Maximilian Raoul Steiner (May 10, 1888 – December 28, 1971) was
an Austrian-born American music composer for theatre and films. He was
a child prodigy who conducted his first operetta when he was twelve
and became a full-time professional, either composing, arranging, or
conducting, when he was fifteen.
Steiner worked in England, then Broadway, and in 1929 he moved to
Hollywood, where he became one of the first composers to write music
scores for films. He was referred to as "the father of film music".[1]
Steiner played a major part in creating the tradition of writing music
for films, along with composers Dimitri Tiomkin, Franz Waxman, Erich
Wolfgang Korngold, Alfred Newman, Bernard Herrmann, and Miklós
Rózsa.
Steiner composed over 300 film scores with
RKO Pictures

RKO Pictures and Warner
Bros., and was nominated for 24 Academy Awards, winning three: The
Informer (1935);
Now, Voyager

Now, Voyager (1942); and
Since You Went Away

Since You Went Away (1944).
Besides his Oscar-winning scores, some of Steiner's popular works
include King Kong (1933), Little Women (1933), Jezebel (1938),
Casablanca (1942), The Searchers (1956), A Summer Place (1959), and
Gone with the Wind (1939), the film score for which he is best known.
He was also the first recipient of the Golden Globe Award for Best
Original Score, which he won for his score for Life with Father.
Steiner was a frequent collaborator with some of the most famous film
directors in history, including Michael Curtiz, John Ford, and William
Wyler, and scored many of the films with Errol Flynn, Bette Davis,
Humphrey Bogart, and Fred Astaire. Many of his film scores are
available as separate soundtrack recordings.
Contents
1 Early years
2 Beginning music career
3 Broadway music (1914–1929)
4
Hollywood

Hollywood film music (1929–1971)
4.1
Symphony of Six Million

Symphony of Six Million (1932)
4.2 King Kong (1933)
4.3 The Informer (1935)
4.4 Composing for Warner Bros.
4.5 Gone with the Wind (1939)
4.6 Award-winning Scores
4.7 Westerns
4.8 Later works
5 Methods of composing
5.1 Character themes
5.2 Scene and situation themes
6 Personal life and death
7 Awards and honors
8 Filmography
9 References
10 External links
10.1 Multimedia links
Early years[edit]
Max Steiner's birthplace in
Vienna

Vienna today, Praterstraße 72
Steiner was born on May 10, 1888, in Austria-Hungary. He was the only
child in a wealthy business and theatrical family of Jewish
heritage.[2][3][4] He was named after his paternal grandfather,
Maximilian Steiner

Maximilian Steiner (1839–1880), who was credited with first
persuading
Johann Strauss II

Johann Strauss II to write for the theater, and was the
influential manager of Vienna's historic Theater an der Wien.[5] His
father was the Hungarian-Jewish Gábor Steiner (1858–1944, born in
Temesvár, Kingdom of Hungary, Austrian Empire), a Viennese
impresario, carnival exposition manager, and inventor, responsible for
building the Wiener Riesenrad. His father encouraged Steiner's musical
talent, and allowed him to conduct an American operetta, The Belle of
New York which allowed Steiner to gain early recognition by the
operetta's author, Gustave Kerker.[5] Steiner's mother was a dancer in
stage productions put on by his grandfather.[6] His godfather was the
composer Richard Strauss.[7]
Max Steiner

Max Steiner often credited his family for
inspiring his early musical abilities.
His parents sent Steiner to the
Vienna

Vienna University of Technology, but
he expressed little interest in scholastic subjects. He enrolled in
the Imperial Academy of Music in 1904,[8] where, due to his precocious
musical talents and private tutoring by
Robert Fuchs and Gustav
Mahler, he completed a four-year course in only one year. He studied
various instruments including piano, organ, violin, double bass, and
trumpet. He also had courses in harmony, counterpoint, and
composition.[6] For his early achievements he was awarded a gold medal
by the academy.[5]
Beginning music career[edit]
Steiner first entered the world of professional music when he was
fifteen. He wrote and conducted the operetta, The Beautiful Greek
Girl. The opera ran for a year and led to opportunities to conduct
other shows in various cities around the world, including Moscow and
Hamburg. He was invited to London to conduct Lehar's The Merry Widow.
He stayed in London for eight years conducting musicals at Daly's
Theares, the Adelphi, the Hippodrome, the
London Pavilion

