o f c oncert mus i c fr om hi m , i nclud i n g h i s Noc tur ne and Sc herz o ( 1 9 3 6 ) , a S y m p hony ( 1 9 3 9 4 1 ) , and a son g c yc le on N i c holas Breton’ s T he Fa n t a s t ic k s ( 1 9 4 1 4 3 ) H i s m os t a mb i t i ou s wor ks are a d r a ma t i c c antat a on M elv i lle’ s M ob y Di c k ( 1 9 3 7 3 8 ) , a nd an op er a on Bronte’ s W u t he rin g Heig h t s ( 1 9 4 3 5 1 ) Herr mann ’ s as soc i a t i on w i th Or son Welles led h i m to fi lm sc or i n g , b e g i nn i n g w i th Cit izen Ka ne i n 1 9 4 1 He sub seq uently wor ked ac t i v ely at 2 0 th Centur y Fox ( T he G h o s t a nd M r s M ui r , T he D a y t he E a r t h St o od St ill) b efore h i s d ec ade long as soc i at i on w i th H i tc hc ock beg an i n 1 9 5 4 w i th T he T r o ub le Wi t h H a r ry , later i nclud i n g T he M a n W h o K new T o o M u c h , V er t ig o, N o r t h b y N o r t h wes t and P sy c h o I n 1 9 5 8 Herr mann beg an another long ter m a ssoc i at i on i n h i s fi l m wor k when R a y H ar r yhau sen sou gh t h i s un i q ue touc h for T he Seven t h V oya ge of Sinb ad; T he T h ree W o r lds of G ulliver, My s t erio us I sla nd and Ja s o n a nd t he A r g o n a u t s followed The i nfluence of h i s work w i th H i tc hc ock and Welles led Herr mann to i m p or tant wor k wi th Fr ançoi s Tr u ff aut ( F a h re n heit 451, T he B ride W o re Bla c k ) ; Br i a n De P alma (Sist er s, O b sessio n) and M ar ti n Sc orcese ( Ta xi D river) V er t igo i s just i fi ab l y renown for i ts elegant and h aunt i n g b eauty , o f wh i c h Bernar d Herr mann ’ s i nc i d ental mus i c for m s an i nte gr al p ar t Wh i le the sc ore i s b est k nown f or i ts d eft r eferences to W a gner ’ s T ris t a n u nd Isolde, i t i s r emar k able well beyond th at Counter p osed a g a i ns t the m an y m o ments o f r o man t i c ab and on are mo ments o f au stere b alance, ac hi ev ed thr ough a r eli ance on v er y s i mp le and sp are mus i c al m ater i al th at i s c a st i n s y m metr i c al, or “ m i r r or , ” f or ms A r em ar k able i ns tance o f th i s c ounter c urrent i n the sc ore i s “ The Forest, ” wh i c h acc omp an i es the fi r s t i m p or tant mo ment o f tense and m y s t i f y i n g c on fr ontat i on between the her o, d etec ti v e “ Sc ott y ” Fer guson (J a mes Stewar t) and h i s sub ject o f ob ser v at i on , M r s M ad elei ne Elster (K i m No v ak ) M ad elei ne ’ s moun t i n g ob sess i on w i th her d ead gr and mother Carlotta V aldes has b e gun to m a n i fest i n tr oubli n gly err at i c b ehav i or H i r ed b y her c oncerned husb and Ga v i n Elster ( To m Helmore) to learn more ab out wh at she i s d o i n g , Sc ot t y soon learns th at she i s d o i n g v er y b ad ly when she tr i es to d r own her self i n S an Fr