The Info List - Dimitri Tiomkin

Dimitri Zinovievich Tiomkin (May 10, 1894 – November 11, 1979) was a Russian-born American film composer and conductor. Classically trained in St. Petersburg, Russia
before the Bolshevik Revolution, he moved to Berlin
and then New York City
New York City
after the Russian Revolution. In 1929, after the stock market crash, he moved to Hollywood, where he became best known for his scores for Western films, including Duel in the Sun, Red River, High Noon, The Big Sky, Gunfight at the O.K. Corral, and Last Train from Gun Hill. Tiomkin received twenty-two Academy Award
Academy Award
nominations and won four Oscars, three for Best Original Score for High Noon, The High and the Mighty, and The Old Man and the Sea, and one for Best Original Song for "The Ballad of High Noon" from the former film.


1 Early life and education 2 To America

2.1 Working for Frank Capra
Frank Capra
(1937-1946) 2.2 High Noon
High Noon
(1952) 2.3 Film genres and other associations 2.4 Television 2.5 Composition styles and significance 2.6 Techniques of composing

3 Death and legacy 4 Awards and nominations

4.1 Academy Awards 4.2 Golden Globe Awards

5 References 6 External links

6.1 Multimedia links

Early life and education[edit]

With his mother, circa 1900

Dimitri Tiomkin
Dimitri Tiomkin
(Russian: Дмитрий Зиновьевич Тёмкин, Dmitrij Zinov'evič Tjomkin, Ukrainian: Дмитро́ Зино́війович Тьо́мкін, Dmytro Zynoviyovyč Tomkin) was born in Kremenchuk, Russian Empire. His family was of Jewish descent;[1][2] his father Zinovy Tiomkin was a "distinguished pathologist" and associate of Professor Paul Ehrlich, and later a notable Zionist leader. His mother, Marie Tartakovskaya,[3] was a musician who began teaching the young Tiomkin piano at an early age. Her hope was to have her son become a professional pianist, according to Tiomkin biographer, Christopher Palmer.[4] Tiomkin described his mother as being "small, blonde, merry and vivacious."[4] Tiomkin was educated at the Saint Petersburg Conservatory, where he studied piano with Felix Blumenfeld, teacher of Vladimir Horowitz, and harmony and counterpoint with Alexander Glazunov, mentor to Sergei Prokofiev and Dmitri Shostakovich.[5] He also studied piano with Isabelle Vengerova.[6] He survived the revolution and found work under the new regime. In 1920, while working for the Petrograd Military District Political Administration (PUR), Tiomkin was one of the lead organizers of two revolutionary mass spectacles, the Mystery of Liberated Labor, a pseudo-religious mystery play for the May Day
May Day
festivities, and "The Storming of the Winter Palace" for the celebrations of the third anniversary of the Bolshevik Revolution.[7] He supported himself while living in St. Petersburg by playing piano accompaniment for numerous Russian silent films.[5] Because the revolution had diminished opportunities for classical musicians in Russia, Tiomkin joined many exiles in moving to Berlin after the Russian Revolution to live with his father.[8] In Berlin, from 1921 to 1923, he studied with the pianist Ferruccio Busoni
Ferruccio Busoni
and Busoni's disciples Egon Petri
Egon Petri
and Michael von Zadora.[1] He composed light classical and popular music, and made his performing debut as a pianist playing Franz Liszt's Piano Concerto No. 2 with the Berlin Philharmonic.[9] He moved to Paris
with his roommate, Michael Khariton, to perform a piano duo repertory together. They did this before the end of 1924. To America[edit] In 1925 the duo received an offer from the New York theatrical producer Morris Gest
Morris Gest
and emigrated to the United States. They performed together on the Keith/Albee and Orpheum vaudeville circuits, in which they accompanied a ballet troupe run by the Austrian ballerina Albertina Rasch. Tiomkin and Rasch's professional relationship evolved into a personal one, and they married in 1927. While in New York Tiomkin gave a recital at Carnegie Hall
Carnegie Hall
that featured contemporary music by Maurice Ravel, Alexander Scriabin, Francis Poulenc, and Alexandre Tansman. He and his new wife went on tour to Paris
in 1928, where he played the European premiere of American George Gershwin's Concerto in F at the Paris
Opera, with Gershwin in the audience. After the stock market crash in October 1929 reduced work opportunities in New York, Tiomkin and his wife moved to Hollywood,[10] where she was hired to supervise dance numbers in MGM film musicals.[9] He worked on some minor films, some without being credited under his own name. His first significant film score project was for Paramount's Alice in Wonderland (1933).[11] Although Tiomkin worked on some smaller film projects, his goal was still to become a concert pianist. But in 1937 he broke his arm, injuring it so that he ended that possible career. He began to focus on work as a film music composer.[12] Working for Frank Capra
Frank Capra
(1937-1946)[edit] Tiomkin received his first break from Columbia director Frank Capra, who picked him to write and perform the score for Lost Horizon (1937).[9] The film gained significant recognition for Tiomkin in Hollywood. It was released the same year that he became a naturalized U.S. citizen.[8][13] In his autobiography, Please Don't Hate Me! (1959), Tiomkin recalls how the assignment by Capra forced him to first confront a director in a matter of music style:

Army letter thanking Tiomkin

[H]e gave me the job without reservation. I could write the score without interference, and he would hear it when it was done. Lost Horizon offered me a superb chance to do something big... I thought I might be going a little too far in the matter of expense, and went to Frank one day as he sat in the projection room [and explained the score.]... He looked shocked. "No, Dimi, the lama is a simple man. His greatness is in being simple. For his death the music should be simple, nothing more than the muttering rhythm of a drum." "But Frank, death of lama is not ending one man, but is death of idea. Is tragedy applying to whole human race. I must be honest. Music should rise high, high. Should give symbolism of immense loss. Please don't hate me."[12]