London Pavilion and the
Blackpool Winter Gardens.[5]
In England, Steiner wrote and conducted theater productions and
symphonies. But in 1914,
World War I

World War I started and he was interned as an
enemy alien.[9] Fortunately, he was befriended by the Duke of
Westminster, who was a fan of his work, and was given exit papers to
go to America, although his money was impounded. He arrived in New
York City in December 1914, with only $32 to his name.[5]
Broadway music (1914–1929)[edit]
Steiner soon acquired employment and worked in New York for fifteen
years as a musical director, arranger, orchestrator, and conductor of
Broadway productions. These productions include operettas and musicals
written by Victor Herbert, Jerome Kern, Vincent Youmans, and George
Gershwin, among others. Steiner's credits include: George White's
Scandals (1922) (director), Peaches (1923) (composer), Lady, Be Good
(1924) (conductor and orchestrator).[10]
In 1927, Steiner orchestrated and conducted Harry Tierney's Rio Rita.
Tierney himself later requested that
RKO Pictures

RKO Pictures in
Hollywood

Hollywood hire
Steiner to work in their music production departments. William
LeBaron, RKO's head of production, traveled to New York to watch
Steiner conduct and was impressed by Steiner and his musicians, who
each played several instruments, making Steiner a
Hollywood

Hollywood asset.[5]
His final production on Broadway was Sons O' Guns in 1929.[5]
Hollywood

Hollywood film music (1929–1971)[edit]
Symphony of Six Million

Symphony of Six Million (1932)[edit]
Steiner accepted the offer from RKO to work in their music production
departments, and moved to California in 1929. Soon after arriving, he
orchestrated the film version of the musical Rio Rita and Dixiana
(1930).[11] Steiner later received his first screen credit as an
orchestrator for Dixiana. Later that year, Steiner was made director
of RKO's music production department.[5][6] Steiner’s next film was
Cimarron (1931), a Western. This was Steiner's first film for which he
wrote an original composition.[5] He then worked on Bird of Paradise,
putting to music almost the entire 85-minute film.
In 1932, Steiner was asked to add music to Symphony of Six Million
(1932), by David O. Selznick, the new producer at RKO.[5] Steiner
composed a short segment that Selznick liked so much that he asked him
to compose the theme and underscoring for the entire picture.[12]
Selznick was very proud of the film, feeling that it gave a realistic
view of Jewish family life and tradition.[13]:75 "Music until then had
not been used very much for underscoring."[5] Steiner "pioneered the
use of original composition as background scoring for films."[5] The
successful scoring in the film was a turning point for Steiner's
career and for the film industry; after the underscoring of Symphony
of Six Million, a third to half of the success of most films was
“attributed to the extensive use of music.”[12]
King Kong (1933)[edit]
The score for King Kong (1933) became Steiner's breakthrough. The
studio’s bosses were initially skeptical about the need for an
original score; however, since they disliked the film’s contrived
special effects, they let Steiner try to improve the film with music.
The studio suggested using old tracks in order to save on the cost of
the film.[5] But, King Kong producer
Merian C. Cooper

Merian C. Cooper asked Steiner to
score the film anyway and said he would pay for the orchestra. Steiner
took advantage of this offer and used an eighty-piece orchestra,
explaining that the film "was made for music. It was the kind of film
that allowed you to do anything and everything, from weird chords and
dissonances to pretty melodies.".[5] The film became a "landmark of
film scoring" [13]:113
The film quickly made Steiner one of the most respected names in
Hollywood. He continued as RKOs music director for two more years,
until 1936. During this time, he composed, arranged and conducted
another 55 films, including most of the
Fred Astaire

Fred Astaire and Ginger Rogers
dance musicals. He also wrote a sonata used in Katharine Hepburn’s
first film, Bill of Divorcement (1932). RKO producers, including
Selznick, often came to him when they had problems with films,
treating him as if he were a “doctor.”[5] Steiner was asked to
compose a score for Of Human Bondage (1934), which originally lacked
music. He added musical touches to significant scenes. Director John
Ford called on Steiner to score his film, The Lost Patrol (1934),
which lacked tension without music.
The Informer (1935)[edit]
John Ford

