3.

Carlotta's Portrait (2:34)

Now we get yet another theme having to do with Madeleine, this time connecting her with the
portrait of her dead relative that Scottie thinks is taking over her body. Since the woman in
the portrait is Mexican, Herrmann uses a traditional Mexican dance-like rhythm called the
habanera, which accentuates the up-beats. His use of it here, however, is anything but jovial.
The composer adds an air of sorrowful mystery, and, as the liner notes say, it's repeated
throughout the entire track to add an obsessive, hypnotic state. Over this is another chromatic
string line, which subtely outlines the ominous woodwind theme from the previous track,
which I'll henceforth refer to as the Madeleine theme.

8. The Dream (2:42)

After various ominous string passages, the habanera theme returns in full force, again with
high strings outlining Madeleine's theme. The cue ends with another, more vague
permutation of her theme

13. Scene D'Armour (5:09)

After the main titles, this is my personal favorite cue. I'm pretty sure it's almost the longest
cue Herrmann ever composed. (can anyone confirm this?) Anyway, the track is positively
dripping with lush strings, conveying the reckless ecstasy felt by Scottie as he sees Madeleine
reincarnated. It's been compared with Wagner's "Liebstod" from his romantic epic opera
Tristan und Isolde, in terms of sheer passion and reckless abandon. The complete theme is
played twice in total, revealing its many sections, with the orchestration growing louder with
every note, eventually adding the whole brass section under the strings. The first section
played is a fantasia on the abbreviated four-note theme, which builds into a statement of it for
tremolo strings. This uneasy interlude builds into a full statement of this first part of the love
theme, which is transformed into the yearning waltz. However, instead of ending unresolved,
Herrmann climaxes it in a pattern of fortissimo seventh intervals, and later gives it the center
stage. After the next presentation of the love theme, instead of letting it back down, the
composer continues to build into a giant cadence for tutti orchestra. The score could have
ended here, and we could have had a happy resolution...
14. The Necklace/The Return/Finale (7:47)

But of course we have to have this suite, which completely destroys Scottie's life. All of the
themes converge on this track, which opens with the habanera rhythm. Next is another
presentation of the now fully developed love theme. Next is a positively operatic tense
ascending chromatic progression. "The Return" gives more uneasy permutations of the love
theme, which is, in actuality, the main theme of "Vertigo." However, while still quite
powerful, no part of this cue reaches the soaring heights of "Scene D'Armour," instead
concentrating on the tragic aspect of the storyline. Also present a few times is the brass
vertigo motif, accompanied by harps. "Finale" begins with a tense chase motif not entirely
unrelated to the "Rooftops" theme, separated by virtuoso clarinet glissandi. The four-note
love motif makes a brief appearance, also. A short interlude for clarinet choir segues into the
final, hopelessly tragic statement of the full love theme. After this is a short postlude, which
permanently buries the love theme. On the last note, which is probably one of the biggest
surprises in the score, Herrmann ends with a perfect major cadence. How can he do that?
Scottie's life is basically in shambles, and the film ends in tragedy. It's as if Bernard Herrmann
is just seizing a chance to toy around with our now emotionally unstable minds. This final note
is completely evil, yet completely ingenious and inspired!

Cmo se desarrollan los leitmotiv durante toda la pelcula. Cmo son las variaciones segn la
necesidad narrativa, qu implican qu caractersticas tienen.

Ritmo e instrumentacin. Connotaciones.

El ritmo espaol (Habanera, Carmen bizet) de The Dream y su parecido con Graveyard. La no
resolucin, el movimiento sin progreso. La msica de Scene damour, el tristan chord, los
violines, lo irracional.

Analizar secuencia inicial. Y cada momento en el que aparecen los leitmotiv.

As Robin Wood points out, Scotties obsession with Madeleine is an obsession with Thanatos
as much as Eros