Daniel Amfitheatrof's source music for Salome's dance in George Duning's score for the Columbia film SALOME (re-recorded by Charles Gerhardt and also available on an old Decca 10" vinyl recording (also as a 45 rpm set) is another example of non-composer source music blending well with another composer's dramatic score. Speaking of Bernstein, he had a similar relationship with TEN COMMANDMENTS (contracted to write the source cues for the Egyptian and Hebrew dances), with Victor Young doing the score, but not able to do the job because of health difficulties, thus Bernstein doing the score.
I prefer a composer writing the source music and dramatic score, probably because I value cohesion and it can sometimes register subtle dramatic relationships when transposed to the score proper. Barry, Bernstein, Newman, Rozsa, Steiner and Williams,among others, could certainly pull it off. But they are old school examples. We see it less frequently in contemporary scoring. Anyone have a theory on why this is the case - strategic marketing on the part of studios, scores being composed and recorded in shorter time periods, composer limitations?
Bob
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