John Ford again hired Steiner to compose for his next film, The
Informer (1935) before Ford actually began production. Ford even asked
his screenwriter to meet with Steiner during the writing phase to
collaborate. Ford’s preparation paid off, as the film was nominated
for six
Academy Awards

Academy Awards and won four, including Steiner's first Academy
Award for Best Score.[14]
Producer
David O. Selznick

David O. Selznick set up his own production company in 1936
and recruited Steiner to write the scores for his next three films.[5]
Composing for Warner Bros.[edit]
In April 1937, Steiner left RKO and signed a long-term contract with
Warner Bros.; he could, however, continue to work for Selznick. The
first film he scored for
Warner Bros.

Warner Bros. was The Charge of the Light
Brigade (1936). Steiner became a mainstay at Warner Bros., scoring 140
of their films over the next 30 years.
There are numerous soundtrack recordings of Steiner’s music, both as
soundtracks, collections, and recordings by others. Steiner wrote into
his seventies, ailing and near blind, but his compositions “revealed
a freshness and fertility of invention.”[2] A theme for A Summer
Place in 1959, written when Steiner was 71, became one of Warner
Brothers’ biggest hit-tunes for years and a re-recorded pop
standard. Steiner also scored 18 of Bette Davis’s romantic dramas.
Gone with the Wind (1939)[edit]
In 1939, Steiner was borrowed from
Warner Bros.

Warner Bros. by Selznick to compose
the score for Gone with the Wind (1939), which became one of Steiner's
most notable successes. Steiner was the only composer Selznick
considered for scoring the film.[5] Steiner was given only three
months to complete the score, despite composing twelve more film
scores that year, more than he would in any other year of his career.
When the film was released, it was the longest film score ever
composed, nearly three hours. The composition consisted of 16 main
themes and almost 300 musical segments.[5] To meet the deadline,
Steiner sometimes worked for 20-hours straight, assisted by
doctor-administered Benzedrine to stay awake.[5]
Selznick had asked Steiner to use only pre-existing classical music to
help cut down on cost and time,[15] but Steiner tried to convince him
that filling the picture with swatches of classic concert music or
popular works would not be as effective as an original score, which
could be used to heighten the emotional content of scenes.[16]
Nevertheless, Steiner ignored Selznick's wishes and composed an
entirely new score. 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.[17] :227
The film went on to win ten Academy Awards, although not for the best
original score, which instead went to
Herbert Stothart for the musical
The Wizard of Oz.[18] The score is ranked #2 by AFI as the second
greatest American film score of all time.[19]
Award-winning Scores[edit]
Steiner received Oscar nominations for various scores, including The
Letter (1940), Sergeant York (1941), and Casablanca (1942), which
remains one of his most famous scores. He won his first Oscar for The
Informer in 1935 and won his second Oscar for
Now, Voyager

Now, Voyager (1942), one
of his favorite scores.[5] Steiner received his third and final Oscar
in 1944 for
Since You Went Away

Since You Went Away (1944). He also won a Golden Globe for
Best Original Score for Life with Father (1947) along with other
awards throughout his career.[14]
Westerns[edit]
Steiner wrote the scores for over twenty large-scale Westerns, most
with epic-inspiring scores “about empire building and progress”[5]
like Dodge City (1939),
The Oklahoma Kid

The Oklahoma Kid (1939), and The Adventures of
Mark Twain (1944). Dodge City, starring
Errol Flynn

Errol Flynn and Olivia de
Havilland, is a good example of Steiner’s handling of typical scenes
of the Western genre.[5] Steiner used a "lifting, loping melody" that
reflected the movement and sounds of wagons, horses and cattle.[5]
Steiner showed a love for combining Westerns and romance, as he did in
They Died with Their Boots On

