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For example, when the ship sails into Skull Island , Steiner keeps the music calm and quiet with a small amount of texture in the harps to help characterize the ship as it cautiously moves through the misty waters.

King Kong quickly made Steiner one of the most respected names in Hollywood. He continued as RKO's music director for two more years, until Max married Louise Klos, a harpist, in They had a son, Ron, together and they divorced in Additionally, Steiner wrote a sonata used in Katharine Hepburn 's first film, Bill of Divorcement RKO producers, including Selznick, often came to him when they had problems with films, treating him as if he were a music "doctor".

He added musical touches to significant scenes. John Ford hired Steiner again to compose for his next film, The Informer , before Ford began production of the film.

Ford even asked his screenwriter to meet with Steiner during the writing phase to collaborate. This was unusual for Steiner who typically refused to compose a score from anything earlier than a rough cut of the film.

Because Steiner scored the music before and during film production, Ford would sometimes shoot scenes in synchronization with the music Steiner composed rather than the usual practice of film composers synchronizing music to the film's scenes.

Consequently, Steiner directly influenced the development of the protagonist, Gypo. Victor McLaglen , who played Gypo, rehearsed his walking in order to match the fumbling leitmotif Steiner had created for Gypo.

First, the heavy-march-like theme helps to describe the oppressive military and main character Gypo's inevitable downfall.

Second, the character's theme is stern and sober and puts the audience into the correct mood for the film. Finally, the theme of the music contains some Irish folk song influences which serves to better characterize the Irish historical setting and influence of the film.

The score for this film is made up of many different themes which characterize the different personages and situations in the film. Steiner helps portray the genuine love Katie has for the main character Gypo.

In one scene, Katie calls after Gypo as a solo violin echos the falling cadence of her voice. In another scene, Gypo sees an advertisement for a steamship to America and instead of the advertisement, sees himself holding Katie's hand on the ship.

Wedding bells are heard along with organ music and he sees Katie wearing a veil and holding a bouquet. In a later scene, the Katie theme plays as a drunk Gypo sees a beautiful woman at the bar, insinuating he had mistaken her for Katie.

The theme is heard as the Captain throws the money on the table after Frankie is killed. The theme is a four note descending tune on harp; the first interval is the tritone.

As the men are deciding who will be the executioner, the motif is repeated quietly and perpetually to establish Gypo's guilt and the musical motif is synchronized with the dripping of water in the prison.

As it appears in the end of the film, the theme is played at a fortissimo volume as Gypo staggers into the church, ending the climax with the clap of the cymbals, indicating Gypo's penitence, no longer needing to establish his guilt.

Silent film mannerisms are still seen in Steiner's composition such as when actions or consequences are accompanied by a sforzato chord immediately before it, followed by silence.

An example of this is remarked in the part of the film when Frankie confronts Gypo looking at his reward for arrest poster.

Steiner uses minor " Mickey Mousing " techniques in the film. The score concludes with an original "Sancta Maria" by Steiner.

Some writers have erroneously referred to the cue as featuring Franz Schubert 's " Ave Maria ". In , Steiner was hired by Frank Capra to conduct Dimitri Tiomkin 's score for Lost Horizon as a safeguard in case Steiner needed to rewrite the score by an inexperienced Tiomkin; however, according to Hugo Friedhofer , Tiomkin specifically asked for Steiner, preferring him over the film studio's then music director.

The first film he scored for Warner Bros. Steiner became a mainstay at Warner Bros. In , Steiner was borrowed from Warner Bros. Steiner was the only composer Selznick considered for scoring the film.

Because Selznick was concerned Steiner wouldn't have enough time to finish the score, he had Franz Waxman write an additional score in the case the Steiner didn't finish.

To meet the deadline, Steiner sometimes worked for hours straight, assisted by doctor-administered Benzedrine to stay awake. The composition consisted of 16 main themes and nearly musical segments.

Selznick's opinion about using original scoring may have changed due to the overwhelming reaction to the film, nearly all of which contained Steiner's music.

A year later, he even wrote a letter emphasizing the value of original film scores. Steiner explains Scarlett's deep-founded love for her home is why "the 'Tara' theme begins and ends with the picture and permeates the entire score".

Now, Voyager would be the film score for which Steiner would win his second Academy Award. Kate Daubney attributes the success of this score to Steiner's ability to "[balance] the scheme of thematic meaning with the sound of the music.

