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CD

曲目リスト

1	トワイライトゾーン・メイン・タイトル
2	戦慄への序章
3	タイム・アウト
4	キック・ザ・カン
5	夜は永遠に
6	充ちたりた生活
7	高度20,000フィートの悪夢
8	トワイライトゾーン・エンド・タイトル

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スティーヴン・スピルバーグ/ジョン・ランディス/ジョー・ダンテ/ジョージ・ミラー各監督による4部構成のオムニバス形式映画「トワイライト・ゾーン」のサントラ盤。音楽はジェリー・ゴールドスミス、ブルース・ボトニックが担当。 (C)RS

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メーカーにより製造中止になりました ‏ : ‎ いいえ
梱包サイズ ‏ : ‎ 14.09 x 12.63 x 1.37 cm; 80 g
メーカー ‏ : ‎ ワーナーミュージック・ジャパン
EAN ‏ : ‎ 4943674019410
時間 ‏ : ‎ 45 分
レーベル ‏ : ‎ ワーナーミュージック・ジャパン
ASIN ‏ : ‎ B00005HKYK
ディスク枚数 ‏ : ‎ 1

Amazon 売れ筋ランキング: - 601,286位ミュージック (ミュージックの売れ筋ランキングを見る)
- - 25,604位サウンドトラック (ミュージック)

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陸田竜平

映画音楽の粋

2013年12月23日に日本でレビュー済み

Amazonで購入

　『ミステリーゾーン』ファースト・シーズンのテーマ曲も作曲したバーナード・ハーマン（エレキ・ギターとピアノのユニゾンで始まる有名なあれはセカンド・シーズン以降にマリウス・コンスタンが書いたもの）が、幾つかのエピソードのためにそれぞれ書き下ろしたスコアの新録盤。収録作は以下の通り。

　　『そこには誰もいなかった Where Is Everybody ?』
　　『過去を求めて Walking Distance』
　　『星に流された男 The Lonely』
　　『みにくい顔 Eye Of The Beholder』
　　『消えた少女 Little Girl Lost』
　　『殺してごめんなさい Living Doll』
　　『命を刻む時計 Ninety Years Without Slumbering』

　他に、ハーマン作曲のテーマ諸ヴァージョンを含む。

　この番組に限らず、専ら放送局のストック・ミュージックを用いてスコアリングの時間と費用を節約していたのが当時のTVドラマ（今でも？）だが、これらのエピソードは音楽もわざわざ新たに作曲しただけあって、いずれも『ミステリーゾーン』（間に「・」なしが本当）の代表作と言っていい傑作ばかり。まあ、そちらのレビューは他の機会に譲るとして、その音楽は増和音（『サイコ』冒頭のアタックでお馴染み）ないし全音音階をベースに、ハーモニー未満とも言うべきシンプルなコード進行とメロディ未満のモティーフ、エピソードごとにあるいは弦楽合奏、あるいはハープ、チェレスタ、ヴィヴラフォンに数本の管楽器とやはりごく限定されたオーケストレーション（『殺してごめんなさい』はわずか4名の編成）で恐怖、不安、緊張、孤独、悲哀を色彩豊かに描き切るのはまさにハーマンの独擅場。また、全音音階特有の浮遊感から来るニュートラルで透明な表情は、全く性格の異なる映像作品のあれこれに汎用してもほとんど抵抗がなさそうに思う。少々大げさに言うと、この2枚組さえあれば映画音楽はもういらないのではないか。趣味で自主映画製作などやっておられる方は一度お試しを。

　この番組でハーマンのスコアを用いた傑作にはもう一つ、彼の前妻ルシール・フレッチャーの原作による『ヒッチハイカー The Hitch-Hiker』があるけれど、こちらはもともとオーソン・ウェルズ主演のラジオ・ドラマ版に作曲したものが（CBSのストック・ミュージックとして）流用されていたようで、本CDには未収録。まあ、それを言うなら『ミステリー〜』全エピソードの半分以上にハーマン作曲のストック・ミュージックが（部分的にせよ）使われているらしい。このあたりにも上記の汎用性（と言うとまるで個性のない音楽のようだが）を思ったりする、そういう用途で書かれたのだからある程度は当然なのではあるけれども。

3人のお客様がこれが役に立ったと考えています

役に立った

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Burton Sundquist

Herrmann's Zone

2016年5月15日にカナダでレビュー済み

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This collection of re-orchestrated scores for The Twilight Zone by legendary Bernard Herrmann is well worth the wait and price to add to one's soundtrack collection. This CD offers tracks never before released, from the classic episodes "Little Girl Lost" ( inspiration for the theatrical film Poltergeist ), "Eye of the Beholder", "Living Doll" and "Ninety Years Without Slumbering". This two disc gem is a must for the ardent Herrmann fan.