They Died with Their Boots On (1941), also starring Flynn and de
Havilland.[5] Considered his greatest Western is The Searchers (1956).
Later works[edit]
Although his contract ended in 1953, Steiner returned to Warner Bros.
in 1958 and scored several films, and ventured into television.[4] He
continued to score films produced by Warner until the mid sixties.[5]
Steiner's pace slowed significantly in the mid-1950s, and he began
freelancing. In 1954,
RCA Victor
.svg/360px-RCA_Records_(logo).svg.png)
RCA Victor asked Steiner to prepare and conduct
an orchestral suite of music from Gone with the Wind for a special LP,
which was later issued on CD. There are also acetates of Steiner
conducting the Warner Brothers studio orchestra in music from some of
his film scores. In 1959, he composed the score for the film A Summer
Place. The memorable instrumental theme composed by Steiner spent nine
weeks at #1 on the
Billboard Hot 100

Billboard Hot 100 singles chart in 1960 (in an
instrumental cover version by Percy Faith).[20]
In 1963, Steiner began writing his autobiography, which, although
completed, was never published, and is the only source available on
Steiner's childhood. A copy of the manuscript resides with the rest of
the
Max Steiner

Max Steiner Collection at
Brigham Young University

Brigham Young University in Provo,
Utah.[10]
Methods of composing[edit]
Steiner explains that in the early days of sound, producers avoided
underscoring music behind dialogue, feeling that the audience would
wonder where the music was coming from. As a result, he notes that
“they began to add a little music here and there to support love
scenes or silent sequences.” But in scenes where music might be
expected, such as a nightclub, ballroom or theater, the orchestra fit
in more naturally and was used often.[12]
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.[12]
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.[12]
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 2001 – A Space
Odyssey, The Sting and Manhattan, had scores that were easily
recognized instead of having a preferred "subliminal" effect. Steiner,
was among the first to acknowledge the need for original scores for
each film.
Steiner felt that 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."[5] He also notes that many composers, contrary
to his own technique, would fail to subordinate the music to the film:
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.[5]
Character themes[edit]
One of the important principles that guided Steiner whenever possible
was his rule: Every character should have a theme. "Steiner creates a
musical picture that tells us all we need to know about the
character."[21] To accomplish this, Steiner synchronized the music,
the narrative action and the leitmotif as a structural framework for
his compositions.[21]
A good example of how the characters and the music worked together is
best exemplified by his score for The Glass Menagerie (1950):[2]
For the physically crippled heroine, Laura, Steiner had to "somehow
capture in sound her escape from the tawdriness of reality into her
make-believe world of glass figures ... The result is tone-colour
of an appropriately glassy quality; ... a free use of vibraphone,
celesta, piano, glockenspiel and triangle enhances the fragility and
beauty of the sound."[2]
For Laura’s well-traveled soldier brother: "Tom's theme has a
big-city blues-type resonance. It is also rich and warm ... [and]
tells us something of Tom’s good-hearted nature."[2]
For Jim, Laura’s long-awaited ‘gentleman caller’ who soon
transforms her life: Steiner's "clean-limbed melody reflects his
likeableness and honesty ... Elements of Jim’s theme are built
into the dance-band music at the ‘Paradise’ as he assures her of
her essential beauty and begins successfully to counter her
deep-seated inferiority complex. Upon their return home, the music
darkens the scene in preparation for Jim’s disclosure that he is
already committed to another girl.”[2]
Another film which exemplifies the synchronizing of character and
music is The Fountainhead (1949): 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.”[2]
Scene and situation themes[edit]
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[2] For
example:
King Kong (1933): The music told the story of what was happening in
the film. It expressed Kong's "feelings of tenderness towards his
helpless victim." the music underscores feelings that the camera
simply cannot express. The score of the film showed "the basic power
of music to terrorize and to humanize.”[2]
The Letter (1940), starring Bette Davis: The music of this film
creates an atmosphere of "tropical tension and violence" by "blasting
the credits fortissimo across the theater." Steiner's score emphasizes
the tragic and passionate themes of the film.[2]
The Big Sleep (1946): The music of this film "darkens to match" the
changing atmosphere of the film. It creates a claustrophobic feeling
by including high strings "pitted rhythmically" against low strings
and brass.[2]
The Treasure of the Sierra Madre (1948): Steiner uses the music to
intensify the anguish of Bogart and Holt, when they are left to dig a
mine in the hot sun. The music "assumes the character of a fiercely
protesting funeral march." The timing of the music caves in as the
mind caves in on Bogart. The music also serves to emphasize the theme
of greed. It "tells us the nature of the thoughts flashing through
Holt’s mind as he stands outside the ruined mine." However, when the
warm tones of the music rise again, it reflects Holt's goodness as he
saves Bogart from the collapsed mine. This "climax is marked by a
grandioso statement of the theme on full orchestra.”[2]
Personal life and death[edit]
Max Steiner