anc i sc o Ba y Resc ui n g her , Ferg uson clums i l y b ec omes her c onfi d an t , and soon i s a s d an ger ously ob sessed wi th M ad elei ne as M ad elei ne i s w i th Carlotta V aldes In “ The Forest, ” Herr mann ev okes the c hi lli n g m y s ter y o f M ad elei ne ’ s ob sess i on when Sc ott y m ak es the fi r st o f sev er al a ttemp t s to talk her i nto a c a thar s i s o f her su i c i d al c omp ulsi on The c onv er sat i on tak es p lace d ur i n g a v i s i t to the forest o f old gr owth c oast redwood s ( Sequ oia sempervirens ) i n the M ui r Wood Nat i onal M onument Dw ar fed i n the c athedr alesque gloom o f the glad e, M ad elei ne i s r em i nd ed o f the percep ti ons o f d ar k ness tha t acc omp an y her su i c i d al lap ses: a d i sp la yed cr oss sec ti on o f a tr ee, wi th i t s monu mental, m an i f old r i n g s , lulls her i n to a tr ance i n sp i te o f Sc ott y ’ s i ncreasi n gl y ur gent q uest i on i n g S he walk s a shor t d i st ance i nto the glad e and , f or a m o ment , seems to d i sap p ear i nto th i n a i r Followi n g her , Sc ott y fi nd s her resti n g v ac antly a g a i ns t one o f the gr eat trees: he q uest i ons her v er y i n tently , d r awi n g her
out o f her tr ance and i n to a sud d en mood o f d esp er ate exhaus t i on S he p lead s f or h i m to s top , and tha t they fi nd thei r wa y b ac k to the li gh t : the walk out to gether i n s i lence Herr mann c ap tures the threateni n g sense o f m or tal d eter mi n i s m and d oo m b y c onstr uc ti n g a s y m metr i c al for m th at i s i nhab i ted b y slowly mo v i n g c hor d s Thou gh m os t o f t hem are c hord s relati v ely com mon to tonal mus i c (tec hni c ally referred to as “ m ajor sev enth c hord s ” ) , so me o f them are b u i lt fr o m i n ter v als o f the four th , r ather than o f t h i r d s a s i n c onv enti onal tonal h ar mon y T hese “ c hor d s o f the four th” are a r are recurrence of h ar mon i es tha t were c om mon i n Herrm ann ’ s mu s i c o f t he 1 9 3 0 s , when he b r i efly p ur sued a m od er ni st s t yle The c hord s, occ urr i ng i n gr oup s o f two or f our , are p as sed ar ound the wood wi nd and b r ass sec ti ons , e mp h as i z i n g the “ c old ” t i mb r es o f the Tr omb ones, H or ns and Clar i nets T h i s gloo m i s telli ngly b r oken when the “ war m ” t i m b res o f the Cor s An gla i s and Bassoons sud d enly tak e a tur n wi th a gr oup o f c hor d s th at c reate a gr eater sense o f fi n ali t y th an the other s just as M ad elei ne ad m i ts to d i sli k i n g the anc i ent trees, “ …k nowi n g I h a v e to d i e ” The Cor s An gla i s and Bas soons retur n a s M ad elei ne c onfronts the sec ti oned tr ee; the centr al seg ment o f the s y m metr i c al for m ensues w i th the P i c c