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Ha! Well done Eccles! No wonder you're Famous - You're the only one who got the joke! 572 views (admittedly half of them mine) and nobody took the bait until now. I imagine the majority of people are waiting until Monday so that they can use the Internet during working hours.
I like Samuel Matlovsky too. You're right, his Kurt Weillisms worked their way into Star Trek's "I, Mudd" to great effect. I enjoy the off-balance humour in the music for that episode. I also did a thread (I think) about his great score for the Curtis Harrington-directed GAMES, a good 1967 thriller starring James Caan and Katharine Ross. The Main Title used to be up on YouTube, but I think it's gone now.
Anyway, my "point" behind all that admittedly annoying "ILLUSTRATED MAN -Lionel Newman - Samuel Matlovsky" farce was that I was attempting to "prove" what I suspected - that it's impossible to identify specific conductors for scores recorded for the films themselves at the time.
The above statement shall hold true until someone claims to be able to hear Previn, Newman and Johnny Green in the other scores I mentioned.
It's been an interesting discussion and I've enjoyed the input. It doesn't have to end here of course, but for the meantime thanks for your patience, and apologies for my silliness.
Hah! No apologies needed -- even if you were being serious! I must confess, there was a small part of me that thought it was a very droll joke that I simply wasn't getting (I've been a bit out of it lately with work), but I didn't want to leap to any assumptions.
I don't know his score for "Games," but now you've got me curious -- I'll have to do some digging!
In any event, once I'm not underwater, I'll actually contribute something else more dealing with the more universal topic at hand.
One interesting bit of film conducting trivia I'll share, though: Leonard Rosenman seldom, if ever, used click when conducting his own scores -- instead he used punches and streamers on the film for his 'hit points' -- I think it's why a lot of his scores tend to have that sense of breath and rubato, even in the our mutually beloved, tense "bump-bump-bump" moments.
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GAMES, the whole film, is up again on YouTube. I can't do a direct link from the spaceship, but you can get it by typing in "Games, 1967". Enjoy the Matlovsky Main Titles!
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This thread seems to have taken three different directions - The obvious importance and identifiable style of a particular conductor within the classical repertoire, the freedom of interpretation (or lack of) given to re-recordings of film scores, and the slant which I was most interested in, being the ability to detect (or not) a specific conductor from the original scoring sessions. Rozsaphile's latest post was particularly interesting to me.
Still, it's all good. I don't own this thread, even if I did create it. Carry on regardless!
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This thread seems to have taken three different directions - The obvious importance and identifiable style of a particular conductor within the classical repertoire, the freedom of interpretation (or lack of) given to re-recordings of film scores, and the slant which I was most interested in, being the ability to detect (or not) a specific conductor from the original scoring sessions. Rozsaphile's latest post was particularly interesting to me.
Rozsaphile seems to talk about the sound of the Fox orchestra achieved by Alfred Newman, not the conductor style. The Fox orchestra sounds like the Fox orchestra, but there are differences of conducting, Bernard Herrmann doesn't make it sound exactly like Alfred Newman.
That's true, Nono. But of the three different strands on the thread, it was the most recent one which fitted mine the closest. As I said, post what you wish. It's all okay.
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BARK BARK BING BANG
(is that okay Graham?)
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BARK BARK BING BANG
(is that okay Graham?)
Well Kev, if it's the bus conductor out of Trumpton, it's bing bang bong on target.
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I think it's safe to say Graham, that if Lionel Newman had conducted ILLUSTRATED MAN and that Matlock guy had conducted ALIEN and JG had conducted ALL of them, we'd be none the wiser.
And the players would still have ignored them and carried on turning their sheets and playing their instruments 
TICKETS!!!
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I think it's safe to say Graham, that if Lionel Newman had conducted ILLUSTRATED MAN and that Matlock guy had conducted ALIEN and JG had conducted ALL of them, we'd be none the wiser.
And the players would still have ignored them and carried on turning their sheets and playing their instruments
TICKETS!!!
Yes Kev - I do tend to agree with your viewpoint, and that of your missus wot she posted the other day when you couldn't get your tablets. I just didn't want to express it in such a numbskull way.
Julia Roberts called Bill Conti "stick man" at the Oscars thirty years ago, and since then she's been burning in FSM hell. It seems however that she may have been right after all.
Right, back to the intelligent people. Who's next?
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That's true, Nono. But of the three different strands on the thread, it was the most recent one which fitted mine the closest. As I said, post what you wish. It's all okay.
I offer another example, Graham, similar to yours in your initial post.
When listening to Richard Rodney Bennett's music for Sherlock Holmes in New York can anyone detect it was conducted by ... Leonard Rosenman?
(don't tell this to Bruce R. Marshall because Bruce hates Lenny).
Even the esteemed expert on Rosenman - TheFamousEccles - may not be able to decipher any Rosenman input in that Bennett soundtrack.
As Above and Beyond is my favorite Friedhofer soundtrack and The Illustrated Man is my favorite Goldsmith soundtrack, I agree with Graham that any conductor 'style' is not perceptible when listening to those soundtrack albums. Yet, when one learns that Previn conducted Above and Beyond and that Matlovsky conducted The Illustrated Man, one can conclude that these conductors contributed something to those recording sessions for their end results to reside on our favorites lists.
On the flip-side of this thread's concept, I posture that the sound of a recording can unveil the country in which it was recorded due to musicians' performance techniques, facility acoustics & recording engineering.
When I deposited a 'mystery' audio clip of Tristram Cary's Tread Softly Stranger into Mr. Krtizerland's "Name That Composer" thread, all those participating 'peeped' that it was from a British film even though nobody actually guessed it was Mr. Cary. Indeed, they were guessing almost all British composers' names except Tristram's!  (was it Schurmann? Cordell? Chagrin? Buxton Orr?)
Thus, when reading a conductor credit in a film's main title sequence [such as Marcus Dods conducting Toshiro Mayuzumi's music for Reflections in a Golden Eye] or on a soundtrack album [such as Muir Mathieson conducting Dusan Radic's Genghis Kahn], one can deduce that such recordings were made in the U.K. based solely upon knowing that those conductors were British.
Marcus Dods typically conducted R.R. Bennett's scores (after the death of John Hollingsworth in 1963), so when we read that Rosenman conducted Sherlock Holmes in New York this is yet another indicator that the recording sessions were done in the U.S.A.
We may not be able to cite who the conductors are/were when listening to soundtracks, but some of us seasoned collectors/listeners can tell the 'nationality' of a film score [i.e., that sounds 'French' or this sounds 'Italian', etc.]
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