©2003 Brigham Young University. All rights reserved.
The Max Steiner Collection was donated in 1981 by Leonette "Lee" Steiner. The correspondence, photographs, sheet music, music track recordings, and memorabilia were generated and collected by Steiner during his lifetime with music. The major part of the collection consists of more than 1,200 studio music track recordings on disc. Throughout his career, Steiner often loaned these studio music track recordings from his collection to his colleagues and admirers, many of which were never returned. Considering this, and the number of years between Steiner's death in 1971 and the time the collection was acquired by BYU, the probability that items may have been lost or misplaced over the years is evident.
The studio music track recordings are listed under motion picture title headings. Specific cues are identified and described in a separate, detailed index available in the Special Collections and Manuscripts Department. These transcription discs were generated during studio recording sessions with Steiner conducting most, if not all, sessions. The recordings were made directly onto 12- or 16-inch discs made from a variety of materials including aluminum, acetate, and bakelite. The discs were then listened to by Steiner and choices were made as to which "take" to print onto film. Usually, the appropriate band on the disc was scribed with a grease pen and instructions were communicated to the laboratory for processing. In 1993 all of the music track recordings on the transcription discs were cleaned and professionally transferred to digital audio tape by an audio engineer as a joint project of Brigham Young University and the Society for the Preservation of Film Music. Please refer to the separate register detailing the recordings of the Max Steiner Collection.
Any duplication of studio music track recordings are prohibited unless accompanied by written permission from the copyright owner. For most of the scores written during Steiner's RKO and Warner Brothers years up to 1948, the copyright owner is Turner Entertainment. Warner Brothers, in most instances, retains copyright for that studio's scores written in 1949 and through Steiner's final score in 1965. The same restriction applies to the written music manuscripts. Also, owing to the fragile nature of the originals, the researcher will only be permitted to research a photographic copy of the original pencil sketches in the collection. Consult archival staff for applicable scores.
It is the responsibility of the researcher to obtain any necessary copyright clearances.
Permission to publish material from the Max Steiner Collection must be obtained from the Supervisor of Reference Services and/or the L. Tom Perry Special Collections Board of Curators.
The life and music of the "dean of film composers" continues to touch the lives of millions around the world, beyond even what Steiner himself could have imagined before the era of compact cassettes, CDs, laser discs, satellite television, and videocassettes. The Max Steiner Collection, now available to the world of scholarship, serves both as a memorial and a working archival collection documenting his seminal contributions to the art of film music.
The preservation of this magnificent collection and the preparation of this register, apart from being time consuming, have brought together the assistance of scholars, collectors, and Steiner aficionados deserving of gratitude. First I express thanks to the late Leonette "Lee" Steiner, Max's loving wife, whose friendliness and generosity left an imprint on all who knew her. Her tenacity to preserve her husband's effects has made it possible for us to enjoy his scores and his recorded music. Fortunately, she lived long enough to attend the Max Steiner concert at Brigham Young University in the fall of 1981, under the aegis of Dr. James Mason, dean of the College of Fine Arts and Communications, before her death only months later. Mrs. Steiner also established the Max Steiner Scholarship in composition at Brigham Young University. Wesley and Elizabeth Carlson, and Stuart Norby, Lee's dear friends, were always there to assist in a myriad of ways following the death of Steiner in 1971. They also helped to keep the collection of recordings, scores, and correspondence together for the benefit of generations of students, scholars, and fans. Louise Steiner Elian has also been most helpful with her comments and corrections dealing with the Chronology. BYU is also proud to preserve the Louise Steiner Elian Collection among its holdings. This collection should also be consulted for significant material, including photographs, home movies, correspondence, and an oral history relating to Max Steiner.
For the biographical essay, thanks go to Tony Thomas, author of
The thorough Steiner filmography was revised for this volume by its
original compiler Clifford McCarty, a longtime bibliophile as well as a
tireless chronicler of film music. McCarty, who has been active in the Society
for the Preservation of Film Music from its inception, is also the compiler of
Thanks also go to John Morgan, a Los Angeles-based musician, who
helped immensely in locating two original sketches of Steiner's thought to be
lost. Morgan has also contributed significantly to the ongoing Steiner legacy
by meticulously reconstructing many of Steiner's early film scores, including
The digital audio tape recordings of the more than 1,200 discs in Steiner's collection were painstakingly made by Chris Lembesis, a dedicated audio engineer, as a part of a restoration project co-sponsored by Brigham Young University and the Society for the Preservation of Film Music in Los Angeles. The project, which took more than a year to achieve, and is the first complete transfer of each disc, yielded a superior sound quality from these aged and so often severely damaged disc recordings. Special recognition on this project goes to Henry Adams, Brad Arrington, Lance Bowling, and John Burlingame.
In the preparation of this register, commendation goes first to my assistant, John N. Gillespie. A work of this nature requires a series of checks, over a seemingly endless trail of detailed information. He has also proven a valuable colleague for the sharing of solutions to mysteries presented by certain manuscripts. For rendering valuable information and advice on Max Steiner over the years, thanks are also extended to the following individuals: Janet Bradford, Heather Corrigan, Susan Corrigan, Thomas Driggs, Dian Baker Drinkall, Cynthia Lindsay, Tom DeMary, Nick Redman, William Rosar, Craig Spaulding, Fred Steiner, and Don Wilson.
--James V. D'Arc, Curator Film Music Archives, June 1996
Of all the names associated with Hollywood music, perhaps no other has
quite as much luster as that of Max Steiner. He was active throughout the whole
golden age of sound movies and he is the composer, more than any other,
attributed with the pioneering of original music in film scoring. He helped
perfect the craft but he also had the gift of melody. Steiner was, in fact, a
master of appealing tunes-- relatively simple tunes and rhythms that deftly
accentuated the characters and the sequences in the hundreds of pictures he
scored. His productivity was astounding; over a thirty-five year period he
worked on more than three hundred films. Some of those films will keep his name
alive far into the future, particularly
Steiner was named after his famous grandfather, Maximilian Steiner,
the impresario of the Theater an der Wien. He was the man who persuaded Johann
Strauss, Jr., to write for the theater. Despite the general belief, the
operetta was not a Viennese invention but a Parisian concoction mostly due to
Jacques Offenbach. Although the Viennese flocked to performances of Offenbach's
spirited musicals, it bothered them that Paris should surpass Vienna in
anything musical. Strauss, like his father, had done well as a composer of
waltzes and little concert pieces, and as a conductor of his own orchestra, but
he had steered clear of the stage, reasoning that it had apparently defeated
even Schubert and Beethoven. Maximilian Steiner realized this oversight; the
first Viennese composer he persuaded to write for him was Franz von Suppe,
whose
The Steiners were a prosperous business family. Gabor owned and
managed a theater, and dabbled in several entertainment enterprises-- he was
the man who built the Riesenrad, the giant ferris wheel in Vienna's Prater. His
wife Marie inherited three of Vienna's leading restaurants from her family.
Both parents encouraged the precocious musical talents of their son. They sent
him to the Vienna School of Technology, where he showed little interest in
anything scholastic. But later, at the Imperial Academy of Music, he was
brilliant and completed a four-year course in only one year, for which
achievement he was awarded a gold medal. His brilliance was greatly aided by
the affluence of his family, who could afford to send him to the best teachers
available, including Robert Fuchs and Gustav Mahler. Having a father with a
theater was also helpful. Recalls Steiner: "He produced Offenbach and
Gilbert and Sullivan and all the others. When I was twelve he let me conduct an
American operetta,
Steiner made his first mark on the musical world when he was fifteen.