olo, Flutes and c up mu ted Tr ump ets a s she remar k s on the tree’ s m an y r i n g s , and the b r i efness o f her li fe; the clar i nets retur n as she tur ns, i n a tr ance, and walk s awa y fr om Sc ott y T he for m ’ s center c omments on the m y s t i q ue o f Sc ott y ’ s sud d en sense th at M ad elei ne ha s v an i shed , li k e a g host : a n eni g m a t i c c hor d i s hear d on the Or g an as three chi me li k e c hord s are sound ed b y the v i b r ap hones A s Sc ott y fi nd s and ap p r oac hes M ad elei ne once a g a i n , the for m b eg i ns r etr ac i n g i t s s tep s: fi r st thr ough the P i c c olos, Flutes and Tr ump ets ; then thr ough the Clar i nets; then to the Cor s An gla i s and Bas soons as t alk o f her a ttemp ted su i c i d e b e g i n s to fr i g h ten her ; then to the Tr omb ones as she r ejec ts Sc ott y ’ s q uest i ons and b eg s fo r them to leav e The f a te li k e d eter mi n i s m o f t he s y m metr i c al for m i s d i sp elled a t least f or now: a solo Cor An gla i s o ff er s a shor t, so mb re melod y (the only melod y to b e heard i n “ T he Forest” ) , ter mi n at i n g to pr ogress b ac k to the b e g i nn i n g o f t he for m ( and the c onfr onta t i on w i th the fi n al meani n g o f t he “ d ar k ness ” ) as she b eg s Sc ott y not to a sk her more q uesti ons The Tr omb ones and Tub a p resent a s i mp le m ajor c hor d as a c ad ence as they leav e the forest “ The Forest” i s p resented here c ompletely , just as i t i s hear d i n the fi l m Cʜ ʀ ɪ s t o p ʜe ʀ H u s t e d
Or chestra 1 Piccolo 2 Flut e s 3 Cor s Angl ai s 3 C l ar inet s in B fla t 2 B a s s C l ar inet in B fla t 3 B a s soons 2 Cont r aba s soon 4 H or ns in F 3 Trum pet s in B fla t 3 Trom bones 1 Tuba 4 Per cus sionis t s V i b r ap hones ( 2 ) L ar ge Susp ended Cy m b al S m all Susp ended Cy mb al 1 H a m m ond Or gan 8 Cont r aba s se s Du r at ion : 3 ¾ m inutes
& & & & & & & ? ? & & & ? ? ? & & & & ? ? c c c c c c c c c c c c c c c c c c c c c c c CorPiccolosAnglaisClarinetsinB b Bass Clar inets in B b ContrabassoonBassoonsHornsinFTrumpetsinB b TrombonesTuba ʙ a t t e ʀ ʏ ContrabassesHammondVibraphonesSuspendedCymbalsSmallLargeOrganFlutes1 2 1 1 2 1 2 1 2 3 3 4 1 2 3 2 3 3 1 2 1 2 1 2 Largo Largo ∑ ˙ ˙bb p Sords ˙ ˙ b˙ p Sords b˙ b˙ p Sords b˙ 1 b˙ p b˙ ∑ ˙ ˙bb p ˙ nn˙ b˙ p n˙ b˙ p n˙ 2 b˙ p n˙ ∑ ˙ b˙ p Sords ˙ #˙ ˙ bb˙ p Sords ˙ bn˙ 3 b˙ p b˙ ∑ ˙ #˙ p ˙ ˙bb ˙ b˙ p ˙ bb˙ 4 b˙ p b˙ ∑ ˙ ˙ p ˙ ##˙ b˙ p ˙ b˙ p ˙ 5 ∑ ˙ nn˙ p ˙ ˙bb ˙ p b˙ n˙ p b˙ 6 v 07c 00 fs mus The Forest V e ʀ t ɪ ɢ o Ber nard Her r mann edited by Chr istopher Husted