Max Steiner married Audree van Lieu on April 27, 1927. They divorced
on December 14, 1933. Max married Louise Klos, a harpist, in 1936.
They had a son, Ron, together and they divorced in 1946. In 1947, Max
married Leonette Blair.[10] Ron died in 1962.
Max Steiner

Max Steiner died of
congestive heart failure in Hollywood, aged 83.[14] He is entombed in
the Great Mausoleum at Forest Lawn Memorial Park Cemetery in Glendale,
California.[22]
Awards and honors[edit]
Plaque for Steiner at his birthplace in Praterstraße 72, Vienna
Unveiling the Max Steiner-plaque in 1988 (f.l. R. Blumauer, H.
Weißmann, H. Zilk)
The
United States Postal Service

United States Postal Service issued its "American Music Series"
stamps on September 16, 1999 to pay tribute to renowned Hollywood
composers, including Steiner.
After Steiner's death, Charles Gerhardt conducted the National
Philharmonic Orchestra in an
RCA Victor
.svg/360px-RCA_Records_(logo).svg.png)
RCA Victor album of highlights from
Steiner's career, titled Now Voyager. Additional selections of Steiner
scores were included on other RCA classic film albums during the early
1970s. The quadraphonic recordings were later digitally remastered for
Dolby

Dolby surround sound and released on CD.
In 1975, Steiner was honored with a star located at 1551 Vine Street
on the
Hollywood

Hollywood Walk of Fame for his contribution to motion pictures.
In 1995, Steiner was inducted posthumously into the Songwriters Hall
of Fame.
In commemoration of Steiner's 100th birthday a memorial plaque was
unveiled by Helmut Zilk, then Mayor of Vienna, in 1988 at Steiner's
birthplace, the Hotel Nordbahn (now Austria Classic Hotel Wien) on
Praterstraße 72.
Filmography[edit]
Main article:
Max Steiner

Max Steiner filmography
The
American Film Institute
_logo.svg/440px-American_Film_Institute_(AFI)_logo.svg.png)
American Film Institute respectively ranked Steiner's scores for
Gone with the Wind (1939) and King Kong (1933) #2 and #13 on their
list of the 25 greatest film scores. His scores for the following
films were also nominated for the list:
Adventures of Don Juan (1948)
Casablanca (1942)
Dark Victory

Dark Victory (1939)
The Informer (1935)
Jezebel (1938)
Johnny Belinda (1948)
Now, Voyager

Now, Voyager (1942)
A Summer Place (1959)
The Treasure of the Sierra Madre (1948)
References[edit]
^ "
Max Steiner

Max Steiner – Father of Film Music" on YouTube, trailer to
documentary film
^ a b c d e f g h i j k l Palmer, Christopher. The
Composer

Composer in
Hollywood, “Max Steiner: Birth of an Era”, Marion Boyars
Publishers (1990) pp. 15–50
^ Neale, Steve, ed. Classical
Hollywood

Hollywood Reader, Routledge (2012) p.
235
^ a b Volkov, Shulamit. Germans, Jews, and Antisemites: Trials of
Emancipation, Cambridge Univ. Press (2006) p. 42
^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa Thomas, Tony.
Max Steiner: Vienna, London, New York, and Finally Hollywood, Max
Steiner Collection,
Brigham Young University

Brigham Young University 1996
^ a b c MacDonald, Laurence E. The Invisible Art of Film Music: A
Comprehensive History, Ardsley House (1998) p. 26
^ "Max Steiner".
Hollywood

Hollywood in Vienna.
^ Wegele, Peter (2014). Max Steiner: Composing, Casablanca and the
Golden Age of Film Music, p. 47-74. Blue Ridge Summit: Rowman &
Littlefield Publishers.
^ Brook, Vincent. Driven to Darkness: Jewish Emigre Directors and the
Rise of Film Noir, Rutgers Univ. Press (2009) p. 215
^ a b c Leaney, Edward A. (1996). "A
Max Steiner

