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<?xml version="1.0" encoding="UTF-8"?> <?xml-stylesheet type="text/xsl" href="../style/ead.xsl"?> <ead><eadheader langencoding="utf-8" scriptencoding="iso15924" dateencoding="iso8601" countryencoding="iso3166-1" repositoryencoding="iso15511"><eadid publicid="-//us::upb//TEXT us::upb::BYU-MSS1547//EN" mainagencycode="upb" countrycode="us" url="http://ead.lib.byu.edu/Ead/EadController?action=viewxml&eadid=MSS1547.xml">BYU-MSS1547</eadid><filedesc><titlestmt><titleproper>The Max Steiner Collection</titleproper><author>James V. D'Arc and John N. Gillespie</author></titlestmt></filedesc></eadheader><frontmatter><titlepage><titleproper>Register of the Max Steiner Collection</titleproper><num>MSS 1547</num><publisher>L. Tom Perry Special Collections<lb/><extptr show="embed" entityref="byuseal1" linktype="simple"/><lb/>Brigham Young University</publisher><date era="ce" calendar="gregorian">1996</date><list type="simple"><head>Contact Information</head><item>L. Tom Perry Special Collections</item><item>Harold B. Lee Library</item><item>Brigham Young University</item><item>Provo, UT 84602</item><item>USA</item><item>Phone: 801/422-3175</item><item>Fax: 801/422-0461</item><item>Email: Specialcollections@byu.edu</item></list><list type="deflist"><defitem><label>Processed by:</label><item>James V. D'Arc</item></defitem><defitem><label>Date completed:</label><item>1996</item></defitem><defitem><label>Encoded by:</label><item>Amy Nuffer</item></defitem></list>漏2003 Brigham Young University. All rights reserved.</titlepage></frontmatter><archdesc level="collection"><did><head>Descriptive Summary</head><unitid label="Call Number">MSS 1547</unitid><unittitle label="Title">The Max Steiner Collection</unittitle><origination label="Creator"><persname>Steiner, Max, 1888-1971</persname></origination><repository label="Repository"><corpname>L. Tom Perry Special Collections</corpname></repository><physdesc label="Extent">33 boxes</physdesc><abstract label="Biographical History Abstract">Steiner was an Austrian-born composer of film music.</abstract><abstract label="Scope Abstract">Personal; music; awards; scrap books; film music, sketches, scores, and recordings; general music; and photographs. The materials relate to Steiner's life and his numerous musical compositions. 6 wine glasses, 1 cigarette case that once belonged to Max Steiner. Audio cassette of an interview between Leonette Stein and Wesly Carlson, 14 June 1981.</abstract></did><acqinfo><head>Provenance</head>The Max Steiner Collection was donated in 1981 by Leonette "Lee" Steiner. The correspondence, photographs, sheet music, music track recordings, and memorabilia were generated and collected by Steiner during his lifetime with music. The major part of the collection consists of more than 1,200 studio music track recordings on disc. Throughout his career, Steiner often loaned these studio music track recordings from his collection to his colleagues and admirers, many of which were never returned. Considering this, and the number of years between Steiner's death in 1971 and the time the collection was acquired by BYU, the probability that items may have been lost or misplaced over the years is evident.The studio music track recordings are listed under motion picture title headings. Specific cues are identified and described in a separate, detailed index available in the Special Collections and Manuscripts Department. These transcription discs were generated during studio recording sessions with Steiner conducting most, if not all, sessions. The recordings were made directly onto 12- or 16-inch discs made from a variety of materials including aluminum, acetate, and bakelite. The discs were then listened to by Steiner and choices were made as to which "take" to print onto film. Usually, the appropriate band on the disc was scribed with a grease pen and instructions were communicated to the laboratory for processing. In 1993 all of the music track recordings on the transcription discs were cleaned and professionally transferred to digital audio tape by an audio engineer as a joint project of Brigham Young University and the Society for the Preservation of Film Music. Please refer to the separate register detailing the recordings of the Max Steiner Collection.</acqinfo><accessrestrict><head>Access</head>Any duplication of studio music track recordings are prohibited unless accompanied by written permission from the copyright owner. For most of the scores written during Steiner's RKO and Warner Brothers years up to 1948, the copyright owner is Turner Entertainment. Warner Brothers, in most instances, retains copyright for that studio's scores written in 1949 and through Steiner's final score in 1965. The same restriction applies to the written music manuscripts. Also, owing to the fragile nature of the originals, the researcher will only be permitted to research a photographic copy of the original pencil sketches in the collection. Consult archival staff for applicable scores.