Bernard Herrmann Psycho The Madhouse

-and-variations form. This procedure is fully demonstrated in this recording, in his score for Hitchcock’s Vertigo (1958) with its shocking polytonal harmonies (Mercury 422 106-2, issued 1986), and even in his last score for Martin Scorsese's Taxi Driver (1976) (Varese Sarabande VSD-5279, issued 1986) where the patterns over jazz harmonies are as totally symmetrical as in the work of John Coltrane (esp. Naima and Giant Steps) and Jon Gibson... the orchestration and extended harp arpeggios ...