Steiner would typically wait until the film was edited before scoring it, and after watching Casablanca , he decided the song " As Time Goes By " by Herman Hupfeld wasn't an appropriate addition to the movie and he wanted to replace it with a song of his own composition; however, Ingrid Bergman had just cut her hair short in preparation for filming For Whom the Bell Tolls , so she couldn't re-film the section with Steiner's song.

Steiner actually first composed the theme from Since You Went Away while helping counterbalance Franz Waxman's moody score for Rebecca.

Producer David O. Steiner also found success with the film noir genre. The main theme characterizes Leslie, the main character, by her tragic passion.

Steiner portrays this scene through the jangling of wind chimes which crescendos as the wife emerges through opium smoke.

The jangling continues until the wife asks Leslie to take off her shawl, after which the theme blasts indicating the breaking point of emotions of these women.

The theme for Philip Marlowe Humphrey Bogart is beguiling and ironic, with a playful grace note at the end of the motif, portrayed mixed between major and minor.

At the end of the film, his theme is played fully in major chords and finishes by abruptly ending the chord as the film terminates this was an unusual film music practice in Hollywood at the time.

Steiner uses the contrast of high strings and low strings and brass to emphasize Philip's feelings for Vivian opposed with the brutality of the criminal world.

Steiner had more success with the Western genre of film, writing the scores for over twenty large-scale Westerns, most with epic-inspiring scores "about empire building and progress," [5] like Dodge City , The Oklahoma Kid , and Virginia City Dodge City , starring Errol Flynn and Olivia de Havilland , is a good example of Steiner's handling of typical scenes of the Western genre.

Although his contract ended in , Steiner returned to Warner Bros. Steiner still preferred large orchestras and leitmotif techniques during this part of his career.

There are also acetates of Steiner conducting the Warner Brothers studio orchestra in music from many of his film scores.

Composer Victor Young and Steiner were good friends, and Steiner completed the film score for China Gate , because Young had died before he could finish it.

Steiner wrote into his seventies, ailing and near blind, but his compositions "revealed a freshness and fertility of invention.

This memorable instrumental theme spent nine weeks at 1 on the Billboard Hot singles chart in in an instrumental cover version by Percy Faith.

In , Steiner began writing his autobiography. Although it was completed, it was never published, and is the only source available on Steiner's childhood.

His lack of work in the last years of his life was due to Hollywood's decreased interest in his scores caused by new film producers and new taste in film music.

Another contribution to his declining career was his failing eyesight and deteriorating health, which caused him to reluctantly retire.

Steiner died of congestive heart failure in Hollywood, aged In the early days of sound, producers avoided underscoring music behind dialogue, feeling the audience would wonder where the music was coming from.

As a result, Steiner noted, "They began to add a little music here and there to support love scenes or silent sequences. For example, a shepherd boy might play a flute along with the orchestra heard in the background, or a random, wandering violinist might follow around a couple during a love scene; [26] : 57 however, because half of the music was recorded on the set, Steiner says it led to a great deal of inconvenience and cost when scenes were later edited, because the score would often be ruined.

As recording technology improved during this period, he was able to record the music synced to the film and could change the score after the film was edited.

Steiner explains his own typical method of scoring:. When a picture is finished and finally edited, it is turned over to me.

Then I time it: not by stop watch, however, as many do. I have the film put through a special measuring machine and then a cue sheet created which gives me the exact time, to a split second, in which an action takes place, or a word is spoken.

While these cue sheets are being made, I begin to work on themes for the different characters and scenes, but without regard to the required timing.

During this period I also digest what I have seen, and try to plan the music for this picture. There may be a scene that is played a shade too slowly which I might be able to quicken with a little animated music; or, to a scene that is too fast, I may be able to give a little more feeling by using slower music.

Or perhaps the music can clarify a character's emotion, such as intense suffering, which is not demanded or fully revealed by a silent close-up.

Steiner often followed his instincts and his own reasoning in creating film scores. For example, when he chose to go against Selznick's instruction to use classical music for Gone with the Wind.

Steiner stated:. It is my conviction that familiar music, however popular, does not aid the underlying score of a dramatic picture. I believe that, while the American people are more musically minded than any other nation in the world, they are still not entirely familiar with all the old and new masters' works Of course there are many in our industry who disagree with my viewpoint.

Scores from the classics were sometimes harmful to a picture, especially when they drew unwanted attention to themselves by virtue of their familiarity.

For example, films like A Space Odyssey , The Sting , and Manhattan , had scores with recognizable tunes instead of having a preferred "subliminal" effect.