</accessrestrict><userestrict><head>Conditions of Use</head>It is the responsibility of the researcher to obtain any necessary copyright clearances.Permission to publish material from the Max Steiner Collection must be obtained from the Supervisor of Reference Services and/or the L. Tom Perry Special Collections Board of Curators.</userestrict><prefercite><head>Preferred Citation</head><emph render="italic">Initial Citation:</emph>MSS 1547; The Max Steiner Collection; Film Music Archives; L. Tom Perry Special Collections, Harold B. Lee Library, Brigham Young University.<emph render="italic">Following Citations:</emph>MSS 1547, LTPSC.</prefercite><arrangement><head>Introduction and Acknowledgments</head>The life and music of the "dean of film composers" continues to touch the lives of millions around the world, beyond even what Steiner himself could have imagined before the era of compact cassettes, CDs, laser discs, satellite television, and videocassettes. The Max Steiner Collection, now available to the world of scholarship, serves both as a memorial and a working archival collection documenting his seminal contributions to the art of film music.The preservation of this magnificent collection and the preparation of this register, apart from being time consuming, have brought together the assistance of scholars, collectors, and Steiner aficionados deserving of gratitude. First I express thanks to the late Leonette "Lee" Steiner, Max's loving wife, whose friendliness and generosity left an imprint on all who knew her. Her tenacity to preserve her husband's effects has made it possible for us to enjoy his scores and his recorded music. Fortunately, she lived long enough to attend the Max Steiner concert at Brigham Young University in the fall of 1981, under the aegis of Dr. James Mason, dean of the College of Fine Arts and Communications, before her death only months later. Mrs. Steiner also established the Max Steiner Scholarship in composition at Brigham Young University. Wesley and Elizabeth Carlson, and Stuart Norby, Lee's dear friends, were always there to assist in a myriad of ways following the death of Steiner in 1971. They also helped to keep the collection of recordings, scores, and correspondence together for the benefit of generations of students, scholars, and fans. Louise Steiner Elian has also been most helpful with her comments and corrections dealing with the Chronology. BYU is also proud to preserve the Louise Steiner Elian Collection among its holdings. This collection should also be consulted for significant material, including photographs, home movies, correspondence, and an oral history relating to Max Steiner.For the biographical essay, thanks go to Tony Thomas, author of <emph>Music for the Movies</emph> and more than a score of other volumes, who knew Steiner personally and has done so much to heighten the awareness and appreciation of film music for so many, many years. Edward A.J. Leaney is not a name familiar to those who value film music, but to the enduring legacy of Max Steiner, his name should be lauded as one of the truly unsung heroes in the trenches of research. Leaney's chronology of Steiner's career prior to Hollywood, prepared exclusively for this register, represents years of relentless searching for information that, for the first time, gives the world of scholarship a usable pattern of Steiner's early life and travels. By the time he arrived in Hollywood at age forty-one, Steiner had already experienced a busy career in musical theater. These were important, formative years that, as Leaney affirms, critically influenced Steiner's film music. Leaney's groundbreaking work, only a part of which is represented here, is all the more important since so much of Steiner's early career had been shrouded in supposition, myth, and sometimes pure invention. I asked Mr. Leaney to provide us with a chronology of Steiner's activities up to 1929. From that year forward, the editors added skeletal information to complete the chronology. However, the chronology's emphasis is on Steiner's early years.The thorough Steiner filmography was revised for this volume by its original compiler Clifford McCarty, a longtime bibliophile as well as a tireless chronicler of film music. McCarty, who has been active in the Society for the Preservation of Film Music from its inception, is also the compiler of <emph>Film Composers in America: A Checklist of Their Work</emph> (New York: Da Capo Press, 1953, repr. 1972). He is at work on a revised edition of this mainstay resource.Thanks also go to John Morgan, a Los