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Emma Richards

As Timeless as Infinity

2012年5月6日にアメリカ合衆国でレビュー済み

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Rod Serling's seminal series "The Twilight Zone" is known not only for its brilliant writing, directing and acting, but for its haunting, atmospheric music. Many famous composers lent their talent to the show, but of them all, Bernard Herrmann is perhaps the most famous, and his compositions for the show among the most celebrated. This two disc CD recreates all seven scores Herrmann composed for "The Twilight Zone," ably conducted by Joel McNeely.

The first CD (the better of the two, in my opinion) contains the title themes, main and end, (note that this is the theme used in the first season, not the more famous theme by Marius Constant used in seasons 2-5) and the scores for the first season episodes "Where is Everybody?," "Walking Distance" and "The Lonely," and for the second season episode "Eye of the Beholder." Herrmann's title theme, used only in season one, is quiet, slow and contemplative, and fits perfectly with Rod Serling's opening narration (also peculiar to the first season; his monolog changes almost every season). There is also the main theme's second revision, which is harsher and less pleasant than the original. Both are very different from Constant's theme, used in every other season, which is loud and brash and much more memorable. Personally, I prefer Constant's theme, possibly because it is more iconic and immediately identifiable with "The Twilight Zone," but I've grown to love Herrmann's solemn piece.

As for the episode scores on this disc, all four are incredible, with "Walking Distance" being the standout. The score for "Where is Everybody?" starts out slow and almost serene, but with an underlying note of sinisterness that becomes more and more pronounced, as the protagonist of the episode goes from bewilderment at his situation to out-and-out hysteria. "Walking Distance" has one of the most esteemed TZ scores, and for good reason. It is a piece of pure beauty, redolent of long summer evenings and playing with the neighbor kids, corresponding with the protagonist's nostalgic memories of his childhood home, ending on a slightly somber note as he learns firsthand the invaluable maxim "you can't go home again." "The Lonely" has an exceedingly lovely score, starting with a repeating pattern to illustrate the monotony of the protagonist's existence. This changes when Alicia appears, denoting first the commotion of her arrival, then the beauty of her and Corey's relationship, and finally, the tragedy and disillusionment of the finale. The final score on this disc, that of "Eye of the Beholder," is similar to "Where is Everybody?" and "The Lonely" in that it begins with a very simple repeating melody that becomes more complex and intense as it progresses, culminating in the clamorous piece corresponding with the now famous reveal. The score ends with the same melody as the beginning, only now with a more hopeful ring to it. The last track on disc one is the end title, which is very similar to the main title, but with a more "final" feel to it, for obvious reasons.

Disc two is comprised of the new Twilight Zone theme opening and closing (again, not Constant's famous theme, but instead revisions of Herrmann's) and the scores for the third season episode "Little Girl Lost" and the fifth season episodes "Living Doll" and "Ninety Years without Slumbering." The new theme is basically an expansion of the main theme's second revision. The episode scores on this disc are all very different from one another. "Little Girl Lost" did not appeal to me the first couple times I listened to it; it struck me as very jangly and discordant. However, I find that I appreciate it more with each listening. Unlike many of the other scores, it does not start out non-threatening; it is menacing from the get-go, as the protagonists discover that their young daughter, who can be clearly heard crying, cannot be seen or found. The score matches pace with the parents' ever-increasing panic as they search for their daughter, getting more and more tense and wound-up. The theme for the fourth dimension (in which the little girl has gotten lost) is this sort of bizarre combination of harp and wind instruments, which fits the topsy-turvy nature of the dimension. After "Little Girl Lost," "Living Doll" is very quiet and reserved, but it is the most ominous and chilling of all Herrmann's TZ scores. Like "Little Girl Lost," it doesn't lull the listener into a false sense of security with a tranquil opening melody; you know right off the bat that something bad is going to happen. The music becomes darker as Erich (the protagonist) and Talky Tina, the eponymous doll, engage in their battle of wills, but also more playful; the audience, and Tina, know that Erich will never win. Tina is playing with him, like a cat with a mouse, and the music reflects that. The finale is not loud and booming like the finales of the other scores, but continues that evil playfulness associated with Tina. The last score, "Ninety Years without Slumbering," I first found to be dull, but, like "Little Girl Lost," I began to like it more upon re-listening. It's very soothing and serene after the busy "Little Girl Lost" and ominous "Living Doll," and makes for a good final score. The very last track on the album is the new theme closing, a big, loud piece that's as different from the original opening and closing as day from night, and while I prefer the originals, it's a great piece in and of itself.