& & & & & & & & ? ? & & & ? ? ? & & & & ? ? Bs.CPicA.Cls.Cls.Bns.Cbn.Hns.Tpts.Tbns.Tba. ʙ a t t e ʀ ʏ H.OSus.Vibs.CySm.Lg.CBFls.1 2 1 1 2 1 2 1 2 3 3 4 1 3 2 3 3 1 2 1 2 1 2 2 ˙ nn˙ p ˙ ˙bb ˙ nn˙ p ˙ ˙bb 7 n˙ p b˙ b˙ p n˙ ˙ ˙nb p ˙ nn˙ ˙ n˙ n p ˙ b˙ b n˙ p b˙ 8 n˙ #˙ ˙ b˙ ˙ ˙ ˙ b˙ b ˙ n˙ n b˙ n˙ 9 ˙ ˙nb p ˙ ˙ n˙ p b˙ n˙ p #˙ n˙ p #˙ 10 ˙ ˙ ˙ ##˙ b˙ ˙ n˙ b˙ n˙ 11 ˙ ˙ p ˙ ##˙ b˙ p ˙ b˙ p ˙ 12 b˙ p ˙ v 07c 00 fs mus 2
& & & & & & & & ? ? & & & ? ? ? & & & & ? ? Bs.CPicA.Cls.Cls.Bns.Cbn.Hns.Tpts.Tbns.Tba. ʙ a t t e ʀ ʏ H.OSus.Vibs.CySm.Lg.CB 2 3 4 Fls. 1 2 1 1 2 1 2 3 1 1 3 2 3 3 1 2 1 2 1 2 2 ˙ nn˙ p ˙ n˙ b˙ p ˙ b˙ p ˙ 13 b˙ p ˙ w wnbpp nw pp bw pp nw pp 14 b˙ p n˙ ˙ ˙nb p ˙ nn˙ ˙ n˙ n p ˙ b˙ b n˙ p b˙ 15 n˙ #˙ ˙ b˙ ˙ ˙ ˙ b˙ b ˙ n˙ n b˙ n˙ 16 ˙ p (senza vibrato) #˙ ˙ ˙ p (senza vibrato) ˙ #˙ # w p ww#w p Cup mutes 17 ˙ p #˙ ˙ ˙ p ˙ #˙ # w p ww#w p 18 v 07c 00 fs mus 3
& & & & & & & ? ? & & & & & ? ? ? & & & & ? ? Bs.CPicA.Cls.Cls.Bns.Cbn.Hns.Tpts.Tbns.Tba. ʙ a t t e ʀ ʏ H.OSus.Vibs.CySm.Lg.CB 2 3 4 Fls. 1 2 1 1 2 2 1 2 3 1 3 4 1 2 3 2 3 3 1 2 1 2 1 2 ˙ p n˙ ˙ ˙ p ˙ n˙ n w p ww#w p ∑ 19 ∑ ˙ #˙ ˙ ˙ ˙ #˙ # w ww w ∑ 20 ∑ ˙ #˙ # p (quasi sub tone) ˙ #˙ # #w p w p w w p ∑ 21 ∑ ˙ #˙ # p ˙ #˙ # #w p w p w w p ∑ 22 ∑ ˙ #˙ # p ˙ n˙ n #w p w p w w p ∑ 23 ∑ ˙ #˙ # ˙ #˙ # w w w w ∑ 24 ∑ v 07c 00 fs mus 4
& & & & & & & & ? ? & & & ? ? ? & & & & ? ? Bs.CPicA.Cls.Cls.Bns.Cbn.Hns.Tpts.Tbns.Tba. ʙ a t t e ʀ ʏ H.OSus.Vibs.CySm.Lg.CBFls.1 2 1 1 2 1 2 1 2 3 3 4 1 3 2 3 3 1 2 1 2 1 2 2 #w ppp (sub tone) #w ppp (sub tone) w » ppp w nw ppp w bbw 25 w nnw pp (l.v.) w bbw pp (l.v.) w » pp w » w w w w w pp 26 w f #w ppp #w ppp w » w w w w 27 w nnw pp (l.v.) w bbw pp (l.v.) w » pp w » w w w w w pp 28 w f #w ppp #w ppp w » w w w w 29 w nnw pp (l.v.) w bbw pp (l.v.) w » pp w » w w w w w pp 30 w w » w w w w 31 v 07c 00 fs mus 5
& & & & & & & ? ? & & & & ? ? ? & & & & ? ? Bs.CPicA.Cls.Cls.Bns.Cbn.Hns.Tpts.Tbns.Tba. ʙ a t t e ʀ ʏ H.OSus.Vibs.CySm.Lg.CBFls.1 2 1 1 2 2 1 2 3 1 3 4 1 2 3 2 3 3 1 2 1 2 1 2 ˙ p (senza vibrato) #˙ ˙ ˙ p (senza vibrato) ˙ #˙ # w p ww#w p Cup mutes 32 ˙ p #˙ ˙ ˙ p ˙ #˙ # w p ww#w p 33 ˙ p n˙ ˙ ˙ p ˙ n˙ n w p ww#w p 34 ˙ #˙ ˙ ˙ ˙ #˙ # w ww w 35 ˙ #˙ # p (quasi sub tone) ˙ #˙ # #w p w p w w p 36 ˙ #˙ # p ˙ #˙ # #w p w p w w p 37 v 07c 00 fs mus 6
& & & & & & & & ? ? & & & ? ? ? & & & & ? ? Bs.CPicA.Cls.Cls.Bns.Cbn.Hns.Tpts.Tbns.Tba. ʙ a t t e ʀ ʏ H.OSus.Vibs.CySm.Lg.CBFls.1 2 1 1 2 1 2 1 2 3 3 4 1 3 2 3 3 1 2 1 2 1 2 2 ˙ #˙ # p ˙ n˙ n w #w p w w p 38 ˙ #˙ # ˙ #˙ # w w w w 39 b˙ p n˙ ˙ ˙nb p ˙ nn˙ ˙ n˙ n p ˙ b˙ b n˙ p b˙ 4 0 n˙ #˙ ˙ b˙ ˙ ˙ ˙ b˙ b ˙ n˙ n b˙ n˙ 41 ˙ ˙ p ˙ ##˙ b˙ p ˙ b˙ p ˙ 4 2 b˙ p ˙ ˙ nn˙ p ˙ n˙ b˙ p ˙ b˙ p ˙ 43 b˙ p ˙ v 07c 00 fs mus 7
& & & & & & & & ? ? & & & ? ? ? & & & & ? ? Bs.CPicA.Cls.Cls.Bns.Cbn.Hns.Tpts.Tbns.Tba. ʙ a t t e ʀ ʏ H.OSus.Vibs.CySm.Lg.CBFls.1 2 1 1 2 1 2 1 2 3 3 4 1 3 2 3 3 1 2 1 2 1 2 2 Œ œ p Solo espr bœ bœ w wnb pp nw pp bw pp nw pp 4 4 bœ b˙ œ ˙ ˙ ˙ ˙ ˙ 45 U U ˙ U ppp U U U U U U U U U U w w bU pp w U pp bw U pp U U U U U U 46 U v 07c 00 fs mus 8