"I wrote an operetta and called it
"Then came the First World War and I was interned as an enemy
alien. But artists are luckier than most other people and through the Duke of
Westminster, who seemed to be a fan of mine, I got my exit papers to go to
America. However, my possessions and my money were impounded, and I arrived in
New York in December of 1914 with thirty-two dollars in my pocket."
[Interviews. See Chronology, 1906 and 1907, for Steiner's whereabouts and
specific titles that contradict his statements to Thomas regarding
Max Steiner was now about to commence fifteen years in the American
musical theater. He built a solid reputation as an arranger and orchestrator of
musical comedies, and as a conductor of stage shows of everybody from Victor
Herbert to Youmans, Kern, and Gershwin. His last effort on Broadway was
Steiner's arrival in Hollywood came at a time when the industry was
turning out musicals as fast as they could produce them, but by the end of 1930
the glut had spent itself. RKO laid off most of its musical staff and Le Baron
asked Steiner if he would run the departments, and take a cut in salary. Using
a ten-piece orchestra, library music, and the limit of a three-hour recording
session per film, it was all Steiner could do to provide main and end titles,
plus whatever "on screen" music was called for. His first original
composition for film was
The real start of Steiner the film composer was
It was Steiner more than any other composer who pioneered the use of
original composition as background scoring for films, although in those early
years at RKO, sheer volume of work prevented him from applying the technique to
every film to which he was assigned. Mostly the scores consisted of a main
title, perhaps a snippet or two during the film, and then the end title. Even
within those limitations Steiner could make himself felt. For Katharine
Hepburn's first film,
The film score that brought Steiner to everyone's attention was
Steiner became the man the producers ran to when they were in trouble
with their films, as if he were a doctor who could heal the afflictions of
their children. When
In addition to composing scores, Steiner also acted as the
arranger-conductor on many RKO musicals. He music- directed most of the Fred
Astaire-Ginger Rogers pictures'
It's doubtful if any composer in history has worked harder than Max
Steiner. In his first dozen years for Warners he averaged eight scores per
year, and they were symphonic scores, calling for forty and fifty minutes of
music each. He would seldom look at a film more than two or three times; then
with the aid of an assistant he would break down the sequences he felt needed
music and map out the timings. In the case of sequences that needed
split-second cues, he would have someone make an acute timing sheet. After
making a piano sketch of the score he would go over it and mark in all the
instructions for orchestration. Only a man with such a torrent of musical ideas
could possibly have coped with the volume of work. His peak year was 1939, in
which he worked on twelve films, including
Writing the three-hour score of
Steiner recalls the excitement of the preview at Riverside,
California: "Selznick and all his executives and aides were beside
themselves with anxiety and elation. During the intermission I went out into
the lobby, spotted David and some of his entourage and went up to them. I asked
them if they had noticed anything amiss in the first half. They looked at each
other, puzzled. Selznick shook his head. I then pointed out to them that the
entire eleventh reel was missing. None of them had noticed it. I had because I
was waiting for my music." [Interviews. See
About the producers and the studio chieftains, Steiner shakes his head. "They're amazing people. They seem to think that if they pay you well, they own you. Even Leo Forbstein, who understood the problems of composers, became unreasonable after a few years of being an executive. When I was scoring one particular epic, I fell ill with intestinal flu. One evening, after several days in bed, Leo phoned and asked me if I could come in the following morning at nine and conduct a recording session. I explained that I was flat on my back, under sedation and so weak I couldn't even get up to go to the bathroom. All he could say to this was, 'Max, we gotta have you there.' My doctor was with me so I put him on the phone and he told Leo how sick I was. Afterwards, the doctor handed the phone to me and I said to Leo, 'It would cost me my life to get there at nine tomorrow morning.' There was a long pause and then Leo asked, 'Well, how about one o'clock?'" [Interviews.]
Steiner's favorite story of musical ignorance: "When I was at RKO, recording a session, one of their directors came in and asked me if I would record one of his compositions with the orchestra. In this business you never say no. He then gave me a single sheet of paper on which was written the simplest, barest melodic line. He went off and I laid the thing aside. The same afternoon he came back and asked if it was ready. I said, 'Look, this would have to be harmonized and orchestrated and . . .' Before I could say anything else, he chimed in with, 'Come on, Maxie, you can do all that later-- get the guys to play the piece now.' But that's not as bad as some producer badgering you to write a score as fast as you can so he can take off on a trip. I remember one who did this, and I told him I couldn't possibly have the score completed in the next three days in order to record the following day, because it was a difficult score. He wanted to have a premiere the next week so that he could go to Europe. There was no way to do this and he had to delay his trip. At the premiere he came up to me and said, 'What was so difficult about it-- it sounded all right to me.'" [Interviews.]
Steiner's career with Warners spanned almost thirty years and included
the scores of around one hundred and fifty films-- an incredible output. Not
unnaturally, there was a fair amount of self-plagiarism and repetition,
especially toward the end, but the general level of craftsmanship and the
consistent understanding of the musical needs of filmic story telling added up
to an astonishing total contribution. The scores are too many to discuss but
outstanding, in the minds of Steiner buffs, are:
Steiner wrote scores for more than twenty large scale Westerns but
Two of Humphrey Bogart's best films have Steiner scores.
Steiner also "caught" William Powell in
Steiner, a soft-hearted man who pretended otherwise, was always
effective with emotional scenes. In the film that brought him his third Oscar,
Selznick's
According to Steiner, film and music help each other in the way a husband and wife help each other in a good marriage, but neither one can save the other. As for his method: "There is no method. Some pictures require a lot of music, and some are so realistic that music would only interfere. Most of my films were entertainments-- soap operas, story book adventures, fantasies. If those films were made today, they would be made differently and I would score them differently. But my attitude would be the same-- to give the film what it needs. And with me, if the picture is good, the score stands a better chance of being good." [Interviews.]
While Steiner was always a melodist, he also always knew how not to use melody in film scoring. Sometimes, a melody calls attention to itself when it should not. Steiner used catchy themes to point up the main characters in pictures but he was adept at doing something more subtle than that--writing neutral music with chordal progressions and just enough melodic motion to make it sound normal but not enough to compel attention. Steiner looked upon scoring more as a craft than an art: "The hardest thing in scoring is to know when to start and when to stop. The location of your music. Music can slow up an action that should not be slowed up and quicken a scene that shouldn't be. Knowing the difference is what makes a film composer. I've always tried to subordinate myself to the picture. A lot of composers make the mistake of thinking of film as a concert platform on which they can show off. This is not the place. Some composers get carried away with their own skill--they take a melody and embellish it with harmonies and counterpoints. It's hard enough to understand a simple melody behind dialogue, much less with all this baloney going on. If you get too decorative, you lose your appeal to the emotions. My theory is that the music should be felt rather than heard. They always used to say that a good score was one you didn't notice, and I always asked, 'What good is it if you don't notice it?'" [Ibid.]
Often complimented as the man who invented movie music, Steiner would reply, "Nonsense. The idea originated with Richard Wagner. Listen to the incidental scoring behind the recitatives in his operas. If Wagner had lived in this century, he would have been the Number One film composer." [Ibid.] Asked to criticize contemporary music: "I have no criticism. I can't criticize what I don't understand." [Ibid.]