Angeles-based musician, who helped immensely in locating two original sketches of Steiner's thought to be lost. Morgan has also contributed significantly to the ongoing Steiner legacy by meticulously reconstructing many of Steiner's early film scores, including <emph>The Three Musketeers</emph> and <emph>The Charge of the Light Brigade</emph>, for re-recording on compact disc. A major figure in the perpetuation of the memory of Max Steiner is Albert K. Bender, founder of the Max Steiner Music Society. Under Bender's leadership, the MSMS boasted a worldwide following, the publication of a journal and a newsletter, and even a library of audio tapes produced and maintained by James Reising. Even though the society officially ceased operation when the Steiner Collection came to BYU in 1981, Bender has been of invaluable assistance in locating additional materials and in sharing information about his many encounters with Steiner. The Max Steiner Memorial Society, in the United Kingdom, has carried on the aims of the original MSMS and of Steiner's music through the able stewardship of Brian Reeve, Bob Blackmore, Bob Wood, and Neil Daft, all from the London area.The digital audio tape recordings of the more than 1,200 discs in Steiner's collection were painstakingly made by Chris Lembesis, a dedicated audio engineer, as a part of a restoration project co-sponsored by Brigham Young University and the Society for the Preservation of Film Music in Los Angeles. The project, which took more than a year to achieve, and is the first complete transfer of each disc, yielded a superior sound quality from these aged and so often severely damaged disc recordings. Special recognition on this project goes to Henry Adams, Brad Arrington, Lance Bowling, and John Burlingame.In the preparation of this register, commendation goes first to my assistant, John N. Gillespie. A work of this nature requires a series of checks, over a seemingly endless trail of detailed information. He has also proven a valuable colleague for the sharing of solutions to mysteries presented by certain manuscripts. For rendering valuable information and advice on Max Steiner over the years, thanks are also extended to the following individuals: Janet Bradford, Heather Corrigan, Susan Corrigan, Thomas Driggs, Dian Baker Drinkall, Cynthia Lindsay, Tom DeMary, Nick Redman, William Rosar, Craig Spaulding, Fred Steiner, and Don Wilson.--James V. D'Arc, Curator Film Music Archives, June 1996</arrangement><bioghist id="bio"><head>Biographical History</head><emph render="bold">Max Steiner: Vienna, London, New York, and Finally Hollywood</emph>, by Tony ThomasOf all the names associated with Hollywood music, perhaps no other has quite as much luster as that of Max Steiner. He was active throughout the whole golden age of sound movies and he is the composer, more than any other, attributed with the pioneering of original music in film scoring. He helped perfect the craft but he also had the gift of melody. Steiner was, in fact, a master of appealing tunes-- relatively simple tunes and rhythms that deftly accentuated the characters and the sequences in the hundreds of pictures he scored. His productivity was astounding; over a thirty-five year period he worked on more than three hundred films. Some of those films will keep his name alive far into the future, particularly <emph>King Kong</emph> (1933) and <emph>Gone With the Wind</emph> (1939). And his almost three decades with Warner Brothers, writing music for the films of Bette Davis, Errol Flynn, Humphrey Bogart, and James Cagney, assure Steiner a firm place in the history of Hollywood.Steiner was named after his famous grandfather, Maximilian Steiner, the impresario of the Theater an der Wien. He was the man who persuaded Johann Strauss, Jr., to write for the theater. Despite the general belief, the operetta was not a Viennese invention but a Parisian concoction mostly due to Jacques Offenbach. Although the Viennese flocked to performances of Offenbach's spirited musicals, it bothered them that Paris should surpass Vienna in anything musical. Strauss, like his father, had done well as a composer of waltzes and little concert pieces, and as a conductor of his own orchestra, but he had steered clear of the stage, reasoning that it had apparently defeated even Schubert and Beethoven. Maximilian Steiner realized this oversight; the first Viennese composer he persuaded to write for him was Franz von Suppe, whose <emph>The Beautiful Galatea, Light Cavalry, Boccaccio</emph>, and <emph>Poet and Peasant</emph> all began their lives at the Theater an der Wien. Although these were inferior to the operettas of Offenbach, they did well purely on the merit of being Viennese and because of the anti-French sentiment generated by the Franco-Prussian War. Johann Strauss, Jr., badgered