Finally, for those who were wondering what the length of the album is (as I did), here is the duration of each section (each episode score is its own section, as are the opening and closing themes):

Disc One

Track 1: Main Title (1:22)
Tracks 2-17: Where is Everybody? (15:47)
Tracks 18-28: Walking Distance (19:26)
Tracks 29-39: The Lonely (14:04)
Track 40: Twilight Zone Theme 2nd Revision (0:47)
Tracks 41-51: Eye of the Beholder (10:14)
Track 52: End Title (1:21)

Total time of Disc One: 63:15

Disc Two

Track 1: New Twilight Zone Theme-Opening (0:43)
Tracks 2-12: Little Girl Lost (16:04)
Tracks 13-27: Living Doll (12:15)
Tracks 28-40: Ninety Years without Slumbering (13:06)
Track 41: New Twilight Zone Theme-Closing (1:14)

Total time of Disc Two: 43:15

Total time of album: 106:30

So there you have it, over an hour and 45 minutes of brilliant music by a brilliant composer for a brilliant TV show. You really can't go wrong.

5人のお客様がこれが役に立ったと考えています

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Reginald D. Garrard

Disc One is the better of the two!

2003年12月31日にアメリカ合衆国でレビュー済み

Amazonで購入

Bernard Herrmann stands apart from many of his contemporaries because his scores could, for the most part, stand apart from the films that they accompanied. His composing skills were so great the he created mini-symphonies for the films assigned him. He thoroughly understood the technique of composing for film and how the music was integral to a story's success.
Nowhere is this more evident than in his scores for the classic Twilight Zone on this two-disc set. "Where is Everybody?" expresses the main character's bewilderment at being in a deserted town. Many of the cues for that episode are reminiscent for Herrmann's work in Jason and the Argonauts" and "Psycho".
"Walking Distance" is prime Herrmann as the music evokes the tale of a man revisiting his past. Herrmann always effectively used strings and contrasting horns to create a mood.
The surprise of finding companionship, as well as the results of losing the same, is brought to life by Herrmann's complex treatment for "The Lonely".
The dreamlike quality of the score to "Eye of the Beholder" is perfect for the tale of a hospital patient anxiously awaiting the results of her plastic surgery.
Disc Two features Herrmann's compositions for three other memorable episodes; however, these creations pale when compared to those that preceded them.
But still, sub-par Herrmann is better than anything before or since.

10人のお客様がこれが役に立ったと考えています

レビューを日本語に翻訳する

Jeff T

With or without the show, this music is incredible.

2012年3月3日にアメリカ合衆国でレビュー済み

Amazonで購入

When I was a young kid and watching re runs of the show. I remember noticing the amazing music. Years later I remembered it and found this cd. What incredible music with or without the show. Very emotional and haunting. Like the shows creator, Herman was also a genius.

2人のお客様がこれが役に立ったと考えています

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Confessed Movie Junky

Joel McNeely's

2000年5月19日にアメリカ合衆国でレビュー済み

Amazonで購入

This is an extraordinarily satisfying collection of Bernard Herrmann's "Twilight Zone" scores. Joel McNeely preserves the thematic complexity and warmth that characterizes much of Herrmann's film music. Recorded over a three-day period at Abbey Road's London studios, McNeely captures the Twilight Zone magic that enthralled audiences 30 years ago. You'll pick something new from this remarkable 2-CD set each time you listen to it. Definitely a must-have for any soundtrack admirer.

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曲目リスト

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この商品をレビュー

上位レビュー、対象国： 日本

レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。

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トワイライトゾーン〜超次元の体験オリジナル・サウンド・トラック

上位レビュー、対象国：日本