He worked on other Capra films during the following decade, including the comedy You Can't Take It With You (1938), Mr. Smith Goes to Washington (1939), Meet John Doe
Meet John Doe
(1941), and It's a Wonderful Life (1946). During World War II, he continued his close collaboration with Capra by composing scores for his Why We Fight
Why We Fight
series. These seven films were commissioned by the U.S. government to show American soldiers the reason for United States participation in the war. They were later released to the general U.S. public to generate support for American involvement.[8] Tiomkin credited Capra for broadening his musical horizons by shifting them away from a purely Eurocentric and romantic style to a more American style based on subject matter and story.[12] High Noon
High Noon
(1952)[edit] Following his work for Fred Zinnemann
Fred Zinnemann
on The Men (1950), Tiomkin composed the score for the same director's High Noon
High Noon
(1952). His theme song was "Do Not Forsake Me, Oh My Darlin'" ("The Ballad of High Noon"). At its opening preview to the press, the film, which starred Gary Cooper
Gary Cooper
and Grace Kelly, did badly. Tiomkin writes that "film experts agreed that the picture was a flat failure... The producers hesitated to release the picture."[12] Tiomkin bought the rights to the song and released it as a single for the popular music market, with singer Frankie Laine. The record became an immediate success worldwide. Based on the song's popularity, the studio released the film four months later, with the words sung by country western star Tex Ritter. The film received seven Academy Award
Academy Award
nominations and won four awards, including two for Tiomkin: Best Original Music and Best Song. Walt Disney
Walt Disney
presented him with both awards that evening.[14] According to film historian Arthur R. Jarvis, Jr., the score "has been credited with saving the movie."[8] Another music expert, Mervyn Cooke, agrees, adding that "the song's spectacular success was partly responsible for changing the course of film-music history".[12] Tiomkin was the second composer to receive two Oscars (score and song) for the same dramatic film. (The first was Leigh Harline, who won Best Original Score for Disney's Pinocchio and Best Song for "When You Wish Upon a Star". Ned Washington wrote its lyrics as he did for "Do Not Forsake Me, Oh My Darlin".) The song's lyrics briefly tell High Noon's entire story arc, a tale of cowardice and conformity in a small Western town.[15] Tiomkin composed his entire score around this single western-style ballad. He also eliminated violins from the ensemble. He added a subtle harmonica in the background, to give the film a "rustic, deglamorized sound that suits the anti-heroic sentiments" expressed by the story.[5] According to Russian film historian Harlow Robinson, building the score around a single folk tune was typical of many Russian classical composers.[5] Robinson adds that the source of Tiomkin's score, if indeed folk, has not been proven.[5] However, the Encyclopedia of Modern Jewish Culture, on page 124, states: "The fifty-year period in the USA between 1914, the start of the First World War and the year of Irving Berlin’s first full score, Watch Your Step, and 1964, the premiere of Boek and Hamick's Fiddler on the Roof, is informed by a rich musical legacy from Yiddish folk tunes (for example Mark Warshavsky’s "Di milners trem," The miller’s tears: and Dimitri Tiomkin’s "Do Not Forsake Me." High Noon)..."[16] The composer worked again for Zinnemann on The Sundowners (1960). Tiomkin won two more Oscars in subsequent years: for The High and the Mighty (1954), directed by William A. Wellman, and featuring John Wayne; and The Old Man and the Sea (1958), adapted from an Ernest Hemingway novel.[17] During the 1955 ceremonies, Tiomkin thanked all of the earlier composers who had influenced him, including Beethoven, Tchaikovsky, Rimsky-Korsakov, and other names from the European classical tradition. Film genres and other associations[edit] Many of his scores were for Western films, which were extremely popular in this period, and for which he is best remembered. His first Western was the King Vidor-directed Duel in the Sun (1946). In addition to High Noon, among his other Westerns were Giant (1956), Friendly Persuasion (1956), Gunfight at the O.K. Corral (1957), and Last Train from Gun Hill
Last Train from Gun Hill
(1959). Rio Bravo (1959), The Alamo (1960), Circus World (1964) and The War Wagon
The War Wagon
(1967) were made with the involvement of John Wayne. Tiomkin received Oscar nominations for his scores in both Giant and The Alamo. He told TV host Gig Young
Gig Young
that his aim in creating the score for Giant was to capture the "feelings of the great land and great state of Texas."[18] Although influenced by European music traditions, Tiomkin was self-trained as a film composer. He scored many films of various genres, including historical dramas such as Cyrano de Bergerac (1950), The Fall of the Roman Empire (1964), and Great Catherine (1968); war movies such as The Court-Martial of Billy Mitchell
The Court-Martial of Billy Mitchell
(1955), The Guns of Navarone (1961), and Town Without Pity
Town Without Pity
(1961); and suspense thrillers such as 36 Hours (1965). Tiomkin also wrote scores for four of Alfred Hitchcock's suspense dramas: Shadow of a Doubt
Shadow of a Doubt
(1943), Strangers on a Train (1951), I Confess (1953), and Dial M for Murder
Dial M for Murder
(1954). Here he used a lush style relying on solo violins and muted trumpets. He composed the score for the science fiction thriller The Thing from Another World, which is considered his "strangest and most experimental score."[19] He also worked with Howard Hawks
Howard Hawks
on The Big Sky (1952) and Land of the Pharaohs (1955), with John Huston
John Huston
on The Unforgiven (1960), and with Nicholas Ray
Nicholas Ray
on 55 Days at Peking
55 Days at Peking
(1963). Television[edit] In addition to the cinema, Tiomkin composed for television, including such memorable theme songs as Rawhide (1959) and Gunslinger. (A cover version of the theme from Rawhide was performed in the musical film The Blues Brothers (1980); the in-joke that the composer was a Ukrainian-born Jewish American was lost on the crowd at the cowboy bar.)[citation needed] Although Tiomkin was hired to compose the theme for The Wild Wild West
The Wild Wild West
(1965), the producers rejected his music and subsequently hired Richard Markowitz as his replacement. Tiomkin also made a few cameo appearances on television programs. These include being the mystery challenger on What's My Line?
What's My Line?
and an appearance on Jack Benny's CBS
program in December 1961, in which he attempted to help Benny write a song.[20] He also appeared as a contestant on the 20 October 1955 episode of the TV quiz program You Bet Your Life, hosted by Groucho Marx.[21] He composed the music to the song "Wild Is The Wind". It was originally recorded by Johnny Mathis
Johnny Mathis
for the film Wild Is the Wind (1957). Composition styles and significance[edit]

He's a Russian-born gentleman who has written just about the most American-sounding tunes you and I have ever heard.