Steiner's last film score was
The Steiner birthday parties were always joyous occasions for his many friends. Steiner, who retained in old age the appeal, and sometimes the capriciousness, of a boy, owed his health and welfare to his understanding, patient, charming wife Lee. At his eighty-second birthday party, May 10, 1970, Steiner bedecked himself in all his ribbons and medals and donned a Beethoven wig to greet his guests. One of the guests, Albert K. Bender, who organized the Max Steiner Music Society (an international league of admirers), [The Max Steiner Music Society Collection is also at Brigham Young University.] responded, "Max, you look better than Beethoven." To which Steiner replied, "I should hope so--he's dead." The following year the Steiner birthday party was attended by only a handful of close friends. Long ailing, the old composer was in too much pain to bear company. In his last months he suffered the agonies of cancer. Finally, on December 28, 1971, his heart stopped. The boy who had sat on the lap of Emperor Franz Josef had lived to be almost eighty-four. When Max Steiner died, a link with Old Vienna ceased to be and yet another door on the Old Hollywood was closed.
[*Adapted and revised by the Editors from Tony Thomas,
EDITOR'S NOTE:
1888 May 10. Maximilian Raoul Walter Steiner is born at 72 Praterstrasse, Vienna. As of 1996 the Hotel Nordbahn occupies this address.
1894 Edmund Eisler gives Max piano tutelage.
1896 Max receives a gift of a Giraffe Piano from Johann Strauss, Jr.
1897 Publication of Max's first song,
1898 Enrolls in Franz Josef Gymnasium, at the instigation of his mother.
1902 April 12. Conducts the Blue Vienna Band, at the People's Palace in London.
1903 April 28. Composes a one-act operetta,
1904 September 15. Enrolls at the Konservatorium fusik und darstellende Kunst. Course head, Hermann Gradener.
1905 March 3. While in Paris his
1905 September 23. Enrolls for second term at Konservatorium. Receives extracurricular tuition due to high level of achievement. Conducting is not included in the Konservatorium curriculum at this time. However, during this period Max frequently conducts at the Wintergarten, Danzer's Orpheum and Venedig in Wien.
1905 December 9. Attends the Dresden Court Theater's production of
Richard Strauss'
1906 Acts as secretary to his father, Gabor, in management of Venedig in Wien, the famous amusement park in Vienna.
1906 Max reports in
1906 December 12. Vaudeville three-act
1907 Burlesque two-act
1907 December 20. Vaudeville one-act,
1908 August 26. Revue,
1909 Steiner decides to emigrate to England for employment and to renew friendship with a member of Lottie Stone's Troupe, Miss Mabel Funston, whom he met during the troupe's engagement at the Ronacher Theater when it was under the management of his father. Having located her address, Max learned that in the meantime she had married. She became an established actress and singer.
1909 A chance encounter outside Appenrodt's Restaurant in London's West End leads to an introduction to producer George Dance's assistant, Tommy Wray, who immediately engages Max as rehearsal pianist on a temporary basis.
1909 Recognized by George Dance for the superiority of his work, Max
is promptly assigned as Music Director of the number one touring company's
1909 September 6. George Dance reverses the assignments and Max
launches his career in England as Music Director of
1909 November 8. Upon arriving at the Royal Theater, Newcastle, in continuation of the tour, Max is sent for and, upon George Dance's personal recommendation, is subsequently engaged by Edward Moss, the legendary impressario, to represent his interests in musical direction relative to his theaters, the London Hippodrome, the London Palladium, the Tivoli, the Adelphi, the Holborn Empire, and the Empire (Leicester Square). It may be accurately said that, in theatrical terms, Max has "arrived."
1909 November 22. It is while fulfilling this appointment that Max is approached by John Tiller, the founder of innumerable dancing troupes whose name and fame remain legendary in the musical theatre.
1910 March 21. John Tiller's approach leads to Max's appointment as
Musical Director/Composer of Tiller's touring company's production of
1910 July 11. Composes music for a ballet in the Tiller summer season
show,
1911 October 30. A second season of
1911 December 16. The same Tiller Company appeared at The Alhambra, Paris, to remain until . . .
1912 January 15. . . . the end of the tour and the return to London.
1912 April. With his father's liabilities escalating, Max returns to Vienna and succeeds in the management of the Ronacher Theater for an initial six months.
1912 July 15. During his absence in London, the Tiller summer season
at Blackpool features Steiner's ballet,
1912 July 31. Max's fiancee, Beatrice Tilt, resides in Vienna.
1912 August 25. Max and Beatrice declare first proclamation of their marriage banns, a European custom requiring public announcement of the intention to marry beginning two weeks prior to the actual wedding.
1912 September 8. Max and Beatrice declare their second proclamation of their marriage banns.
1912 September 9. The Tiller summer show, including
1912 September 12. Max and Beatrice are married. Dr. Karl Muck's name appears on the marriage certificate. His actual profession was that of a lawyer, in Austrian terms, and his presence can be attributed to friendship and business association with Max's father, Gabor.
1912 October 1.
1912 December 24. A scene is included in The Palace Theater, London,
program entitled
1912 December. In
1913 January. Similarly Max refers to his release at the beginning of January when Dr. Muck's culpability, rather than Steiner's, was discovered by police. Muck was then sent to jail.
1913 Now deprived of his management of the Ronacher Theater and unable
to gain employment in Vienna, Max returns to England at the suggestion of
Clifford Fischer, then in the preparatory stages of presenting his new American
extravaganza,
1913 April 13.
1913 April 19.
1913 May 9. Max is appointed as Music Director of the innovative London Opera House dancing school, under the directorship of the renowned Theodore Kosloff.
1913 May 26. The short operetta
1913 July 11. Anna Held appears in
1913 August 14. Fanny Brice appears in
1913 November 15.
1913 November 18. Olympic Fund performance given at The London Opera House under the patronage of the Duke of Westminster. At the end of the show, Max and the members of the orchestra are among those warmly introduced to the Duke. A singular, much appreciated act of courtesy by the Duke is to have an unforeseeable influence upon Max's future.
1913 November 19. The Fischer/Stanley
1913 November 30. The London Opera House closes as revenues declined.
1913 December 15. Creditors' meeting results in eventual return to variety presentations at The London Opera House.
1914 February 7. The Tivoli Theatre closes.
1914 July 6.
1914 July 27. Austrian reservists experience partial motilization and are notified in Egypt, Asia, the United States, and Australia.
1914 July 28. War is declared by Austria.
1914 August 4. England declares war.
1914 August 20. The British ambassador departs Vienna.
1914 October 14-24.
1914 October 25.
1914 November 15. A special court is implemented to handle alien appeals to the recently instituted restrictions. The Duke of Westminster returns from The Front to attend the funeral of his uncle who had died in action. The fear of internment spurs Max into appealing to the Duke for his intervention in the procurement of emigration papers which would enable him to depart to America. Subsequently he is instructed to report to H.M. Inspector under the Alien Act. Clearance is granted. His passage, and the requisite entrance financing, is provided by friends and former associates in the theatrical profession. Beatrice is to await his ability to establish a new career rather than accompany him.
1914 December 16. Booked initially to board the
1914 December 25. Max disembarks and is met by his uncle "Doc" Steiner and his wife. "Doc" Steiner was a talent agent/broker for the Keith-Albee circuit. His wife was the housekeeper of the Hermitage Hotel on 42nd Street. Max took temporary lodgings with them and his 14-year-old cousin Bey.