Max Steiner Chronology". In
D'Arc, James; GIllespie, John N. The
Max Steiner

Max Steiner Collection. Provo,
Utah:
Special

Special Collections and Manuscripts, Harold B. Lee Library,
Brigham Young University.
^ "Max Steiner: Film Scores". Songwriter Hall of Fame. Retrieved April
1, 2016.
^ a b c d e Cooke, Mervyn. The
Hollywood

Hollywood Film Music Reader, Oxford
Univ. Press (2010) pp. 55–68
^ a b Haver, Ronald. David O. Selznick’s Hollywood, Knopf Publishers
(1980)
^ a b c "Max Steiner". IMDb. IMDb.com, Inc.
^ Bartel, Pauline. The Complete “Gone with the Wind” Trivia Book,
Rowman & Littlefield (1989) p. 92
^ Gottlie, Jack. Funny, It Doesn't Sound Jewish, S.U.N.Y. Press (2004)
p. 47
^ Selznick, David O., Behlmer, Rudy, ed. Memo from David O. Selznick,
Viking Press (1972)
^ "The 12th
Academy Awards

Academy Awards (1940) Nominees and Winners". Oscars.org
(Academy of Motion Picture Arts and Sciences). Archived from the
original on July 6, 2011. Retrieved August 10, 2011.
^ "AFI's 100 Years of Film Scores" (PDF). afi.com. American Film
Institute. Archived from the original (PDF) on August 3, 2016.
Retrieved March 23, 2017.
^ Bronson, Fred (October 1, 2003). The Billboard Book of Number One
Hits (5th ed.). New York: Billboard Books. p. 75.
ISBN 978-0823076772.
^ a b Kalinak, Kathryn. Settling the Score: Music and the Classical
Hollywood

Hollywood Film, Univ of Wisconsin Press. (1992) pp. 113–121
^ "Max Steiner". NNDB. Soylent Communications.
External links[edit]
Max Steiner

Max Steiner discography at Discogs
Max Steiner

Max Steiner on IMDb
Max Steiner

Max Steiner at the
Internet Broadway Database

Internet Broadway Database
Max Steiner

Max Steiner at AmericanComposers.com
Max Steiner

Max Steiner at Find a Grave
Max Steiner

Max Steiner music and photographs, MSS 6131 at L. Tom Perry Special
Collections, Brigham Young University
Max Steiner

Max Steiner sound recording from The Informer, MSS 8705 at L. Tom
Perry
Special

Special Collections, Brigham Young University
Max Steiner

Max Steiner Christmas cards, MSS 6914 at L. Tom Perry Special
Collections, Brigham Young University
Multimedia links[edit]
"
Max Steiner

Max Steiner – Father of Film Music" on YouTube, film documentary
trailer
"
Max Steiner

Max Steiner – Greatest Hits" on YouTube, compilation by Beny Debny
Score to
Symphony of Six Million

Symphony of Six Million (1932) on YouTube
Score to King Kong (1933) on YouTube
Score to The Informer (1935) on
YouTube

YouTube (Academy Award)
Score to The Garden of Allah (1936) on YouTube
Score to The Life of Émile Zola (1937) on YouTube
Score to Gone With the Wind (1939) on YouTube
"Gone With the Wind" theme to Ice Dancing on YouTube
Score to All This and Heaven Too (1940) on YouTube
Score to Adventures of Tom Sawyer (1940) on YouTube
Score to City for Conquest (1940) on YouTube
Score to Cassablanca (1942) on YouTube
Score to Now Voyager (1942) on
YouTube

YouTube (Academy Award)
Score to
They Died with Their Boots On

They Died with Their Boots On (1942) on YouTube
Score to
Since You Went Away

Since You Went Away (1944) on
YouTube

YouTube (Academy Award)
Score to Mildred Pierce (1945) on YouTube
Score to The Big Sleep (1946) on YouTube
"Score to Johnny Belinda (1948) on YouTube
Score to Key Largo (1948) on YouTube
Score to Treasure of the Sierra Madre (1948) on YouTube
Score to The Lady Takes a Sailor (1949) on YouTube
Score to Operation Pacific (1951) on YouTube
Score to The Last Command (1955) on YouTube
Score to The Searchers (1956) on YouTube
Score to Helen of Troy (1956) on YouTube
Score to Band of Angels (1957) on YouTube
Theme from A Summer Place (1959) on
YouTube