-- Gig Young, TV interview with Tiomkin in 1956[18]

Although Tiomkin was a trained classical pianist, he adapted his music training in Russia
to the rapidly expanding Hollywood
film industry, and taught himself how to compose meaningful film scores for almost any story type. Film historian David Wallace notes that despite Tiomkin's indebtedness to Europe's classical composers, he would go on to express more than any other composer, "the American spirit—its frontier spirit, anyway—in film music."[9] Tiomkin had no illusions about his talent and the nature of his film work when compared to the classical composers. "I am no Prokofiev, I am no Tchaikovsky. But what I write is good for what I write for. So please, boys, help me."[5] Upon receiving his Oscar in 1955 for The High and the Mighty, he became the first composer to publicly list and thank the great European masters, including Beethoven, Strauss, and Brahms, among others. Music historian Christopher Palmer says that Tiomkin's "genius lay in coming up with themes and finding vivid ways of creating sonic color appropriate to the story and visual image, not in his ability to combine the themes into a complex symphonic structure that could stand on its own."[5] In addition he speculates how a Russian-born pianist like Tiomkin, who was educated at a respected Russian music conservatory, could have become so successful in the American film industry:[22]

He came from a Big Country, too, and in America's vastness, particularly its vast all-embracingness of sky and plain, he must have seen a reflection of the steppes of his native Ukraine. So the cowboy becomes a mirror image of the Cossacks: both are primitives and innocents, etched on and dwarfed by a landscape of soul-stirring immensity and rugged masculine beauty. And as an exile himself, Tiomkin would have identified with the cowboys, pioneers and early settlers who people the world of the Western . . . . [T]hose like Tiomkin who blazed a trail in Hollywood
were actually winning the West all over again.[22]

Tiomkin alluded to this relationship in his autobiography:

A steppe is a steppe is a steppe. . . . The problems of the cowboy and the Cossack are very similar. they share a love of nature and a love of animals. Their courage and their philosophical attitudes are similar, and the steppes of Russia
are much like the prairies of America.[5]

Techniques of composing[edit] Tiomkin's methods of composing a film score have been analyzed and described by music experts. Musicologist Dave Epstein, for one, has explained that after reading the script, Tiomkin would then outline the film's major themes and movements. After the film itself has been filmed, he would make a detailed study of the timing of scenes, using a stopwatch to arrange precise synchronization of the music with the scenes. He would complete the final score after assembling all the musicians and orchestra, rehearse a number of times, and then record the final soundtrack.[19] Tiomkin paid careful attention to the voices of the actors when composing. According to Epstein, he "found that in addition to the timbre of the voice, the pitch of the speaking voice must be very carefully considered..." To accomplish this, Tiomkin would go to the set during filming and would listen to each of the actors. He would also talk with them individually, noting the pitch and color of their voices. Tiomkin explains why he took the extra time with actors:

The music has the function of helping describe the characters. It helps paint the portraits. . . . [giving an example] It was my job to soften her face, to make her look more Continental, more refined. We did it with the music which accompanied her every appearance on the screen, by developing a delicate, graceful theme.[19]

Death and legacy[edit] Dimitri Tiomkin
Dimitri Tiomkin
died in London, England in 1979. He was interred in Forest Lawn Memorial Park Cemetery in Glendale, California. During the 1950s Tiomkin was the highest-paid film composer, composing close to a rate of a picture each month, achieving his greatest fame during the 1950s and 1960s. Between 1948 and 1958, his "golden decade," he composed 57 film scores. During the single year of 1952, he composed nine film scores, including High Noon, for which he won two Academy Awards. In the same decade, he won two more Oscars and his film scores were nominated nine times.[19] He was honored in the Soviet Union and Russia. In 1967, he was a member of the jury of the 5th Moscow International Film Festival.[23] In 2014, his theme songs to It's a Wonderful Life
It's a Wonderful Life
and Giant were played during the closing ceremony for the 2014 Winter Olympics
2014 Winter Olympics
in Sochi, Russia.[24][25] Beginning with Lost Horizon in 1937, through his retirement from films over four decades later in 1979, and up until modern times, he is recognized as being the only Russian to have become a Hollywood
film composer. Other Russian-born composers, such as Irving Berlin, wrote their scores for Broadway plays, many of which were later adapted to film.[26][27][28] Tiomkin was the first film score composer to write both the title theme song and the score.[19] He expanded on that technique in many of his westerns, including High Noon
High Noon
and Gunfight at the O.K. Corral, in which the theme song was repeated as a common thread running through the entire film.[19] For the film Red River, for example, his biographer Christopher Palmer describes how the music immediately sets the epic and heroic tone for the film:

The unison horn-call is indeed an invocation: the gates of history are flung wide and the main theme, high and wide as the huge vault of the sky, rides forth in full choral-orchestral splendour.[19]