1915 Eventually Max finds alternative accommodations, an attic room on
44th Street near Eighth Avenue which he shared with Emmanuel Listz and Otto
Gigy. (Listz was a bass baritone who had worked for Gabor in Vienna; Gigy was a
partner with Marian Vadie in vaudeville.) Lacking citizenship documents and
hampered by union regulations, Max is only able to obtain occasional minor
copying jobs. While waiting on the steps of Bryan Hall, hoping for any sign of
work, Max meets the dance team of Adelaide and Hughes who had achieved great
success in London during Max's years in England. Finding common ground, they
immediately hire him for their opening at the Palace Theater. Union rules are
against the undertaking, but Max does succeed in obtaining work arranging
music. It is while Max was barely making a living that his former agent in
England, Willy Edelston, finds him an opening for a ten-piece band at
Reisenweber's Restaurant, Coney Island. The show,
1916 For the presentation of William Farnum's film
1916 November 29. The Shuberts stage the musical
1917 January 11. The Shubert show
1918 April 1.
1919 September 23.
1920 Steiner becomes a naturalized American citizen.
1920 February 20.
1920 March 22.
1920 May 5.
1920 August 9.
1920 October 11.
1921 February 11.
1921 May 9.
1921 August 9.
1922 Max brings his parents to the United States, where they reside at the Central Park Hotel. However, they become homesick and return to Vienna within three months of their arrival.
1922 August 28.
1923 January 22.
1923 May 28.
1924 April 8.
1924 June 24.
1924 October 6.
1924 December 1.
1925 April 13.
1925 October 14.
1925 October 20.
1926 November 26.
1927 February 2.
1927 March 28.
1927 April 25.
1927 April 27. Max marries Audree van Lieu.
1927 May. Max replaces Oscar Bradley as Music Director for
1927 October 24.
1928 November 21. Following tryouts in Philadelphia and Baltimore with
Vincent Youmans,
1928 December 26.
1929 November 26. As Music Director for
1930 Is appointed head of RKO Music Department. Max composes his first
original film score for
1933 December 14. Max and Audree Van Lieu divorce.
1935 Receives first Academy Award for
1936 October 31. Marries Louise Klos, a harpist in studio orchestras and in concert performances whom Max first met in 1931. Max leaves RKO studio and signed contract with Warner Bros.
1937 First score under contract,
1937 November 7. Mother, Marie "Mitzie" Steiner, dies in Vienna.
1938 September 15. Father, Gabor Steiner, arrives in New York, then travels to Hollywood to live with Max.
1940 March 2. Son Ronald is born.
1942 Receives Academy Award for
1944 September 11. Gabor Steiner dies in Hollywood.
1944 Max founds Screen Composers Association.
1944 Receives Academy Award for
1946 Max and Louise Klos divorce becomes final.
1947 April. Marries Leonette Blair.
1953 September 16. Max leaves long-term contract relationship Warner Bros. and begins freelance career.
1953 December. Max founds Max Steiner Music, Inc.
1962 April 29. Son Ronald Steiner commits suicide in Honolulu, Hawaii.
1963 Commences writing draft of
1965 Max composes last film score for
1965 The Max Steiner Music Society is founded in Bridgeport, Connecticut, by Albert K. Bender.
1971 December 28. Max Steiner dies at Mt. Sinai Hospital in Hollywood.
1971 December 30. Funeral services are held at Forest Lawn-Hollywood Hills. Approximately 75 friends and associates, including Jack L. Warner, attend. Eulogies are delivered by David Raksin, Elmer Bernstein, and Merian C. Cooper. Steiner is buried at Forest Lawn in Glendale.
1973 March 2. Leonette Steiner accepts award on behalf of Max from Motion Picture Hall of Fame.
1975 December 30. Leonette Steiner and Albert K. Bender, representing the Max Steiner Music Society, attend the ceremonies dedicating the Max Steiner star on the Hollywood Walk of Fame on Hollywood Blvd., sponsored by the Hollywood Chamber of Commerce.
1981 October 9. Leonette Steiner dies of heart failure at Cedars-Sinai Medical Center in Beverly Hills.
1981 October 13. Funeral services are held at Forest Lawn in Glendale.
1981 November. The Max Steiner Collection is placed at the Harold B. Lee Library at Brigham Young University, Provo, Utah.
[© 1996 Edward A.J. Leaney. Used by permission.]
This filmography lists every motion picture with which Steiner was involved as a composer or musical director. The films are listed in the order of their copyright dates.
As General Music Director at RKO Radio Pictures from late 1930 to early 1936, Steiner was credited as musical director on most of the studio's films as a matter of course, although he did not always receive screen credit. The notation "(md)" after many titles indicates that Steiner was the musical director only, and no evidence exists that he composed any original music for these pictures.
After leaving RKO in May of 1936, Steiner was freed from administrative and supervisory duties and was able to devote himself almost solely to composing and conducting his own film scores.
The filmography is based on an examination of Steiner's scores (and sometimes sketches) and the music cue sheets, particularly at the two companies for whom most of his work was done. For making materials available I am especially grateful to Vernon Harbin and John Hall at RKO General, and to Danny Franklin, Joel Franklin, and Lois McGrew at Warner Bros. Harriet Crawford at Columbia Pictures was also helpful, as was Tom DeMary at the University of Texas at Austin, who provided additional information from the David O. Selznick collection about some of Selznick's productions. I also thank my old friends Tony Thomas and Rudy Behlmer, who kindly facilitated my research in countless ways.
1929
1930
1931
1932
1933
1934
1935
1936
1937
1938
1939
1940
1941
1942
1943
1944
1945
1946
1947
1948
1949
1950
1951
1952
1953
1954
1955
1956
1957
1958
1959
1960
1961
1962
1963
1964
The Max Steiner Collection constitutes an invaluable primary source for information concerning the use of music and its evolution in motion pictures by a man acknowledged by many as the "dean" of film music. It contains Steiner's personal writings, correspondence, film and music credits, contracts, royalty and other financial statements, awards, scrap books, photographs, published and unpublished music, and bound volumes of film music sketches (mostly in pencil) and original studio disc recordings.
Covering the years 1880 through 1981, the focus of the collection is
Steiner's involvement in the music industry and how his talent took him from
his celebrated birthplace of Vienna to London, then across the Atlantic to New
York, and finally to Hollywood and the motion picture industry. The collection
begins with the section labeled Personal and Steiner's unpublished
autobiography,
The Family Correspondence begins in 1931, two years after Steiner arrived in Hollywood at RKO in 1929. This correspondence, from that time through 1972, constitutes an important part of the collection as it documents the personal side of Steiner's relationships, including those with his father Gabor and divorced wives Beatrice, Audree, and Louise, as well as his last wife Leonette, and son Ronald.
The section entitled Music consists of general correspondence Steiner received and sent to various people in and out of the film and music industry. The correspondence is arranged alphabetically, while each individual folder's contents is chronological, thus preserving Steiner's original order. This correspondence deals with fan requests for information on Steiner's body of music, Steiner's request for information of various kinds, inquiries about uses of Steiner's music, requests for appearances, etc.
Steiner maintained individual correspondence files relating to specific companies, associations, and/or individuals with whom he dealt at length. The folders containing correspondence with music companies, including those concerning royalties, document the business environment in which Steiner functioned. Correspondence files with letters to and from his principal attorneys, Louis Minter and Leonard Zissu, contain valuable information on Steiner's business and personal activities, projects realized and unrealized, and the launching of Max Steiner Music, Inc.
