Tiomkin's several contributions to Hitchcock films haven't aged as well through the years, partly due to poor archival sound of the original masters. The sound quality of these two original recordings is a bit muffled, but I Confess exhibits some brilliant piano work in its middle section for attentive ears to appreciate. The weakest selection on the album is the "Juke Box #6" track from Rear Window, which serves mostly as source music. The original recording of the "Scene d'Amour" cue from Vertigo, with its rumbling timpani leading to strings of pure fantasy, is without a doubt a classic. The tracks from North by Northwest and Psycho are also conducted by Herrmann himself, and though they work wonders in their respective films, they don't hold up as well on album as Vertigo and Marnie. The two tracks from Marnie included here are originals that had never been available on a commercial release before, with both featuring very enjoyable renditions of the score's sweeping main theme. What follows is perhaps the selling point of the album for collectors. Torn Curtain, besides being a weak film, marked the unfriendly end of the collaboration between Hitchcock and Herrmann. Hitchcock, pressured by the studio to drop his choice of composer, needed something more inspiring to a younger crowd, and you can only imagine the horror Hitchcock experienced with those unconventional recording sessions (a dreary and introverted composition was heavily dominated by brass and flute). He would be forced to turn to John Addison, whose less interesting replacement title theme from the film is included here. Three cues from Herrmann's original, rejected recordings for the film appeared here for the first time on CD.

Maurice Jarre's theme for Topaz was even a further departure from the Herrmann style; its primary march, well performed by the City of Prague Philharmonic, and continues to sound like a variation right out of the Lawrence of Arabia playbook. Hitchcock rejected Henry Mancini's score for Frenzy in 1972, which actually proved to be a good move when Ron Goodwin captured the grand elegance of London very well in his score for the film. The City of Prague Philharmonic returns for another good performance, as their later Hitchcock-related endeavors tended to be. Finishing the album are Elmer Bernstein and the Royal Philharmonic's bouncing rendition of The Wrong Man, John Williams' previously unavailable harpsichord and choral titles for Family Plot, and a final dose of Herrmann in the form of a creative woodwind and brass selection from The Trouble with Harry. For fans of Williams, 1976 was a year most likely to be forgotten, and the eerie baroque tones of the harpsichord in Family Plot, mixed heavily at the forefront, are difficult to enjoy in and of themselves. Overall, the sound quality on the album suffices, but since the recordings vary in source so greatly, there's often a shift in ambience (and sometimes volume) from track to track. Otherwise, though, it's a remarkable album highlighted by its previously unreleased music, performances from talented groups of players, and a very well-rounded compilation of Hitchcock's musical side. Most importantly, the album exudes the feeling that expert Hitchcock collectors and historians compiled its tracks, infusing the product with great credibility. It's the most highly recommended collection of original recordings representing Hitchcock's career and will rival the Silva Screen Records offerings in their concurrent, strictly re-recorded products.  ****   @Amazon.com: CD or Download