Because of this stylistic contribution to westerns, along with other film genres, using title and ongoing theme songs, he had the greatest impact on Hollywood
films in the following decades up until the present.[19] With many of his songs being used in the title of films, Tiomkin created what composer Irwin Bazelon
Irwin Bazelon
called "title song mania." In subsequent decades, studios often attempted to create their own hit songs to both sell as a soundtrack and to enhance the movie experience, with a typical example being the film score for Titanic.[19] He was known to use "source music" in his scores. Some experts claim these were often based on Russian folk songs. Much of his film music, especially for westerns, was used to create an atmosphere of "broad, sweeping landscapes," with a prominent use of chorus.[29]:example During a TV interview, he credited his love of the European classic composers along with his ability to adapt American folk music styles to creating grand American theme music.[30] A number of Tiomkin's film scores were released on LP soundtrack albums, including Giant and The Alamo. Some of the recordings, which usually featured Tiomkin conducting his own music, have been reissued on CD. The theme song to High Noon
High Noon
has been recorded by many artists, with one German CD producer, Bear Family Records, producing a CD with 25 different artists performing that one song.[31] In 1999, the U.S. Postal Service added his image to their "Legends of American Music" stamp series. The series began with the issuance of one featuring singer Elvis Presley
Elvis Presley
in 1993. Tiomkin's image was added as part of their " Hollywood
Composers" selection.[32] In 1976, RCA Victor
RCA Victor
released Lost Horizon: The Classic Film Scores of Dimitri Tiomkin
Dimitri Tiomkin
(US catalogue #ARL1-1669, UK catalogue #GL 43445) with Charles Gerhardt and the National Philharmonic Orchestra. Featuring highlights from various Tiomkin scores, the album was later reissued by RCA on CD with Dolby Surround Sound. The American Film Institute
American Film Institute
ranked Tiomkin's score for High Noon
High Noon
as #10 on their list of the 100greatest film scores. His scores for the following films were also nominated for the list:

The Alamo (1960) Dial M for Murder
Dial M for Murder
(1954) Duel in the Sun (1946) Friendly Persuasion (1956) The Guns of Navarone (1961) Lost Horizon (1937)

Awards and nominations[edit] Academy Awards[edit]

1972 - nominated for "Best Music, Scoring Adaptation and Original Song" Score for Tchaikovsky (1969) 1965 - nominated for "Best Music, Score - Substantially Original" for: The Fall of the Roman Empire (1964) 1964 - nominated for "Best Music, Original Song" and "Best Music, Score - Substantially Original" for 55 Days at Peking
55 Days at Peking
(1963) 1962 - nominated for "Best Music, Original Song" for Town Without Pity (1961) and for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Guns of Navarone (1961) 1961 - nominated for "Best Music, Original Song" and for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Alamo (1960) 1961 - nominated for "Best Music, Original Song" for The Young Land (1959) 1959 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Old Man and the Sea (1958) 1958 - nominated for "Best Music, Original Song" for Wild Is the Wind (1957) 1957 - nominated for "Best Music, Original Song" for Friendly Persuasion, "Best Scoring of a Dramatic Picture" for "Giant" (1956) 1955 - nominated for "Best Music, Original Song" for The High and the Mighty (1954) and won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for the same movie 1953 - won (with Ned Washington) an Oscar for "Best Music, Original Song" for High Noon
High Noon
(1952) for "Do Not Forsake Me, Oh My Darlin'", sung by Tex Ritter 1953 - won an Oscar for "Best Music, Scoring of a Dramatic or Comedy Picture" for High Noon
High Noon
(1952) 1950 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for Champion (1949) 1945 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Bridge of San Luis Rey (1944) 1944 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Moon and Sixpence (1943) 1943 - nominated for "Best Music, Scoring of a Dramatic or Comedy Picture" for The Corsican Brothers
The Corsican Brothers
(1941) 1940 - nominated for "Best Music, Scoring" for Mr. Smith Goes to Washington (1939)

Golden Globe Awards[edit]

1965 for "Best Original Score" for The Fall of the Roman Empire (1964) 1962 for "Best Motion Picture Score" for The Guns of Navarone (1961) 1962 for "Best Motion Picture Song" for Town without Pity (1961) 1961 for "Best Original Score" for The Alamo (1960) 1957 he received the " Special
Award" as "Recognition for film music" 1955 he received the " Special
Award" "For creative musical contribution to Motion Picture" 1953 for "Best Motion Picture Score" for High Noon
High Noon