The Awards file contains most of the awards (and limited related correspondence) given to Steiner for his film music over the years, including the Blue Ribbon, Laurel, Academy of Motion Picture Arts and Sciences, and Golden Globe awards. Steiner's three Academy Award Oscars are also a part of the collection. These awards are in the form of both certificates and three-dimensional plaques and trophies. A few of these items also relate to Steiner's father, Gabor.
The three scrap books of newspaper clippings and trade magazine notices in the Scrap Books section that were kept by Steiner from 1930 to 1953 give a perspective on public perceptions of his work during that important period. The articles in the scrapbook contain valuable contemporary interviews with Steiner.
The bulk of the Steiner Collection consists of the original sketches,
scores, published sheet music, and original studio recordings connected with
216 Steiner-composed motion pictures. These notations appear in the Film Music
Sketches, Scores, and Recordings section. The musical sketches to 191 films are
contained in 177 bound volumes. They document few of his many musical
contributions during the RKO era primarily because music was limited to main
and end titles with perhaps some source music in between. However, his most
significant larger scores during this time are represented in the collection.
Beginning in the early 1950s, these volumes contain photographic copies of
Steiner's original pencil sketches since Warner Brothers (the studio to which
he was under contract for most of his career) chose to retain the originals in
their corporate records now preserved at the University of Southern California.
These sketches frequently contain Steiner's notes, written in the margins, to
his orchestrators (usually Hugo Friedhofer during the late 1930s at Warner
Bros., and later, beginning in 1946, Murray Cutter). Steiner's comments are
colorful, often humorous, and most revealing about the nature of the
cooperation and trust between composer and orchestrator. The sketches in the
BYU collection include those which have hitherto been uncredited to Steiner
such as
Finally, the digital audio tape number will indicate the presence of
one or more original recorded cues from the applicable motion picture title.
These recordings are tape transfers from Steiner's original studio reference
discs. Please consult the register to the Steiner recordings for the indication
of precise cues represented in each title. The 92 digital audiotape recordings
contain 164 of Steiner's scores and Dimitri Tiomkin's
Listed in the General Music section are concert pieces, songs, and operettas, both foreign and domestic, published and unpublished, written by Steiner. Dates are given as published on each item, or written on unpublished pieces. Those scores found in the Source File are compositions authored by other composers but preserved by Steiner for various reasons in his collection.
Among the fifty Photographs that are found in the collection, nearly half are of Steiner. The remaining images are of family, Hollywood personalities with whom he associated, members of the Max Steiner Music Society, and other miscellaneous and unidentifiable images.
The list of Steiner's film credits at the end of this register
includes those scores for which he went uncredited on the screen such as
The entire collection is divided into seven major sections: Personal; Music; Awards; Scrap Books; Film Music Sketches, Scores, and Recordings; General Music; and Photographs. Wherever possible, the majority of the folders and their contents were preserved just as Steiner had kept them, with the same or similar heading, even though Steiner's original physical arrangement could not be determined.
Unpublished autobiography, written ca. 1963-1964, 205 pp.
Correspondence, 1933-1942.
Memorabilia, 1880-1930s; posters, Austrian newspaper articles in German, foreign honors, German language correspondence.
Correspondence,
Correspondence, 1932-1933, re: alimony payments; 17 money order carbons, 10 letters and payment records.
Correspondence, 1939-1955, re: alimony payments and family news; 79 telegrams, money order carbons, and receipts.
121 letters and payment records.
Correspondence, 1971-1973, 2 letters
Correspondence, 1940-1955, 24 letters.
Blair Academy, 1954-1955, 28 letters.
Correspondence, 1953.
Statements and invoices, 1947-1954.
Statements, 1943-1953.
Cash reconciliation statement, Mrs. Max Steiner, January 1-March 31, 1972; cash analysis statement, April 23, 1974.
Conductor, Atlanta Pops Orchestra
Correspondence, 1938-1954.
Correspondence, 1947-1955.
Music publishing, 1932-1974.
Studio agreements, 1931-1955.
Correspondence, 1933-1955.
Correspondence, contracts, royalty statements and receipts, 1948-1954.
Correspondence, 1947-1954.
Correspondence, 1954.
Correspondence, contracts, 1954-1956.
Correspondence, 1945-1956.
Correspondence, contracts, 1954-1956.
Correspondence, 1933-1949.
Correspondence, 1934-1949.
Statements and correspondence, 1949-1955.
Statements, correspondence, and contracts, 1935-1954.
Statements and correspondence, 1945-1954.
Statements and correspondence, 1948-1955.
Correspondence
Certificate
Correspondence, 1935-1953.
Certificates, 1933-1953.
Correspondence, 1949-1955.
Correspondence and invitation, 1948.
Plaque, 1960.
Correspondence, 1934-1955.
Nomination certificates, 1941-1955.
Certificate of tree planting in Israel in memory of Max Steiner.
Pencil sketch, 351 pp.
Trailer, pencil sketch, 11 pp.
Studio music track recordings, tapes 30, 42, 70, 71, 72.
Pencil sketch, 275 pp.
Trailer, pencil sketch, 11 pp.
Loose pencil sketch, "Mark Twain," 33 pp.
Studio music track recordings, tapes 27, 51.
Pencil sketch, 47 pp.
Studio music track recordings, tape 42.
"Buy a Kiss," Irving Berlin, Inc., 1933, 5 pp.
Pencil sketch, 198 pp.
Loose pencil sketch, 4 pp.
Studio music track recordings, tape 3.
Pencil sketch, 284 pp.
Studio music track recordings, tapes 21, 22.
Pencil sketch, 69 pp.
Trailer, pencil sketch, 7 pp.
Studio music track recordings, tape 15.
Pencil sketch, 114 pp.
Trailer, pencil sketch, 12 pp.
Pencil sketch, 25 pp.
Studio music track recordings, tape 63.
Pencil, ink sketch and sketch, copy, 68 pp.
Pencil sketch, 91 pp.
Trailer, pencil sketch, 13 pp.
Studio music track recordings, tape 28.
Loose pencil sketch, 3 pp.
Pencil sketch, copy, 273 pp.
Pencil sketch, 131 pp.
Loose pencil sketch, 17 pp.
Studio music track recordings, tape 3.
Pencil sketch, copy, 228 pp.
Trailer, pencil sketch, copy, 5 pp.
Loose pencil sketch, 272 pp.
"Honey Babe," M. Witmark & Sons, 1954, 3 pp.
Studio music track recordings, tape 92.
Pencil sketch, 46 pp.
Pencil sketch, 165 pp.
Trailer, pencil sketch, 5 pp.
Studio music track recordings, tapes 29, 57.
Pencil sketch, 163 pp.
Studio music track recordings, tapes 3, 30, 75, 76.
Pencil sketch, 163 pp.
Trailer, pencil sketch, 6 pp.
Studio music track recordings, tape 29.
"Unfinished Sonata," Sam Fox Publishing Co., 1933, 5 pp.
Pencil, ink sketch, 200 pp.
Trailer, ink sketch, 4 pp.
Incidental music, ink and pencil sketch, copy, 29 pp.
Studio music track recordings, tapes 1, 4.
Pencil sketch, 156 pp.
Loose pencil sketch, 37 pp.
Studio music track recordings, tapes 2, 4.
Pencil sketch and sketch copy, 10 pp.
Studio music track recordings, tape 79.
Pencil sketch, 189 pp.
Trailer, pencil sketch, 15 pp.
Studio music track recordings, tape 24.
Pencil sketch, 103 pp.
Loose pencil sketch, "Silvery Moon," 19 pp.
Pencil sketch with cue sheets, 128 pp.