Steiner, was among the first to acknowledge the need for original scores for each film. Steiner felt knowing when to start and stop was the hardest part of proper scoring, since incorrect placement of music can speed up a scene meant to be slow and vice versa: "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 If you get too decorative, you lose your appeal to the emotions. My theory is that the music should be felt rather than heard.

Although some scholars cite Steiner as the inventor of the click track technique, he, along with Roy Webb were only the first to use the technique in film scoring.

Carl W. Stalling and Scott Bradley used the technique first, in cartoon music. The click-track allows the composer to sync music and film together more precisely.

The technique involves punching holes into the soundtrack film based on the mathematics of metronome speed. As the holes pass through a projector, the orchestra and conductor can hear the clicking sound through headphones, allowing them to record the music along the exact timing of the film.

Popularized by Steiner in film music, this technique allowed Steiner to "catch the action," creating sounds for small details on screen.

With Steiner's background in his European musical training largely consisting of operas and operettas and his experience with stage music, he brought with him a slew of old-fashioned techniques he contributed to the development of the Hollywood film score.

If Wagner had lived in this century, he would have been the No. He would also quote pre-existing, recognizable melodies in his scores, such as national anthems.

Steiner was known and often criticized for his use of Mickey Mousing or "catching the action. Steiner was criticized for using this technique too frequently.

One of the important principles that guided Steiner whenever possible was his rule: Every character should have a theme.

A good example of how the characters and the music worked together is best exemplified by his score for The Glass Menagerie : [2].

Another film which exemplifies the synchronizing of character and music is The Fountainhead : The character of Roark, an idealist architect played by Gary Cooper :.

Steiner's theme for the hero is fraught with a true emotion and a genuine idealism and aspiration. It surges upward in 'masculine' style, whilst Roark's mistress's theme wends downwards in curves of typically feminine shapeliness He above, she traveling up in the workmen's elevator: the music seems to draw them together in mutual fulfillment The score brings dignity and grandeur to the picture.

In the same way that Steiner created a theme for each character in a film, Steiner's music developed themes to express emotional aspects of general scenes which originally lacked emotional content.

When adding a music score to a picture, Steiner used a "spotting process" in which he and the director of the film would watch the film in its entirety and discuss where underscoring of diegetic music would begin and end.

For example, a character humming to himself is realistic music, and the orchestra might play his tune, creating a background music effect that ties into the film.

Steiner was criticized for this technique as the awareness of the film music can ruin the narrative illusion of the film; [26] : 88—89 however, Steiner understood the importance of letting the film take the spotlight, making the music, "subordinate..

Steiner designed a melodic motion to create normal-sounding music without taking too much attention away from the film. According to Steiner, there is, "no greater counterpoint As an individual, Steiner was nominated for a total of 20 Academy Awards, and won two.

Prior to , the Academy recognized a studio's music department, rather than the individual composer, with a nomination in the scoring category.

During this time, five of Steiner's scores including The Lost Patrol and The Charge of the Light Brigade were nominated, but the Academy does not consider these nominations to belong to Max Steiner himself.

Consequently, even though Steiner's score for The Informer won the Academy Award in , the Academy does not officially consider Steiner as the individual winner of the award, as Steiner accepted the award on behalf of RKO 's music department of which he was the department head.

Steiner's 20 nominations make him the third most nominated individual in the history of the scoring categories, behind John Williams and Alfred Newman.

The quadraphonic recordings were later digitally remastered for Dolby surround sound and released on CD. In Kurt London's Film Music , London expressed the opinion that American film music was inferior to European film music because it lacked originality of composition; he cited the music of Steiner as an exception to the rule.

Webb's score for Mighty Joe Young was reminiscent of Steiner. Composer David Raksin stated that the music of Korngold was, "of a higher order with a much wider sweep;" [65] [40] : however, according to William Darby and Jack Du Bois's American Film Music , even though other film score composers may have produced greater individual scores than Steiner, no composer ever created as many "very good" ones as Steiner.

Steiner was the one of the first composers to reintroduce music into films after the invention of talking films.

Steiner's score for King Kong modeled the method of adding background music into a movie. Now referred to as the "father of film music" or the "dean of film music," Steiner had written or arranged music for over three hundred films by the end of his career.

Bender established the Max Steiner Music Society with international membership, publishing journals and newsletters and a library of audio recordings.

When the Steiner collection went to Brigham Young University in , the organization disbanded. The American Film Institute respectively ranked Steiner's scores for Gone with the Wind and King Kong 2 and 13 on their list of the 25 greatest film scores.

His scores for the following films were also nominated for the list:. From Wikipedia, the free encyclopedia. This article is about the Austrian-American composer.

