Elfman's schedule in 2012 was extraordinarily busy. He had already pulled out of Hunger Games to tackle five other assignments, but his self-propelled enthusiasm for Hitchcock caused him to squeeze it into the schedule. Not surprisingly, some vintage music is used as source or tribute material, most notably the screeching shower sequence from Psycho heard after the argument between Hitchcock and Herrmann (it's possible, given the sound quality of this material, that Elfman simply accessed his 1998 recording of the cue) and the "Funeral March for a Marionette" by Charles Gounod, Hitchcock's personal theme in living, arranged by Elfman for a fresh recording here. The original score for Hitchcock consists of a partial orchestra (seemingly minus brass) and a few notable accents, a solo piano and various string contributors carrying the bulk of the load. While Elfman's take on the film is distinctly his own, sounding very much like the late 1980's/early 1990's mannerisms of the composer, he does make some obvious nods to Herrmann's style along the way. The best among these emulations may be "Impulses," a mock horror cue that resurrects Herrmann's churning cello techniques, and "Explosion," in which glassy percussion interrupts another string horror outburst. Outside of these moments, however, listeners may be surprised by just how thoroughly Elfman's own musical personality dominates Hitchcock. Make no mistake about it; this is very much an Elfman score rather than an extensive Herrmann tribute. His two main themes and minor motifs are all comfortable when placed amongst his early orchestral works, his own sense of humor informing several buoyant cues as well. The primary theme in Hitchcock is one of affection between Hitchcock and his wife, a whiny at times but ultimately satisfying and almost melancholy and tired representation of love. Introduced on high strings in "Theme from Hitchcock," the idea takes most of the score to establish itself, recurring with lament on solo piano in "Fantasy Smashed" and on dramatic strings in middle of "Finally." Perhaps the most redemptive performance of the idea come at the very end of the score, with plaintive string performances in "Home at Last" and longer treatment on piano and strings throughout the subdued "End Credits #2."

Don't expect the love theme to compete well with the other major identity in Hitchcock, the one for the director himself. Elfman gives it dual personalities and sometimes prefaces it with a direct quote from a supporting motif in Batman. This prelude of sorts introduces a hint of the Hitchcock theme in "Logos," a cue that may as well be from either of Elfman's Batman scores after the harp references to Herrmann in the opening bars. More of this reference can be heard in "Paramount/Out the Gate" (opening the cue whimsically and returning on woodwinds later) and with subtlety in the middle of "Suspicion." The darker variant of the theme for Hitchcock himself is a bit sinister and supports the vital "Saving the House" cue (leading into the Herrmann argument scene) before Elfman allows it to flourish with wicked solo violin performances surrounded by tumult in "End Credits #1." Opposing the grisly side of this theme are the perky and vibrant performances representing the director's humor and larger-than-life persona. While a little closer to the "Funeral March" in personality, this version is actually a lively waltz seemingly derived from an old song about sunshine and mornings, exploding early in "Paramount," closing out "The Swim," flourishing at the start of "Walk With Hitch" (the exuberant side of an equivalent opening to "It's a Wrap"), and really let loose with upbeat retro jazz style in "Selling Psycho." Three singular cues merit specific mentioning outside of obvious thematic applications, the first which the absolutely riotous tribute to Scrooged that occupies all of the short cue, "The Premiere." A flurry of piano suspense at the end of "Celery" is especially gripping and may even have a slight electric guitar contribution in the background. The opening of "Finally" expresses relief through an elongated, expansive dramatic interlude for strings in almost John Barry fashion. Overall, Hitchcock is a fun score for the Elfman enthusiast and contains enough substance to justify its rather short album presentation. The themes do seem slightly underutilized, especially in how Elfman alternates between the darker and upbeat variations on the identity for the titular character. Then again, many of the film's best conversational moments exist without any music spotted in them, so the composer may have been restricted a bit in his opportunities for deeper development. Elfman collectors will be especially thrilled by how much of the composer's own musical personality thrives in this context, further connecting him with the Hitchcock and Herrmann legacy.  ***   @Amazon.com: CD or Download