by Steiner, decided to try. His first operetta was <emph>Indigo and the Forty Thieves</emph>, and with the highly popular composer conducting, it was an unqualified hit. Next came <emph>Die Fledermaus</emph>, and after it the deluge. There was, however, an odd aftermath to this greatly successful Steiner-Strauss collaboration. When Strauss was fifty-two, his wife died. Six weeks later he became infatuated with a pretty but flighty girl thirty years his junior, Angelika Dietrich. All Vienna scoffed but the handsome middle-aged maestro married the girl and took her to live with him on his estate outside Vienna. The sound of creaking was soon heard in the marriage, and within a few months Angelika left Strauss and went back to what she truly enjoyed-- the glitter of the Viennese salons and the admiration of many men. Ironically the man she decided to move in with was her unhappy husband's old friend and benefactor, Maximilian Steiner, whose own son, Gabor, would soon fall in love with, and marry, one of the beautiful chorus girls in his father's theater. From the union would emerge, on May 10, 1888, a son, their only child, and they would call him Maximilian Raoul Walter Steiner.The Steiners were a prosperous business family. Gabor owned and managed a theater, and dabbled in several entertainment enterprises-- he was the man who built the Riesenrad, the giant ferris wheel in Vienna's Prater. His wife Marie inherited three of Vienna's leading restaurants from her family. Both parents encouraged the precocious musical talents of their son. They sent him to the Vienna School of Technology, where he showed little interest in anything scholastic. But later, at the Imperial Academy of Music, he was brilliant and completed a four-year course in only one year, for which achievement he was awarded a gold medal. His brilliance was greatly aided by the affluence of his family, who could afford to send him to the best teachers available, including Robert Fuchs and Gustav Mahler. Having a father with a theater was also helpful. Recalls Steiner: "He produced Offenbach and Gilbert and Sullivan and all the others. When I was twelve he let me conduct an American operetta, <emph>The Belle of New York</emph>, by Gustave Kerker. Kerker happened to be in Vienna at the time and he asked my parents if he could take me back to America with him as a Boy Wonder. My mother told him, 'No, all musicians are stinkers.' And then, as an afterthought about her own problems with her restaurants, 'And that goes for all waiters.'" [Max Steiner interviews by Tony Thomas, Beverly Hills, California. The quotations used throughout this biographical introduction are composite reconstructions of Steiner's conversations with Thomas from two sources, according to Thomas: tape recorded interviews conducted by Thomas in 1959 and 1962, and frequent conversations with Steiner during the 1950s and 1960s. Hereafter cited as Interviews.]Steiner made his first mark on the musical world when he was fifteen. "I wrote an operetta and called it <emph>Beautiful Greek Girl</emph>. I asked my father to stage it and he refused, saying he didn't think it was very good. He had a stage manager named Karl Tuschl, who had just left him to lease and manage the Orpheum Theater on the Josefstadt. So I took this thing of mine to Tuschl and he though it was worth doing, perhaps because it seemed like a good ploy to rival Gabor Steiner's theater with something written by his son. I conducted the opening night, and the production ended up running for a year. Out of that came offers to conduct other shows, a couple of which took me to Moscow and to Hamburg. In 1906 I accepted an offer from the British impresario George Edwards to go to London to conduct Lehar's <emph>The Merry Widow</emph>, and that was the start of eight years in England for me. I conducted all kinds of musicals at Daly's Theater, the Adelphi, the Hippodrome, the London Pavilion and the Blackpool Winter Garden."Then came the First World War and I was interned as an enemy alien. But artists are luckier than most other people and through the Duke of Westminster, who seemed to be a fan of mine, I got my exit papers to go to America. However, my possessions and my money were impounded, and I arrived in New York in December of 1914 with thirty-two dollars in my pocket." [Interviews. See Chronology, 1906 and 1907, for Steiner's whereabouts and specific titles that contradict his statements to Thomas regarding <emph>The Merry Widow</emph>.]Max Steiner was now about to commence fifteen years in the American musical theater. He built a solid reputation as an arranger and orchestrator of musical comedies, and as a conductor of stage shows of everybody from Victor Herbert to Youmans, Kern, and Gershwin. His last effort on Broadway was <emph>Sons