Trailer, pencil sketch, 8 pp.
Studio music track recordings, tapes 77, 78.
Pencil sketch with cue sheets, 254 pp.
Loose pencil sketch, 5 pp.
"Theme from The Caine Mutiny," (Full Speed Ahead), Chappell & Co., Inc., 1954, 5 pp.
Pencil sketch, 132 pp.
Trailer, pencil sketch, 4 pp.
Pencil sketch, 91 pp.
Trailer, pencil sketch, 8 pp.
Studio music track recordings, tape 26.
Pencil sketch copy, 113 pp.
Loose pencil sketch, "McCall," 6 pp.
Studio music track recordings, tape 93.
Pencil sketch, 212 pp.
Loose pencil sketch, "Patrol," 2 pp.
Studio music track recordings, tape 92.
Pencil sketch, 309 pp.
Trailer, pencil sketch, 17 pp.
Loose pencil sketch, "Forward the Light Brigade," 28 pp.
Loose pencil sketch, "Elsa," 2 pp.
"Forward the Light Brigade," Remick Music Corporation, 1948.
Studio music track recordings, tapes 7, 8, 42.
Pencil sketch, 244 pp.
Trailer, pencil sketch, 12 pp.
Studio music track recordings, tape 29.
Pencil sketch, 121 pp.
Loose pencil sketch, 28 pp.
Loose pencil sketch, 2 pp.
"The Blue Lagoon," Sam Fox Publishing Co., 1933, 5 pp.
"Morena," Sam Fox Publishing Co., 1933, 3 pp.
Loose pencil sketch, 3 pp.
Pencil sketch, 184 pp.
Trailer, pencil sketch, 13 pp.
Poem, pencil sketch, 73 pp.
Loose pencil sketch, 115 pp.
Studio music track recordings, tapes 22, 23.
Pencil sketch, 216 pp.
Studio music track recordings, tape 3.
Pencil sketch, 136 pp.
Studio music track recordings, tapes 88, 89.
Loose pencil sketch, 11 pp.
Loose pencil sketch, 9 pp.
"Come Next Spring," Frank Music Corp., 1955, 2 pp.
Studio music track recordings, tape 31.
Pencil sketch, 73 pp.
Pencil sketch, 86 pp.
"The Conquerors," Sam Fox Publishing Co., 1933, 3 pp.
"Devotion," Carl Fischer, Inc., 1931, 3 pp.
Pencil sketch and blue line, 157 pp.
Trailer, pencil sketch, 8 pp.
"Orchid Moon," Sam Fox Publishing Co., 1944; artist copy, 3 pp.; orchestra parts; sheet music, 3 pp.
Studio music track recordings, tape 28.
Pencil sketch, 156 pp.
Trailer, pencil sketch, 7 pp.
Pencil sketch, 114 pp.
Trailer, pencil sketch, 13 pp.
Studio music track recordings, tape 15.
Pencil sketch, 193 pp.
Studio music track recordings, tapes 82, 83.
Pencil sketch, copy, 234 pp.
Studio music track recordings, tape 36.
Pencil sketch, copy, 165 pp.
Studio music track recordings, tape 37.
Pencil sketch, 147 pp.
Trailer, pencil sketch, 9 pp.
Studio music track recordings, tapes 17, 18, 19.
Pencil sketch, 79 pp.
Trailer, pencil sketch, 14 pp.
Pencil sketch, 9 pp.
Trailer, pencil sketch, 3 pp.
Pencil sketch, 139 pp.
Loose pencil sketch, 46 pp.
Studio music track recordings, tape 3.
Pencil sketch, 143 pp.
Loose pencil sketch, "Blake," 3 pp.
Studio music track recordings, tapes 63, 69, 70.
Pencil sketch, 222 pp.
Trailer, pencil sketch, 8 pp.
"Deep Valley," Remick Music Corp., 1947, 3 pp.
Studio music track recordings, tapes 3, 59, 60, 61.
Pencil sketch, 222 pp.
Trailer, pencil sketch, 10 pp.
Loose pencil sketch, 1 p.
Pencil sketch, 223 pp.
Pencil sketch, 146 pp.
Studio music track recordings, tape 23.
Pencil sketch, 269 pp.
Loose pencil sketch, "Drums," 2 pp.
Studio music track recordings, tapes 89, 90.
Pencil sketch, copy, 222 pp.
Loose pencil sketch, 29 pp.
Studio music track recordings, tapes 3, 38.
Pencil sketch, 144 pp.
Trailer, pencil sketch, 7 pp.
"We Watch the Skyways," Remick Music Corp., 1941, 5 pp.
Studio music track recordings, tape 24.
Pencil sketch, 138 pp.
Studio music track recordings, tapes 20, 21.
Pencil sketch, 165 pp.
Trailer, pencil sketch, 12 pp.
Loose pencil sketch, 1 p.
Studio music track recordings, tape 18.
Studio music track recordings, tapes 2, 4.
Pencil sketch, 185 pp.
Trailer, pencil sketch, 12 pp.
"Dust Be My Destiny," Harms Inc., 1939, 5 pp.
Studio music track recordings, tape 19.
Pencil sketch, 36 pp.
Trailer, pencil sketch, 8 pp.
Pencil sketch, copy, 155 pp.
Studio music track recordings, tapes 3, 34, 35, 36.
Pencil sketch, copy, 281 pp.
Loose pencil sketch, 45 pp.
Studio music track recordings, tape 36.
Loose pencil sketch, 12 pp.
Studio music track recordings, tape 3.
Pencil sketch, 224 pp.
Studio music track recordings, tapes 68, 69.
Pencil sketch, 72 pp.
Studio music track recordings, tape 14.
Pencil sketch, 261 pp.
Studio music track recordings, tapes 76, 78, 79.
Pencil sketch, 129 pp.
Trailer, pencil sketch, 6 pp.
Studio music track recordings, tapes 73, 74.
Studio music track recordings, tape 1.
Studio music track recordings, tape 6.
Pencil sketch, 124 pp.
Loose pencil sketch, 15 pp.
Studio music track recordings, tapes 87, 88.
Pencil sketch, copy, 251 pp.
"The Fountain Waltz," Irving Berlin Inc., 1935, 4 pp.
Pencil sketch, 161 pp.
Studio music track recordings, tapes 29, 70, 73, 74, 75.
Pencil sketch, 102 pp.
Trailer, pencil sketch, 7 pp.
"Mickey's Theme," by Max Rabinowitsh, 2 pp.
"Rhapsody," by Heinz Roemheld, 3 pp.
Studio music track recordings, tapes 15, 16.
Pencil sketch, 110 pp.
"Close Together," Remick Music Corp., 1941, 5 pp.
Studio music track recordings, tapes 2, 19.
Pencil sketch, 285 pp.
Loose pencil sketch, 18 pp.
Studio music track recordings, tapes 2, 8, 9, 10, 11.
Pencil sketch, 178 pp.
Trailer, pencil sketch, 6 pp.
Loose pencil sketch, 2 pp.
Studio music track recordings, tapes 49, 50.
Pencil sketch, 248 pp.
Trailer, pencil sketch, 9 pp.
Loose pencil sketch, "Menagerie," 2 pp.
Studio music track recordings, tapes 79, 80, 81.
Pencil sketch, 69 pp.
Studio music track recordings, tapes 7, 8, 11.
Pencil sketch, 216 pp.
Studio music track recordings, tapes 14, 15.
Pencil sketch, 457 pp.
