Roger Hecht wrote:

>Steve Schwartz wrote:
>
>>Marius Constant.  The theme was, I think, for Twilight Zone (or was that
>>Bernie Herrmann?).
>
>Twilight Zone was Herrmann, I'm pretty sure.

Well, it was Constant that did the Preludes for orchestra.  The most
familiar theme used on the Twilight Zone was also written by Constant,
but as I recall, the shorter theme, perhaps used for the first season,
was indeed by Herrmann.

Richard Pennycuick wrote:

>Constant wrote the main theme.  Herrmann wrote for a number of episodes.
>Others who composed for the series included Jerry Goldsmith, Max Steiner,
>Franz Waxman and Leith Stevens.  I remember Stevens best for his music
>for The Wild One which I once owned on a 10" LP (yes, there were such
>things).

And another bit of trivia...for the film Night Song, Stevens wrote a
short work for Piano and Orchestra which was performed in the film by
the New York Philharmonic, conducted by Ormandy with Rubinstein at the
piano. I have a copy of the recording, sans the speaking in the film.
It was fairly recently recorded.  The Rubinstein Ormandy performance
could not be released as Rubinstein was with Victor and Ormandy and New
York, with Columbia.

Jeff Dunn wrote:

>The cultural memory of who wrote "The Twilight Zone" is appropriately
>IN the Twilight Zone.  There were too many composers associated with the
>show and the movie.

Some very fine composers, including Goldsmith, Rosenman (a pupil of Roger
Sessions), Herrmann, Waxman...interesting all of these contributors also
wrote music for the concert hall.

Stephen E. Bacher wrote:

>In 1982 correspondence with composer Constant, he explained
>that in 1959 he composed six cues at the request of Lud Gluskin
>"for a few hundred dollars"; ...  it wasn't until much later
>that he learned that two of his cues had been spliced together
>to become its Main Title and End Credits THEME for this U.S.
>Television series;
>
>Hopefully his ASCAP performance royalties as well as any
>mechanical royalties from future recordings helped soothe his
>astonishment.

I am reminded of something Copland said in an interview.  He described
how flattered he was when Durand offered to publish some of his music.
As the story goes, he sold complete rights for something like $50 for
Cat and the Mouse...  Copland said, "My friend Harold Clurman used to
say, it was the only bad business decision I ever made."

Karl