^ a b Stevens, Lewis. Composers of Classical Music of Jewish Descent, Vallentine Mitchell Publ. (2003) p. 50 ^ the London
telegraph: "The music behind Hollywood's golden age - As the Proms pays tribute to Hollywood's golden age, Tim Robey looks at the composers who redefined the film score" By Tim Robey 24 Aug 2013 ^ http://oxfordindex.oup.com/view/10.1093/anb/9780198606697.article.1801449 ^ a b Palmer, Christopher. Dimitri Tiomkin, T.E. Books, (1984) p. 13 ^ a b c d e f g h Robinson, Harlow. Russians in Hollywood, Hollywood's Russians: Biography of an Image, Northeastern Univ. Press (2007) pp. 130-133 ^ Smith, Charles D, and Richard J. Howe. The Welte-Mignon: Its Music and Musicians. Vestal, N.Y: Published for the Automatic Musical Instrument Collectors' Association, 1994, p. 484. ^ James Von Geldern, Bolshevik Festivals (Berkeley, University of California Press, 1993), p. 157, Katerina Clark, Petersburg, Crucible of Revolution (Cambridge, Mass., Harvard University Press, 1995), pp. 135-36 ^ a b c d Browne, Pat. The Guide to United States Popular Culture, Univ. of Wisconsin Press (2001) p. 846 ^ a b c d Wallace, David; Miller, Ann. Hollywoodland, Macmillan, (2002) pp. 193-194 ^ Warren M. Sherk (2003), "Biography: Dimitri Tiomkin" at "Dimitri Tiomkin: The Official Web Site." Accessed July 6, 2016. ^ Allen Hughes, " Dimitri Tiomkin
Dimitri Tiomkin
Dies; Wrote Film Scores", The New York Times, November 14, 1979. ^ a b c d e Cooke, Mervyn. The Hollywood
Film Music Reader, Oxford Univ. Press (2010) pp. 117-136 ^ Dominic Power, "Tiomkin, Dimitri", "film reference" web site. Accessed September 7, 2010. ^ Walt Disney
Walt Disney
presents Oscars to Dmitri Tiomkin ^ Roger L. Hall, A Guide to Film Music: Songs and Scores (Stoughton, PineTree Press, 3rd ed, 2007), 24. ^ Abramson, Glenda, ed. (2004). Encyclopedia of Modern Jewish Culture. Routledge. p. 124. ISBN 978-0415298131.  ^ Eva Marie Saint and Anthony Franciosa present the Oscar for The Old Man and the Sea to Dimitri Tiomkin, 1959 ^ a b " Dimitri Tiomkin
Dimitri Tiomkin
talks about Giant in 1956, TV interview with Gig Young ^ a b c d e f g h i Hall, Roger. Soundtrack Magazine, Vol. 21, #84 (2002) ^ http://us.imdb.de/name/nm0006323/filmoseries[permanent dead link] ^ [1] ^ a b Palmer, Christopher. The Composer in Hollywood, Marlon Boyars Publ. (1990) p. 314 ^ " 5th Moscow International Film Festival (1967)". MIFF. Archived from the original on 2013-01-16. Retrieved 2012-12-09.  ^ "Olympics close with tribute to Russian artists and a little self-deprecating humor", Washington Post, Feb. 23, 2014 ^ video: 21 min. " Sochi
2014 Winter Olympics
2014 Winter Olympics
Closing Ceremony" ^ Thomas, Tony. Film Score: The View from the Podium, A.S. Barnes Publ. (1979) p. 166 ^ Most, Andrea. Making Americans: Jews
and the Broadway Musical, Harvard Univ. Press (2004) p. 243 ^ Brook, Vincent. You Should See Yourself: Jewish Identity in Postmodern American Culture, Rutgers Univ. Press (2006) p. 86 ^ Duel in the Sun prelude on YouTube, title song ^ TV interview with Tiomkin on YouTube ^ "High Noon", German CD ^ U.S. stamp image, 1999[permanent dead link]

External links[edit]

Wikimedia Commons has media related to Dimitri Tiomkin.

Official site Dimitri Tiomkin
Dimitri Tiomkin
on IMDb Dimitri Tiomkin
Dimitri Tiomkin
at Find a Grave Dimitri Tiomkin Dimitri Tiomkin's Golden Decade

Multimedia links[edit]

1956 TV interview with song performances on YouTube Audio clips, 40 film samples Dimitri Tiomkin
Dimitri Tiomkin
- Greatest Hits on YouTube, audio score compilation by Berny Debney, 10 minutes Lost Horizon theme on YouTube High Noon
High Noon
changes Hollywood
model on YouTube Giant theme on YouTube Red River film clip on YouTube Town Without Pity
Town Without Pity
theme on YouTube Rio Bravo sung by Dean Martin and Ricky Nelson with Walter Brennan on YouTube The Alamo title song on YouTube Guns of Navarone theme on YouTube Gunfight at the O.K. Corral opening theme on YouTube Tiomkin on Jack Benny
Jack Benny
Show, 1961 on YouTube Tiomkin on You Bet Your Life
You Bet Your Life
in 1955

v t e

Academy Award
Academy Award
for Best Original Song


"The Continental"

Music: Con Conrad Lyrics: Herb Magidson (1934)

"Lullaby of Broadway"

Music: Harry Warren Lyrics: Al Dubin (1935)

"The Way You Look Tonight"

Music: Jerome Kern Lyrics: Dorothy Fields
Dorothy Fields

"Sweet Leilani"

Music and lyrics: Harry Owens
Harry Owens

"Thanks for the Memory"

Music: Ralph Rainger Lyrics: Leo Robin (1938)

"Over the Rainbow"

Music: Harold Arlen Lyrics: E. Y. Harburg (1939)

"When You Wish Upon a Star"

Music: Leigh Harline Lyrics: Ned Washington (1940)


"The Last Time I Saw Paris"

Music: Jerome Kern Lyrics: Oscar Hammerstein II
Oscar Hammerstein II

"White Christmas"

Music and lyrics: Irving Berlin

"You'll Never Know"

Music: Harry Warren Lyrics: Mack Gordon
Mack Gordon

"Swinging on a Star"

Music: Jimmy Van Heusen Lyrics: Johnny Burke (1944)

"It Might as Well Be Spring"

Music: Richard Rodgers Lyrics: Oscar Hammerstein II
Oscar Hammerstein II

"On the Atchison, Topeka and the Santa Fe"

Music: Harry Warren Lyrics: Johnny Mercer
Johnny Mercer


Music: Allie Wrubel Lyrics: Ray Gilbert (1947)

"Buttons and Bows"

Music: Jay Livingston Lyrics: Ray Evans (1948)

"Baby, It's Cold Outside"

Music and lyrics: Frank Loesser
Frank Loesser

"Mona Lisa"

Music and lyrics: Ray Evans and Jay Livingston
Jay Livingston


"In the Cool, Cool, Cool of the Evening"

Music: Hoagy Carmichael Lyrics: Johnny Mercer
Johnny Mercer

" High Noon
High Noon
(Do Not Forsake Me, Oh My Darlin')"

Music: Dimitri Tiomkin Lyrics: Ned Washington (1952)

"Secret Love"

Music: Sammy Fain Lyrics: Paul Francis Webster (1953)

"Three Coins in the Fountain"

Music: Jule Styne Lyrics: Sammy Cahn
Sammy Cahn

"Love Is a Many Splendored Thing"

Music: Sammy Fain Lyrics: Paul Francis Webster (1955)