Loose pencil sketch, 3 pp.
Loose ink score (for RCA, ca. 1954), 58 pp.
"Piano Miniatures," Remick Music Corp., 1941, 12 pp.
"My Own True Love," (Tara's Theme), Remick Music Corp., 1941, 3 pp.
Studio music track recordings, tapes 19, 43, 44, 45, 46, 47, 48, 49.
Pencil sketch, 190 pp.
"I Have So Much More," M. Witmark & Sons, 1941, 5 pp.
Studio music track recordings, tapes 24, 3.
Pencil sketch, 138 pp.
Trailer, pencil sketch, 9 pp.
Studio music track recordings, tapes 11, 12.
Pencil sketch, copy, 166 pp.
Loose pencil sketch, 33 pp.
Studio music track recordings, tapes 3, 36.
Copy conductor score, 398 pp.
Trailer, copy conductor score, 14 pp.
Loose pencil sketch, "Helen" and "Troy," 6 pp.
"Theme from Helen of Troy," Harms, Inc., 1956, 3 pp.
Studio music track recordings, tapes 28, 31, 93.
Pencil sketch, copy, "The Darkest Hour," Main Title--Reel 11/1, 87 pp.
Pencil sketch, copy, "Hour," Reel 11/2-13/4 (end), 47 pp.
Loose pencil sketch, "Darkest Hour" 5 pp.
Studio music track recordings, tapes 3, 31.
Pencil sketch, 18 pp.
Trailer, pencil sketch, 9 pp.
Pencil sketch, 54 pp.
Loose pencil sketch, 4 pp.
Pencil sketch, 347 pp.
Loose pencil sketch, 14 pp.
Studio music track recordings, tapes 36, 37.
Copy conductor score, 100 pp.
Studio music track recordings, tape 31.
Pencil sketch, 135 pp.
Trailer, pencil sketch, 12 pp.
Studio music track recordings, tapes 26, 49.
Pencil sketch, 108 pp.
"The Minstrel Boy," vocal, pencil sketch, 4 pp.
Studio music track recordings, tapes 4, 41, 42, 63, 72.
Pencil sketch and copy sketch, 78 pp.
Studio music track recordings, tapes 43, 44, 45, 46.
Pencil sketch, 168 pp.
Pencil sketch, 65 pp.
Pencil sketch and blue line, 216 pp.
Trailer, pencil sketch, 9 pp.
Loose pencil sketch, 1 p.
Studio music track recordings, tapes 14, 16, 17.
Pencil sketch, 238 pp.
Studio music track recordings, tapes 86, 87.
Pencil sketch, copy, 371 pp.
Loose pencil sketch, 2 pp.
Studio music track recordings, tape 36.
Pencil sketch, 144 pp.
Loose pencil sketch, 1 p.
Studio music track recordings, tapes 3, 13, 67, 68.
Pencil sketch, 125 pp.
Studio music track recordings, tapes 66, 67.
Pencil sketch, 18 pp.
Studio music track recordings, tape 13.
Pencil sketch, 114 pp.
"King Kong," Sam Fox Publishing Co., 1933, 5 pp.
Studio music track recordings, tapes 1, 4.
Copy conductor score, 297 pp.
Loose pencil sketch, 274 pp.
Pencil sketch, 130 pp.
Trailer, pencil sketch, 7 pp.
Studio music track recordings, tapes 72, 73.
Pencil sketch, 190 pp.
Trailer, pencil sketch, 12 pp.
Loose pencil sketch, 9 pp.
Studio music track recordings, tapes 75, 76, 77.
Copy conductor score, 217 pp.
"Consuela," Victor Young Publications, Inc., 1955, 3 pp.
"Jim Bowie," Victor Young Publications, Inc., 1955, 5 pp.
Lyric sheet.
Studio music track recordings, tapes 3, 30, 31.
Pencil sketch, 200 pp.
Trailer, pencil sketch, 6 pp.
Studio music track recordings, tape 23.
Pencil sketch, 144 pp.
Trailer, pencil sketch, 13 pp.
Studio music track recordings, tapes 4, 13, 14.
Pencil sketch, 60 pp.
Pencil sketch, 94 pp.
Trailer, pencil sketch, 4 pp.
Studio music track recordings, tape 29.
Pencil sketch, 139 pp.
Studio music track recordings, tapes 79, 84, 85.
Pencil sketch, 201 pp.
Studio music track recordings, tape 91.
Pencil sketch, 119 pp.
Studio music track recordings, tapes 6, 7.
Pencil sketch, 160 pp.
Studio music track recordings, tapes 2, 4.
Pencil sketch, 100 pp.
"Josephine," Irving Berlin, Inc., 1934, 5 pp.
Studio music track recordings, tape 4.
Studio music track recordings, tapes 14, 15.
Pencil sketch, 150 pp.
Studio music track recordings, tapes 1, 2.
Pencil sketch, 106 pp.
Pencil sketch, copy, 118 pp.
Loose pencil sketch, 89 pp.
Studio music track recordings, tape 3.
Pencil sketch, 80 pp.
Studio music track recordings, tape 57.
Pencil sketch, 147 pp.
Loose pencil sketch, 6 pp.
Studio music track recordings, tape 91.
Pencil sketch, 205 pp.
Studio music track recordings, tape 36.
Copy conductor score, 139 pp.
Studio music track recordings, tape 31.
Pencil sketch, 150 pp.
Trailer, pencil sketch, 8 pp.
Studio music track recordings, tape 57.
Pencil sketch, 177 pp.
Trailer, pencil sketch, 8 pp.
Studio music track recordings, tapes 30, 91.
Pencil sketch, 159 pp.
Trailer, pencil sketch, 8 pp.
Studio music track recordings, tape 27.
Studio music track recordings, tape 1.
Pencil sketch, 84 pp.
"Kathy," Remick Music Corp., 1949, 3 pp.
Pencil sketch, 41 pp.
Studio music track recordings, tape 62.
Pencil sketch, 143 pp.
Trailer, pencil sketch, 8 pp.
"While You Were Away," Remick Music Corp., 1945, 3 pp.
Studio music track recordings, tapes 3, 28.
Pencil sketch, 68 pp.
Pencil sketch, 98 pp.
Pencil sketch, 216 pp.
Trailer, pencil sketch, 4 pp.
"It Can't Be Wrong," Harms, Inc., 1942, 3 pp.
Studio music track recordings, tapes 2, 3, 26, 50.
Pencil sketch, 83 pp.
Studio music track recordings, tape 4.
Pencil sketch, 196 pp.
Trailer, pencil sketch, 10 pp.
Studio music track recordings, tapes 4, 17, 18.
Pencil sketch, 191 pp.
Trailer, pencil sketch, 8 pp.
Studio music track recordings, tape 19.
Pencil sketch, 79 pp.
Studio music track recordings, tapes 86, 87.
Pencil sketch, 145 pp.
Trailer, pencil sketch, 10 pp.
Studio music track recordings, tape 25.
Pencil sketch, 84 pp.
Pencil sketch, 231 pp.
Studio music track recordings, tapes 83, 84.
Pencil sketch, 8 pp.
Pencil sketch, copy, 222 pp.
Loose copy score, 5 pp.
Studio music track recordings, tapes 3, 37.
Pencil sketch, 255 pp.
Trailer, pencil sketch, 15 pp.
"Someday I'll Meet You Again," M. Witmark & Sons, 1944, 3 pp.
Studio music track recordings, tapes 27, 50, 52.
Pencil sketch, 222 pp.