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Although it was completed, it was never published, and is the only source available on Steiner's childhood.

His lack of work in the last years of his life was due to Hollywood's decreased interest in his scores caused by new film producers and new taste in film music.

Another contribution to his declining career was his failing eyesight and deteriorating health, which caused him to reluctantly retire.

Steiner died of congestive heart failure in Hollywood, aged In the early days of sound, producers avoided underscoring music behind dialogue, feeling the audience would wonder where the music was coming from.

As a result, Steiner noted, "They began to add a little music here and there to support love scenes or silent sequences.

For example, a shepherd boy might play a flute along with the orchestra heard in the background, or a random, wandering violinist might follow around a couple during a love scene; [26] : 57 however, because half of the music was recorded on the set, Steiner says it led to a great deal of inconvenience and cost when scenes were later edited, because the score would often be ruined.

As recording technology improved during this period, he was able to record the music synced to the film and could change the score after the film was edited.

Steiner explains his own typical method of scoring:. When a picture is finished and finally edited, it is turned over to me. Then I time it: not by stop watch, however, as many do.

I have the film put through a special measuring machine and then a cue sheet created which gives me the exact time, to a split second, in which an action takes place, or a word is spoken.

While these cue sheets are being made, I begin to work on themes for the different characters and scenes, but without regard to the required timing.

During this period I also digest what I have seen, and try to plan the music for this picture. There may be a scene that is played a shade too slowly which I might be able to quicken with a little animated music; or, to a scene that is too fast, I may be able to give a little more feeling by using slower music.

Or perhaps the music can clarify a character's emotion, such as intense suffering, which is not demanded or fully revealed by a silent close-up.

Steiner often followed his instincts and his own reasoning in creating film scores. For example, when he chose to go against Selznick's instruction to use classical music for Gone with the Wind.

Steiner stated:. It is my conviction that familiar music, however popular, does not aid the underlying score of a dramatic picture.

I believe that, while the American people are more musically minded than any other nation in the world, they are still not entirely familiar with all the old and new masters' works Of course there are many in our industry who disagree with my viewpoint.

Scores from the classics were sometimes harmful to a picture, especially when they drew unwanted attention to themselves by virtue of their familiarity.

For example, films like A Space Odyssey , The Sting , and Manhattan , had scores with recognizable tunes instead of having a preferred "subliminal" effect.

Steiner, was among the first to acknowledge the need for original scores for each film. Steiner felt knowing when to start and stop was the hardest part of proper scoring, since incorrect placement of music can speed up a scene meant to be slow and vice versa: "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 If you get too decorative, you lose your appeal to the emotions. My theory is that the music should be felt rather than heard.

Although some scholars cite Steiner as the inventor of the click track technique, he, along with Roy Webb were only the first to use the technique in film scoring.

Carl W. Stalling and Scott Bradley used the technique first, in cartoon music. The click-track allows the composer to sync music and film together more precisely.

The technique involves punching holes into the soundtrack film based on the mathematics of metronome speed. As the holes pass through a projector, the orchestra and conductor can hear the clicking sound through headphones, allowing them to record the music along the exact timing of the film.

Popularized by Steiner in film music, this technique allowed Steiner to "catch the action," creating sounds for small details on screen.

With Steiner's background in his European musical training largely consisting of operas and operettas and his experience with stage music, he brought with him a slew of old-fashioned techniques he contributed to the development of the Hollywood film score.

If Wagner had lived in this century, he would have been the No. He would also quote pre-existing, recognizable melodies in his scores, such as national anthems.

Steiner was known and often criticized for his use of Mickey Mousing or "catching the action. Steiner was criticized for using this technique too frequently.

One of the important principles that guided Steiner whenever possible was his rule: Every character should have a theme.

A good example of how the characters and the music worked together is best exemplified by his score for The Glass Menagerie : [2].

Another film which exemplifies the synchronizing of character and music is The Fountainhead : The character of Roark, an idealist architect played by Gary Cooper :.

Steiner's theme for the hero is fraught with a true emotion and a genuine idealism and aspiration. It surges upward in 'masculine' style, whilst Roark's mistress's theme wends downwards in curves of typically feminine shapeliness He above, she traveling up in the workmen's elevator: the music seems to draw them together in mutual fulfillment The score brings dignity and grandeur to the picture.

In the same way that Steiner created a theme for each character in a film, Steiner's music developed themes to express emotional aspects of general scenes which originally lacked emotional content.

When adding a music score to a picture, Steiner used a "spotting process" in which he and the director of the film would watch the film in its entirety and discuss where underscoring of diegetic music would begin and end.