"Que Sera, Sera (Whatever Will Be, Will Be)"

Music and lyrics: Jay Livingston
Jay Livingston
and Ray Evans (1956)

"All the Way"

Music: Jimmy Van Heusen Lyrics: Sammy Cahn
Sammy Cahn


Music: Frederick Loewe Lyrics: Alan Jay Lerner
Alan Jay Lerner

"High Hopes"

Music: Jimmy Van Heusen Lyrics: Sammy Cahn
Sammy Cahn

"Never on Sunday"

Music and lyrics: Manos Hatzidakis
Manos Hatzidakis


"Moon River"

Music: Henry Mancini Lyrics: Johnny Mercer
Johnny Mercer

"Days of Wine and Roses"

Music: Henry Mancini Lyrics: Johnny Mercer
Johnny Mercer

"Call Me Irresponsible"

Music: Jimmy Van Heusen Lyrics: Sammy Cahn
Sammy Cahn

"Chim Chim Cher-ee"

Music and lyrics: Richard M. Sherman
Richard M. Sherman
and Robert B. Sherman
Robert B. Sherman

"The Shadow of Your Smile"

Music: Johnny Mandel Lyrics: Paul Francis Webster (1965)

"Born Free"

Music: John Barry Lyrics: Don Black (1966)

" Talk
to the Animals"

Music and lyrics: Leslie Bricusse (1967)

"The Windmills of Your Mind"

Music: Michel Legrand Lyrics: Alan and Marilyn Bergman (1968)

"Raindrops Keep Fallin' on My Head"

Music: Burt Bacharach Lyrics: Hal David
Hal David

"For All We Know"

Music: Fred Karlin Lyrics: Robb Royer
Robb Royer
and Jimmy Griffin (1970)


"Theme from Shaft"

Music and lyrics: Isaac Hayes
Isaac Hayes

"The Morning After"

Music and lyrics: Al Kasha and Joel Hirschhorn (1972)

"The Way We Were"

Music: Marvin Hamlisch Lyrics: Alan and Marilyn Bergman (1973)

"We May Never Love Like This Again"

Music and lyrics: Al Kasha and Joel Hirschhorn (1974)

"I'm Easy"

Music and lyrics: Keith Carradine
Keith Carradine

"Evergreen (Love Theme from A Star Is Born)"

Music: Barbra Streisand Lyrics: Paul Williams (1976)

"You Light Up My Life"

Music and lyrics: Joseph Brooks (1977)

"Last Dance"

Music and lyrics: Paul Jabara
Paul Jabara

"It Goes Like It Goes"

Music: David Shire Lyrics: Norman Gimbel (1979)


Music: Michael Gore Lyrics: Dean Pitchford (1980)


"Arthur's Theme (Best That You Can Do)"

Music and lyrics: Burt Bacharach, Carole Bayer Sager, Christopher Cross and Peter Allen (1981)

"Up Where We Belong"

Music: Jack Nitzsche
Jack Nitzsche
and Buffy Sainte-Marie Lyrics: Will Jennings (1982)

"Flashdance... What a Feeling"

Music: Giorgio Moroder Lyrics: Keith Forsey and Irene Cara (1983)

"I Just Called to Say I Love You"

Music and lyrics: Stevie Wonder
Stevie Wonder

"Say You, Say Me"

Music and lyrics: Lionel Richie
Lionel Richie

"Take My Breath Away"

Music: Giorgio Moroder Lyrics: Tom Whitlock (1986)

"(I've Had) The Time of My Life"

Music: Franke Previte, John DeNicola and Donald Markowitz Lyrics: Franke Previte (1987)

"Let the River Run"

Music and lyrics: Carly Simon
Carly Simon

"Under the Sea"

Music: Alan Menken Lyrics: Howard Ashman (1989)

"Sooner or Later (I Always Get My Man)"

Music and lyrics: Stephen Sondheim
Stephen Sondheim


"Beauty and the Beast"

Music: Alan Menken Lyrics: Howard Ashman (1991)

"A Whole New World"

Music: Alan Menken Lyrics: Tim Rice
Tim Rice

"Streets of Philadelphia"

Music and lyrics: Bruce Springsteen
Bruce Springsteen

"Can You Feel the Love Tonight"

Music: Elton John Lyrics: Tim Rice
Tim Rice

"Colors of the Wind"

Music: Alan Menken Lyrics: Stephen Schwartz (1995)

"You Must Love Me"

Music: Andrew Lloyd Webber Lyrics: Tim Rice
Tim Rice

"My Heart Will Go On"

Music: James Horner Lyrics: Will Jennings (1997)

"When You Believe"

Music and lyrics: Stephen Schwartz (1998)

"You'll Be in My Heart"

Music and lyrics: Phil Collins
Phil Collins

"Things Have Changed"

Music and lyrics: Bob Dylan
Bob Dylan


"If I Didn't Have You (Disney song)"

Music and lyrics: Randy Newman
Randy Newman

"Lose Yourself"

Music: Eminem, Jeff Bass and Luis Resto Lyrics: Eminem

"Into the West"

Music and lyrics: Fran Walsh, Howard Shore
Howard Shore
and Annie Lennox
Annie Lennox

"Al otro lado del río"

Music and lyrics: Jorge Drexler
Jorge Drexler

"It's Hard out Here for a Pimp"

Music and lyrics: Juicy J, Frayser Boy and DJ Paul
DJ Paul

"I Need to Wake Up"

Music and lyrics: Melissa Etheridge
Melissa Etheridge

"Falling Slowly"

Music and lyrics: Glen Hansard
Glen Hansard
and Markéta Irglová
Markéta Irglová

"Jai Ho"

Music: A. R. Rahman Lyrics: Gulzar

"The Weary Kind"

Music and lyrics: Ryan Bingham
Ryan Bingham
and T Bone Burnett
T Bone Burnett

"We Belong Together"

