Film Score Monthly
Search Terms: 
Search Within:   search tips 
You must log in or register to post.
  Go to page:    
 Posted:   Jan 11, 2008 - 10:02 AM   
 By:   Sehnsuchtshafen   (Member)

Thanks, David for the fascinating details. I could take more of them...

Wasn't the sharing credit thing something like a tradition - or bad habit - at Universal studios when Joseph Gershenson took over the music department, a tradition founded by Charles Previn?

MMM, which composers got fired in the late fifties and why?

 Posted:   Jan 11, 2008 - 10:46 AM   
 By:   MMM   (Member)

Hans Salter and others got plenty of credits in the 1940s. Every contract composer got fired around '58, and many of the free-lancers never or seldom worked on films again. While there were exceptions, most of Universal's "B" pictures began to be scored entirely from pre-existing (tracked) music.

 Posted:   Jan 11, 2008 - 11:56 AM   
 By:   Preston Neal Jones   (Member)

Bravo, David, and thanks from this corner, too!

A few tidbits, starting with the item mentioned just above. The impression I got from Hans Salter was that if two composers collaborated they would share credit but three or more would mean that the musical director got credit. I assume that's why Charles Previn got credit for being musical director on THE WOLF MAN but no credit went to his fellow-composers on that particular score, Skinner and Salter.

Might that Gershenson oral history be in the Academy library? Warren Sherk's oral history bio of Hans is one of many such volumes on their shelves.

My own CINEFANTASTIQUE Magazine interview, "The Ghost of Hans J. Salter," will be reprinted in the next MacFarland book of interviews by Tom Weaver, (title still to be determined). In it, you can read Hans's memories of Gershenson AND Previn. (And, as a matter of fact, his memories of serving in what might be called a "supplementary" capacity on THE WAR LORD).

 Posted:   Jan 11, 2008 - 12:03 PM   
 By:   MMM   (Member)

By the 1950s, the "rule" was if a composer wrote 80% of the music he'd get credit, but things just didn't always happen this way. And there were many instances where only two composers wrote a score and neither got credit. Stein's and Gertz's {mostly Stein's} score for the classic Audie Murphy western NO NAME ON THE BULLET is just one example.

I thought the Gershenson oral history was at the AFI. Is there a list on the internet somewhere of what oral histories are where, at least pertaining to the AFI and/or the Academy? I don't recall ever listening to oral histories at the Academy, but I did at the AFI.

Great news about your monumental Salter interview. That one deserves to stay in print!

 Posted:   Jan 11, 2008 - 3:53 PM   
 By:   Preston Neal Jones   (Member)

I don't know if AFI or the Academy has put their listings online, but they both certainly oughta. If you've read other oral histrories at AFI, then you probably read Gershenson's there, too. I just happen to have been familiar with the Academy's stash, that's all. Though it does seem somehow as if Hans and Gershenson should be in the same collection, doesn't it?


Thanks for the kind words,


 Posted:   Jul 4, 2010 - 9:08 AM   
 By:   Sehnsuchtshafen   (Member)

Did Joe really conduct anything from Spartacus? He receives credit for "Additional Conduting". Rich?

 Posted:   Jul 4, 2010 - 12:19 PM   
 By:   mrscott   (Member)

Joseph Gershenson was the brother of Josephine Gershendaughter.

 Posted:   Jul 4, 2010 - 1:39 PM   
 By:   Ed Nassour   (Member)

Did Joe really conduct anything from Spartacus? He receives credit for "Additional Conduting". Rich?

Yes, Gershenson did conduct some of "Spartacus." The reason was twofold. For some cues North wanted to be in the mix booth during a rehearsal. So Gershenson would conduct for him. And the other reason was North's chronic bad back. Having one myself I can readily understand the agony of a compresses disc and how it limit's one's mobility. I suspect Gershenson conducted portions of the score heard in the film.

I feel Gershenson was an accomplished conductor. But then most studios had good conductors. Morris Stoloff at Columbia was quite good. Ray Heindorf at Warner Brothers was immensely talented with the baton. John Green at Metro was almost up there with Alfred Newman when it came to conducting. After he took over as head of the music dept. he went about improving the studio's contract orchestra by firing marginal players and replacing them with best he could find. Green was also responsible for the vast improvements made to the MGM scoring stage. Too bad Green didn't compose more film scores. He was also a terrific film composer.

You must log in or register to post.
  Go to page:    
© 2016 Film Score Monthly. All Rights Reserved.