YouTube Selections from A Summer
Place on YouTube
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Academy Award for Best Original Score
1930s
Louis Silvers

Louis Silvers (1934)
Max Steiner

Max Steiner (1935)
Leo F. Forbstein

Leo F. Forbstein (1936)
Charles Previn

Charles Previn (1937)
Erich Wolfgang Korngold/Alfred Newman (1938)
Herbert Stothart/Richard Hageman, W. Franke Harling, John Leipold, Leo
Shuken (1939)
1940s
Leigh Harline, Paul J. Smith, Ned Washington/Alfred Newman (1940)
Bernard Herrmann/
Frank Churchill and
Oliver Wallace (1941)
Max Steiner/
Ray Heindorf and
Heinz Roemheld (1942)
Alfred Newman/
Ray Heindorf (1943)
Max Steiner/
Morris Stoloff and
Carmen Dragon

Carmen Dragon (1944)
Miklós Rózsa/
Georgie Stoll (1945)
Hugo Friedhofer/
Morris Stoloff (1946)
Miklós Rózsa/Alfred Newman (1947)
Brian Easdale/
Johnny Green

Johnny Green and
Roger Edens (1948)
Aaron Copland/
Roger Edens and
Lennie Hayton (1949)
1950s
Franz Waxman/
Adolph Deutsch and
Roger Edens (1950)
Franz Waxman/
Johnny Green

Johnny Green and
Saul Chaplin (1951)
Dimitri Tiomkin/Alfred Newman (1952)
Bronisław Kaper/Alfred Newman (1953)
Dimitri Tiomkin/
Adolph Deutsch and
Saul Chaplin (1954)
Alfred Newman/Robert Russell Bennett, Jay Blackton and Adolph Deutsch
(1955)
Victor Young/Alfred Newman and
Ken Darby (1956)
Malcolm Arnold (1957)
Dimitri Tiomkin/Andre Previn (1958)
Miklós Rózsa/Andre Previn and
Ken Darby (1959)
1960s
Ernest Gold/
Morris Stoloff and Harry Sukman (1960)
Henry Mancini/Saul Chaplin, Johnny Green,
Sid Ramin and Irwin Kostal
(1961)
Maurice Jarre/
Ray Heindorf (1962)
John Addison/Andre Previn (1963)
Richard M. Sherman

Richard M. Sherman and Robert B. Sherman/Andre Previn (1964)
Maurice Jarre/
Irwin Kostal (1965)
John Barry/
Ken Thorne (1966)
Elmer Bernstein/Alfred Newman and
Ken Darby (1967)
John Barry/
Johnny Green

Johnny Green (1968)
Burt Bacharach/
Lennie Hayton and
Lionel Newman (1969)
1970s
Francis Lai/
The Beatles

The Beatles (John Lennon, Paul McCartney, George Harrison
and Ringo Starr) (1970)
Michel Legrand/
John Williams

John Williams (1971)
Charlie Chaplin,
Raymond Rasch and Larry Russell/
Ralph Burns
.jpg/440px-Ralph_Burns_crop_(William_P._Gottlieb_00911).jpg)
Ralph Burns (1972)
Marvin Hamlisch/
Marvin Hamlisch

Marvin Hamlisch (1973)
Nino Rota

Nino Rota and Carmine Coppola/
Nelson Riddle

Nelson Riddle (1974)
John Williams/
Leonard Rosenman

Leonard Rosenman (1975)
Jerry Goldsmith/
Leonard Rosenman

Leonard Rosenman (1976)
John Williams/
Jonathan Tunick (1977)
Giorgio Moroder/
Joe Renzetti (1978)
Georges Delerue/
Ralph Burns
.jpg/440px-Ralph_Burns_crop_(William_P._Gottlieb_00911).jpg)
Ralph Burns (1979)
1980s
Michael Gore (1980)
Vangelis

Vangelis (1981)
John Williams/
Henry Mancini

Henry Mancini and
Leslie Bricusse (1982)
Bill Conti/Michel Legrand,
Alan and Marilyn Bergman (1983)
Maurice Jarre/Prince (1984)
John Barry (1985)
Herbie Hancock