Music and lyrics: Randy Newman
Randy Newman


"Man or Muppet"

Music and lyrics: Bret McKenzie
Bret McKenzie


Music and lyrics: Adele
Adkins and Paul Epworth (2012)

"Let It Go"

Music and lyrics: Kristen Anderson-Lopez and Robert Lopez
Robert Lopez


Music and lyrics: John Stephens and Lonnie Lynn (2014)

"Writing's on the Wall"

Music and lyrics: James Napier and Sam Smith (2015)

"City of Stars"

Music: Justin Hurwitz Lyrics: Benj Pasek and Justin Paul (2016)

"Remember Me"

Music and lyrics: Kristen Anderson-Lopez and Robert Lopez
Robert Lopez

v t e

Golden Globe Award for Best Original Score


Life with Father – Max Steiner
Max Steiner
(1947) The Red Shoes – Brian Easdale (1948) The Inspector General – Johnny Green
Johnny Green


Sunset Boulevard – Franz Waxman (1950) September Affair
September Affair
Victor Young
Victor Young
(1951) High Noon
High Noon
Dimitri Tiomkin
Dimitri Tiomkin
(1952) On the Beach – Ernest Gold (1959)


The Alamo – Dimitri Tiomkin
Dimitri Tiomkin
(1960) The Guns of Navarone – Dimitri Tiomkin
Dimitri Tiomkin
(1961) To Kill a Mockingbird – Elmer Bernstein
Elmer Bernstein
(1962) (1963) The Fall of the Roman Empire – Dimitri Tiomkin
Dimitri Tiomkin
(1964) Doctor Zhivago – Maurice Jarre
Maurice Jarre
(1965) Hawaii – Elmer Bernstein
Elmer Bernstein
(1966) Camelot – Frederick Loewe (1967) The Shoes of the Fisherman Alex North (1968) Butch Cassidy and the Sundance Kid
Butch Cassidy and the Sundance Kid
Burt Bacharach
Burt Bacharach


Love Story – Francis Lai (1970) Shaft – Isaac Hayes
Isaac Hayes
(1971) The Godfather
The Godfather
Nino Rota
Nino Rota
(1972) Jonathan Livingston Seagull – Neil Diamond
Neil Diamond
(1973) The Little Prince – Alan Jay Lerner, Frederick Loewe (1974) Jaws – John Williams
John Williams
(1975) A Star is Born – Kenneth Ascher, Paul Williams (1976) Star Wars – John Williams
John Williams
(1977) Midnight Express – Giorgio Moroder
Giorgio Moroder
(1978) Apocalypse Now
Apocalypse Now
– Carmine Coppola, Francis Ford Coppola
Francis Ford Coppola


The Stunt Man
The Stunt Man
Dominic Frontiere (1980) (1981) E.T. the Extra-Terrestrial
E.T. the Extra-Terrestrial
John Williams
John Williams
(1982) Flashdance
Giorgio Moroder
Giorgio Moroder
(1983) A Passage to India – Maurice Jarre
Maurice Jarre
(1984) Out of Africa – John Barry (1985) The Mission – Ennio Morricone
Ennio Morricone
(1986) The Last Emperor
The Last Emperor
– David Byrne, Ryuichi Sakamoto, Cong Su (1987) Gorillas in the Mist
Gorillas in the Mist
Maurice Jarre
Maurice Jarre
(1988) The Little Mermaid – Alan Menken
Alan Menken


The Sheltering Sky – Richard Horowitz, Ryuichi Sakamoto
Ryuichi Sakamoto
(1990) Beauty and the Beast – Alan Menken
Alan Menken
(1991) Aladdin – Alan Menken
Alan Menken
(1992) Heaven & Earth – Kitarō
(1993) The Lion King
The Lion King
Hans Zimmer
Hans Zimmer
(1994) A Walk in the Clouds
A Walk in the Clouds
Maurice Jarre
Maurice Jarre
(1995) The English Patient – Gabriel Yared (1996) Titanic – James Horner
James Horner
(1997) The Truman Show – Burkhard Dallwitz, Philip Glass
Philip Glass
(1998) 1900 – Ennio Morricone
Ennio Morricone


Gladiator – Lisa Gerrard, Hans Zimmer
Hans Zimmer
(2000) Moulin Rouge! – Craig Armstrong (2001) Frida
Elliot Goldenthal
Elliot Goldenthal
(2002) The Lord of the Rings: The Return of the King – Howard Shore
Howard Shore
(2003) The Aviator – Howard Shore
Howard Shore
(2004) Memoirs of a Geisha – John Williams
John Williams
(2005) The Painted Veil – Alexandre Desplat
Alexandre Desplat
(2006) Atonement – Dario Marianelli (2007) Slumdog Millionaire
Slumdog Millionaire
A. R. Rahman
A. R. Rahman
(2008) Up – Michael Giacchino
Michael Giacchino


The Social Network
The Social Network
– Trent Reznor, Atticus Ross
Atticus Ross
(2010) The Artist – Ludovic Bource
Ludovic Bource
(2011) Life of Pi – Mychael Danna (2012) All Is Lost Alex Ebert
Alex Ebert
(2013) The Theory of Everything – Jóhann Jóhannsson
Jóhann Jóhannsson
(2014) The Hateful Eight
The Hateful Eight
Ennio Morricone
Ennio Morricone
(2015) La La Land – Justin Hurwitz
Justin Hurwitz
(2016) The Shape of Water
The Shape of Water
- Alexandre Desplat
Alexandre Desplat

v t e

Golden Globe Award for Best Original Song


"Town Without Pity" Lyrics by Ned Washington, Music by Dimitri Tiomkin (1961) "Circus World" Lyrics by Ned Washington, Music by Dimitri Tiomkin (1964) "Forget Domani" Lyrics by Norman Newell, Music by Riz Ortolani
Riz Ortolani
(1965) "Strangers in the Night" Lyrics by Charles Singleton, Eddie Snyder, Music by Bert Kaempfert
Bert Kaempfert
(1966) "If Ever I Would Leave You" Lyrics by Alan Jay Lerner, Music by Frederick Loewe (1967) "The Windmills of Your Mind" Lyrics by Alan and Marilyn Bergman, Music by Michel Legrand (1968) "Jean" Music & Lyrics by Rod McKuen
Rod McKuen