For example, a character humming to himself is realistic music, and the orchestra might play his tune, creating a background music effect that ties into the film.

Steiner was criticized for this technique as the awareness of the film music can ruin the narrative illusion of the film; [26] : 88—89 however, Steiner understood the importance of letting the film take the spotlight, making the music, "subordinate..

Steiner designed a melodic motion to create normal-sounding music without taking too much attention away from the film. According to Steiner, there is, "no greater counterpoint As an individual, Steiner was nominated for a total of 20 Academy Awards, and won two.

Prior to , the Academy recognized a studio's music department, rather than the individual composer, with a nomination in the scoring category. During this time, five of Steiner's scores including The Lost Patrol and The Charge of the Light Brigade were nominated, but the Academy does not consider these nominations to belong to Max Steiner himself.

Consequently, even though Steiner's score for The Informer won the Academy Award in , the Academy does not officially consider Steiner as the individual winner of the award, as Steiner accepted the award on behalf of RKO 's music department of which he was the department head.

Steiner's 20 nominations make him the third most nominated individual in the history of the scoring categories, behind John Williams and Alfred Newman.

The quadraphonic recordings were later digitally remastered for Dolby surround sound and released on CD. In Kurt London's Film Music , London expressed the opinion that American film music was inferior to European film music because it lacked originality of composition; he cited the music of Steiner as an exception to the rule.

Webb's score for Mighty Joe Young was reminiscent of Steiner. Composer David Raksin stated that the music of Korngold was, "of a higher order with a much wider sweep;" [65] [40] : however, according to William Darby and Jack Du Bois's American Film Music , even though other film score composers may have produced greater individual scores than Steiner, no composer ever created as many "very good" ones as Steiner.

Steiner was the one of the first composers to reintroduce music into films after the invention of talking films. Steiner's score for King Kong modeled the method of adding background music into a movie.

Now referred to as the "father of film music" or the "dean of film music," Steiner had written or arranged music for over three hundred films by the end of his career.

Bender established the Max Steiner Music Society with international membership, publishing journals and newsletters and a library of audio recordings.

When the Steiner collection went to Brigham Young University in , the organization disbanded. The American Film Institute respectively ranked Steiner's scores for Gone with the Wind and King Kong 2 and 13 on their list of the 25 greatest film scores.

His scores for the following films were also nominated for the list:. From Wikipedia, the free encyclopedia. This article is about the Austrian-American composer.

For Austrian actor and theater manager — , see Maximilian Steiner. For the pornographic actor with the pseudonym Max Steiner, see Max Hardcore.

Vienna , Austria-Hungary now Austria. Hollywood , California. Aubrey Steiner. Louise Klos. Leonette "Lee" Steiner. Main article: Max Steiner filmography.

However, "Walter" is not on his birth register at the IKG in Vienna, nor on any other official document pertaining to his life.

In addition, the reasons he mentioned this name are unknown. Therefore, it should not be included in the article. Classical Hollywood Reader , Routledge p.

Press p. Venedig in Wien: Theater- und Vergnügungsstadt der Jahrhundertwende. Lanham, Maryland: The Scarecrow Press. Burbank, California: Redwood Press.

Hollywood in Vienna. Soundtrack: The Music of the Movies. New York: Hopkinson and Blake. Westport, CT: Greenwood Press. Film Score: The View from the Podium.

Cranbury, New Jersey: A. Barnes and Co. Operetta: A Theatrical History. Film Music Archives. MSS L.

Lee Library, Brigham Young University. Retrieved June 7, The Max Steiner Collection. UK: Oxford University Press. The Real Tinsel.

New York: Macmillan. Music for the Movies. S Barnes and Co. In Naumburg, Nancy ed. We Make The Movies. New York: W. Press pp. David O. The Hollywood Film Music Reader.

New York: Oxford University Press. The Making of King Kong: The story behind a film classic. New York: Ballantine Books. In McCarty, Clifford ed.

Film Music 1. New York: Garland Publishing, Inc. Source Music in Motion Pictures. East Brunswick, N. Overtones and Undertones: Reading Film Music.

Berkeley: University of California Press. Memo from David O. In Harwell, Richard ed. Gone With the Wind as Book and Film.

Archived from the original on July 6, Retrieved August 10, American Film Institute. Archived from the original PDF on August 3, Retrieved March 23, Burlington, VT: Ashgate.

New York: Hyperion. Academy of Motion Picture Arts and Sciences. Retrieved June 19, Retrieved August 24, New York: Billboard Books. Soylent Communications.

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