Herbie Hancock (1986)
Ryuichi Sakamoto,
David Byrne

David Byrne and
Cong Su (1987)
Dave Grusin

Dave Grusin (1988)
Alan Menken
.jpg/440px-Alan_Menken_2013_(cropped).jpg)
Alan Menken (1989)
1990s
John Barry (1990)
Alan Menken
.jpg/440px-Alan_Menken_2013_(cropped).jpg)
Alan Menken (1991)
Alan Menken
.jpg/440px-Alan_Menken_2013_(cropped).jpg)
Alan Menken (1992)
John Williams

John Williams (1993)
Hans Zimmer

Hans Zimmer (1994)
Luis Enríquez Bacalov/
Alan Menken
.jpg/440px-Alan_Menken_2013_(cropped).jpg)
Alan Menken and Stephen Schwartz (1995)
Gabriel Yared/
Rachel Portman (1996)
James Horner/
Anne Dudley

Anne Dudley (1997)
Nicola Piovani/
Stephen Warbeck (1998)
John Corigliano (1999)
2000s
Tan Dun

Tan Dun (2000)
Howard Shore

Howard Shore (2001)
Elliot Goldenthal

Elliot Goldenthal (2002)
Howard Shore

Howard Shore (2003)
Jan A. P. Kaczmarek
.jpg/440px-Jan_A.P._Kaczmarek_(2017).jpg)
Jan A. P. Kaczmarek (2004)
Gustavo Santaolalla

Gustavo Santaolalla (2005)
Gustavo Santaolalla

Gustavo Santaolalla (2006)
Dario Marianelli (2007)
A. R. Rahman

A. R. Rahman (2008)
Michael Giacchino

Michael Giacchino (2009)
2010s
Trent Reznor

Trent Reznor and
Atticus Ross

Atticus Ross (2010)
Ludovic Bource

Ludovic Bource (2011)
Mychael Danna (2012)
Steven Price (2013)
Alexandre Desplat

Alexandre Desplat (2014)
Ennio Morricone

Ennio Morricone (2015)
Justin Hurwitz
_(cropped).jpg)
Justin Hurwitz (2016)
Alexandre Desplat

Alexandre Desplat (2017)
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Golden Globe Award for Best Original Score
1940s
Life with Father –
Max Steiner

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

Johnny Green (1949)
1950s
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)
1960s
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 (1969)
1970s
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 (1979)
1980s
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

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
.jpg/440px-Alan_Menken_2013_(cropped).jpg)
Alan Menken (1989)
1990s
The Sheltering Sky – Richard Horowitz,
Ryuichi Sakamoto

Ryuichi Sakamoto (1990)
Beauty and the Beast –
Alan Menken
.jpg/440px-Alan_Menken_2013_(cropped).jpg)
Alan Menken (1991)
Aladdin –
Alan Menken
.jpg/440px-Alan_Menken_2013_(cropped).jpg)
Alan Menken (1992)
Heaven & Earth –
Kitarō
.JPG/500px-Kitaro_tehran_2014_concert_(1).JPG)
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 (1999)
2000s
Gladiator – Lisa Gerrard,
Hans Zimmer

Hans Zimmer (2000)
Moulin Rouge! – Craig Armstrong (2001)
Frida

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 (2009)
2010s
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
.jpg/440px-Jóhann_Jóhannsson_Analog_(cropped).jpg)
Jóhann Jóhannsson (2014)
The Hateful Eight

The Hateful Eight –
Ennio Morricone

Ennio Morricone (2015)
La La Land –
Justin Hurwitz
_(cropped).jpg)
Justin Hurwitz (2016)
The Shape of Water
.jpg/500px-Still_from_the_Creature_from_the_Black_Lagoon_(15666911261).jpg)
The Shape of Water -
Alexandre Desplat

Alexandre Desplat (2017)
Authority control
WorldCat Identities
VIAF: 69116909
LCCN: n84184888
ISNI: 0000 0001 2138 2536
GND: 119548895
SUDOC: 055738796
BNF: cb139000395 (data)
BIBSYS: 99028343
MusicBrainz: e466fb04-0175-4875-bb39-f50200b66805
NLA: 35232450
NDL: 001152200
NKC: xx0056845
BNE: XX1107975
SN