"Whistling Away the Dark" Lyrics by Johnny Mercer, Music by Henry Mancini (1970) "Life Is What You Make It" Lyrics by Johnny Mercer, Music by Marvin Hamlisch (1971) "Ben" Lyrics by Don Black, Music by Walter Scharf (1972) "The Way We Were" Lyrics by Alan and Marilyn Bergman, Music by Marvin Hamlisch (1973) "I Feel Love" Lyrics by Betty Box, Music by Euel Box (1974) "I'm Easy" Music & Lyrics by Keith Carradine
Keith Carradine
(1975) "Evergreen" Lyrics by Paul Williams, Music by Barbra Streisand
Barbra Streisand
(1976) "You Light Up My Life" Music & Lyrics by Joseph Brooks (1977) "Last Dance" Music & Lyrics by Paul Jabara
Paul Jabara
(1978) "The Rose" Music & Lyrics by Amanda McBroom
Amanda McBroom


"Fame" Lyrics by Dean Pitchford, Music by Michael Gore (1980) "Arthur's Theme (Best That You Can Do)" Music & Lyrics by Peter Allen, Burt Bacharach, Christopher Cross, & Carole Bayer Sager (1981) "Up Where We Belong" Lyrics by Wilbur Jennings, Music by Jack Nitzsche & Buffy Sainte-Marie
Buffy Sainte-Marie
(1982) "Flashdance... What a Feeling" Lyrics by Irene Cara, Keith Forsey, Music by Giorgio Moroder
Giorgio Moroder
(1983) "I Just Called to Say I Love You" Music & Lyrics by Stevie Wonder (1984) "Say You, Say Me" Music & Lyrics by Lionel Richie
Lionel Richie
(1985) "Take My Breath Away" Lyrics by Tom Whitlock, Music by Giorgio Moroder (1986) "(I've Had) The Time of My Life" Lyrics by Franke Previte, Music by John DeNicola & Donald Markowitz (1987) "Let the River Run" Music & Lyrics by Carly Simon/"Two Hearts" Lyrics by Phil Collins, Music by Lamont Dozier
Lamont Dozier
(1988) "Under the Sea" Lyrics by Howard Ashman, Music by Alan Menken
Alan Menken


"Blaze of Glory" Music & Lyrics by Jon Bon Jovi
Jon Bon Jovi
(1990) "Beauty and the Beast" Lyrics by Howard Ashman, Music by Alan Menken (1991) "A Whole New World" Lyrics by Tim Rice, Music by Alan Menken
Alan Menken
(1992) "Streets of Philadelphia" Music & Lyrics by Bruce Springsteen (1993) "Can You Feel the Love Tonight" Lyrics by Tim Rice, Music by Elton John (1994) "Colors of the Wind" Lyrics by Stephen Schwartz, Music by Alan Menken (1995) "You Must Love Me" Lyrics by Tim Rice, Music by Andrew Lloyd Webber (1996) "My Heart Will Go On" Lyrics by Wilbur Jennings, Music by James Horner (1997) "The Prayer" Music & Lyrics by David Foster, Tony Renis, Carole Bayer Sager, Alberto Testa (1998) "You'll Be in My Heart" Music & Lyrics by Phil Collins
Phil Collins


"Things Have Changed" Music and lyrics by Bob Dylan
Bob Dylan
(2000) "Until..." Music and lyrics by Sting (2001) "The Hands That Built America" Music and lyrics by Bono, Adam Clayton, The Edge
The Edge
& Larry Mullen Jr.
Larry Mullen Jr.
(2002) "Into the West" Music and lyrics by Annie Lennox, Howard Shore
Howard Shore
& Frances Walsh (2003) "Old Habits Die Hard" Music and lyrics by Mick Jagger
Mick Jagger
& David A. Stewart (2004) "A Love That Will Never Grow Old" Lyrics by Bernie Taupin, Music by Gustavo Santaolalla
Gustavo Santaolalla
(2005) "The Song of the Heart" Music and lyrics by Prince Rogers Nelson (2006) "Guaranteed" Music and lyrics by Eddie Vedder
Eddie Vedder
(2007) "The Wrestler" Music and lyrics by Bruce Springsteen
Bruce Springsteen
(2008) "The Weary Kind" Music and lyrics by Ryan Bingham
Ryan Bingham
& T Bone Burnett (2009)


"You Haven't Seen the Last of Me" Music & Lyrics by Diane Warren (2010) "Masterpiece" Music & Lyrics by Madonna, Julie Frost and Jimmy Harry (2011) "Skyfall" by Adele
Adkins and Paul Epworth (2012) "Ordinary Love" by U2 and Danger Mouse (2013) "Glory" by Common and John Legend
John Legend
(2014) "Writing's on the Wall" by Sam Smith and Jimmy Napes (2015) "City of Stars" by Justin Hurwitz, Benj Pasek and Justin Paul (2016) "This Is Me" by Benj Pasek and Justin Paul (2017)

Complete List (1960s) (1970s) (1980s) (1990s) (2000s) (2010s)

Authority control

WorldCat Identities VIAF: 100251573 LCCN: n2006010255 ISNI: 0000 0001 1964 1412 GND: 103848290 SUDOC: 082684286 BNF: cb13900462s (data) BIBSYS: 90852545 MusicBrainz: 0ed6e209-dd4d-4c47-b6d0-c3a1ae06fef5 NDL: 001152118 BNE: XX838534 SN


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