Trailer, pencil sketch, 15 pp.
Studio music track recordings, tapes 58, 59.
Pencil sketch, 120 pp.
Studio music track recordings, tapes 85, 86.
Pencil sketch, 104 pp.
Loose pencil sketch, 2 pp.
Pencil sketch, 165 pp.
Studio music track recordings, tapes 81, 82.
Pencil sketch, copy, 147 pp.
Loose pencil sketch, 10 pp.
Studio music track recordings, "Lovers Must Learn," tape 37.
Pencil sketch, 145 pp.
Loose pencil sketch, 4 pp.
Studio music track recordings, tape 90.
Pencil sketch, 185 pp.
Trailer, pencil sketch, 10 pp.
Pencil sketch, 295 pp.
Trailer, pencil sketch, 10 pp.
Studio music track recordings, tape 57.
Pencil sketch, 309 pp.
Studio music track recordings, tapes 23, 24.
Pencil sketch, 330 pp.
Trailer, pencil sketch, 8 pp.
"As Long As I Live," M. Witmark & Sons, 1944, 3 pp.
"Goin' Home," M. Witmark & Sons, 1944, 3 pp.
Studio music track recordings, tapes 28, 29, 57.
Pencil sketch, copy, 226 pp. (last page missing).
Studio music track recordings, tapes 31, 32, 33, 34.
Pencil sketch and blue line, 224 pp.
Trailer, pencil sketch, 19 pp.
Studio music track recordings, tapes 25, 49.
Pencil sketch and blue line, 148 pp.
Studio music track recordings, tapes 2, 4, 5.
Pencil sketch, 116 pp.
Trailer, pencil sketch, 8 pp.
Studio music track recordings, tape 2.
Pencil sketch, 189 pp.
Studio music track recordings, tapes 30, 65, 66.
Pencil sketch, 255 pp.
Studio music track recordings, tapes 27, 51, 52, 53, 54, 55.
Pencil sketch, copy, 185 pp.
Loose manuscript, "Rachel," 3 pp.
Pencil sketch, 106 pp.
Trailer, pencil sketch, 10 pp.
Studio music track recordings, tape 16.
Pencil sketch, 63 pp.
Trailer, pencil sketch, 10 pp.
Studio music track recordings, tape 13.
Pencil sketch, 168 pp.
Loose pencil sketch, 17 pp.
"Selena's Waltz," M. Witmark & Sons, 1953, 3 pp.
Studio music track recordings, tapes 3, 91, 92.
Pencil sketch, 79 pp.
Pencil sketch, 123 pp.
Pencil sketch, 157 pp.
Studio music track recordings, tape 72.
Pencil sketch, copy, 197 pp.
Loose pencil sketch, "Spencer," 7 pp.
Studio music track recordings, tapes 37, 38.
Pencil sketch, 242 pp.
Trailer, pencil sketch, 13 pp.
Pencil sketch, 174 pp.
Trailer, pencil sketch, 9 pp.
"A Star Is Born," Irving Berlin Inc., 1937, 5 pp.
Studio music track recordings, tapes 12, 13.
"Midnight in Manhattan," Irving Berlin Inc., 1935, 5 pp.
Studio music track recordings, tape 2.
Loose pencil sketch, 10 pp.
Pencil sketch, 145 pp.
Loose pencil sketch, 3 pp.
Pencil sketch, 138 pp.
Studio music track recordings, tapes 13, 14.
Pencil sketch, 142 pp.
Studio music track recordings, tapes 79, 84.
Pencil sketch, copy, 222 pp.
"Theme From a Summer Place," M. Witmark & Sons, 1959, 3 pp.
Studio music track recordings, tape 3.
Pencil sketch, copy, 210 pp.
Loose manuscript, "Slade," 18 pp.
Studio music track recordings, tape 37.
Pencil sketch, 68 pp.
"Sweepings," Sam Fox Publishing Co., 1933, 3 pp.
Studio music track recordings, tape 1.
Pencil, ink sketch, 126 pp.
Studio music track recordings, tape 1.
Pencil sketch, 147 pp.
Studio music track recordings, tape 13.
Pencil sketch, 310 pp.
Trailer, pencil sketch, 7 pp.
Loose pencil sketch, 4 pp.
Studio music track recordings, tapes 26, 49.
Pencil sketch, 69 pp.
Trailer, pencil sketch, 9 pp.
Studio music track recordings, tapes 16, 17.
Loose pencil sketch, "7 Wonders," "Cooper," 10 pp.
Studio music track recordings, tape 91.
Loose pencil sketch, 184 pp.
Studio music track recordings, tape 3.
Pencil sketch, 284 pp.
"The Song of the Three Musketeers," Irving Berlin Inc., 1935, 2 pp.
Studio music track recordings, tapes 5, 6.
Pencil sketch, 200 pp.
Loose pencil sketch, 3 pp.
"Tomorrow Is Forever," Advanced Music Corp., 1945, 3 pp.
Studio music track recordings, tapes 28, 55, 56, 57.
Pencil sketch, 126 pp.
Studio music track recordings, tape 14.
"There's a Sob In My Heart," Radio Music Company, Inc., 1931, 5 pp.
Pencil sketch, 242 pp.
Trailer, pencil sketch, 11 pp.
Studio music track recordings, tapes 30, 61, 62.
Pencil sketch and sketch copy, 108 pp.
Trailer, pencil sketch, 9 pp.
Loose pencil sketch, 7 pp.
Studio music track recordings, tape 3.
Pencil sketch, 73 pp.
Trailer, pencil sketch, 7 pp.
Studio music track recordings, tape 59.
Pencil sketch, 106 pp.
Copy conductor score, 157 pp.
Studio music track recordings, tape 30.
Pencil sketch, 304 pp.
Studio music track recordings, tape 21.
Pencil sketch, 179 pp.
Trailer, pencil sketch, 15 pp.
Studio music track recordings, tapes 29, 62, 63.
Pencil sketch, 144 pp.
Trailer, pencil sketch, 5 pp.
Studio music track recordings, tape 27.
Pencil sketch, 125 pp.
Trailer, pencil sketch, 6 pp.
Loose pencil sketch, 8 pp.
Studio music track recordings, tape 19.
Pencil sketch, 129 pp.
Trailer, pencil sketch, 7 pp.
Studio music track recordings, tape 15.
Pencil sketch, 202 pp.
Trailer, pencil sketch, 7 pp.
Pencil sketch, 146 pp.
Loose pencil sketch, 53 pp.
Studio music track recordings, tapes 41, 63, 64.
Pencil sketch, "Twilight," 128 pp.
Loose pencil sketch, "Twilight," 5 pp.
Pencil sketch, 215 pp.
Studio music track recordings, tapes 30, 64, 65.
Pencil sketch, copy, 200 pp.
Loose pencil sketch, 73 pp.
Studio music track recordings, tapes 3, 38.
Pencil sketch and sketch copy, 60 pp.
Loose pencil sketch, "Horn," 12 pp.
Studio music track recordings, tape 77.
Orchestration, 26 pp.
"Ev'ry Heart Has a Dream," 5 pp.
"Insignificant Me," 5 pp.
"I Wish I Could Believe You," 5 pp.
"Listen Mister Verdi," 5 pp.
"Ring for Rosy," 5 pp.
"Passers By," 5 pp.
"Wake Me Up With a Kiss," orchestrations.
Orchestration, 30 pp.
Studio music track recording, tape 38.
Studio music track recording, tape 3
Orchestration, 16 pp.