There are some interesting parallels between the careers of Franz Waxman, Dimitri Tiomkin and Max Steiner. They were all born and received their musical education far removed from the influence of Hollywood, in the case
of Waxman (originally spelled "Wachsmann") this was in Germany, and all three started their Hollywood careers in the 1930s between them sowing up many of the big films produced over the next two decades. Before leaving Germany one of Waxman's first Hollywood jobs was to orchestrate and conduct Frederick Hollander's score for "The Blue Angel" starring Marlene Dietrich.
Waxman's early career included the horror movies "The Bride of Frankenstein" and "Dr. Jekyll and Mr. Hyde", and acting as musical director to the Marx Brothers' vehicle "A Day at the Races". He really consolidated his reputation with the hugely successful "Rebecca", and like Tiomkin he went on to score more Hitchcock films including "Rear Window" and "Suspicion". He proved his versatility with a wide range of genres including war movies, romances and historical epics. As a good example of his style, "Rebecca" is deeply romantic but often leaning towards the impressionist movement with its characteristically busy woodwind section. In "Humoresque" Waxman adapted music from Richard Wagner's Tristan and Isolde for violin and orchestra. The story concerns a violinist played by John Garfield, though Isaac Stern provided the playing.
Waxman received many oscar nominations over the course of his career in film music, winning the award in two successive years for "Sunset Boulevard" in 1950 and "A Place in the Sun" in 1951. There is an interesting story that when Alfred Newman wasn't nominated for an Oscar for his score to "The Robe", Waxman resigned from the Academy (AMPAS) and insisted that his on screen credit for "Demetrius and the Gladiators" stated that it was based on Newman's score for "The Robe".
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