O' Guns</emph>, which opened on November 26, 1929. Two years previously he had orchestrated and conducted Harry Tierney's <emph>Rio Rita</emph>, and now that Tierney had contracted with RKO to do the film version, he asked the studio to hire Steiner. RKO's head of production, William Le Baron, went to the theater to see Steiner conduct and he was greatly impressed with the fact that Steiner's thirty-five musicians each played several instruments, which made his elaborate orchestration sound even richer. Obviously, here was a man Hollywood could use. The next day, Le Baron had Steiner put his signature on a contract, and thus began the real career of Max Steiner, Dean of Film Music until his death in 1971.Steiner's arrival in Hollywood came at a time when the industry was turning out musicals as fast as they could produce them, but by the end of 1930 the glut had spent itself. RKO laid off most of its musical staff and Le Baron asked Steiner if he would run the departments, and take a cut in salary. Using a ten-piece orchestra, library music, and the limit of a three-hour recording session per film, it was all Steiner could do to provide main and end titles, plus whatever "on screen" music was called for. His first original composition for film was <emph>Cimarron</emph>. "At that time there were only about three or four composers in Hollywood and the one they wanted for this picture was busy at Paramount. Le Baron said to me, 'Could you knock out something for this picture? If we don't like it, we'll get someone else to re-do it. Just give us enough for the preview.' The picture was a big success; I didn't get any mention in the credits but some of the reviewers asked who had written the music. I then realized I was on to something." [Interviews. See also Max Steiner, <emph>Notes to You</emph>, pp. 104-107.]The real start of Steiner the film composer was <emph>Symphony of Six Million</emph> in 1932. David O. Selznick, then thirty and in the early years of his career as a producer, came to RKO intent on making quality productions. He had bought the Fannie Hurst book and he hired Irene Dunne, Ricardo Cortez, and Gregory Ratoff to star in the film version. Selznick was not satisfied with the result of his filming and approached Steiner. "David said, 'Do you think you could put some music behind this thing? I think it might help it. Just do one reel-- the scene where Ratoff dies.' I did as he asked, and he liked it so much he told me to go ahead and do the rest. Music until then had not been used very much for underscoring-- the producers were afraid the audience would ask 'Where's the music coming from?' unless they saw an orchestra or a radio or phonograph. But with this picture we proved scoring would work." [Interviews.]It was Steiner more than any other composer who pioneered the use of original composition as background scoring for films, although in those early years at RKO, sheer volume of work prevented him from applying the technique to every film to which he was assigned. Mostly the scores consisted of a main title, perhaps a snippet or two during the film, and then the end title. Even within those limitations Steiner could make himself felt. For Katharine Hepburn's first film, <emph>A Bill of Divorcement</emph> (1932), the film ends with her and John Barrymore sitting at the piano playing a Steiner miniature sonata, which leaves the audience feeling they have heard more music than they actually have. This is something at which Steiner quickly became a master-- the careful placing of music. That, and an unusual talent for 'catching' things musically-giving a musical fillip to a little piece of action or a human characteristic. He caught Leslie Howard's limp in <emph>Of Human Bondage</emph> (1934): Leopold Stokowski told Steiner he thought this was a stroke of genius. Other people, Aaron Copland among them, considered it questionable taste. Either way, it was an arresting device and one which marked Steiner's use of music in film. At its best, this 'mickey-mousing' could be very effective-- some examples: a dog walking along a corridor in <emph>Since You Went Away</emph> (1944); old prospector Walter Huston scrambling like a goat up a hillside in <emph>The Treasure of the Sierra Madre</emph> (1948); Errol Flynn gently loping his horse across a parade ground in <emph>They Died With Their Boots On</emph> (1941); or the harp-celesta counterpointing of the water dripping in Victor McLaglen's cell in <emph>The Informer</emph> (1935), and any number of catchy tunes for comic characters.The film score that brought Steiner to everyone's attention was <emph>King Kong</emph> (1933). "It 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. When the picture was completed, the studio bosses were very skeptical about it and doubtful that the public would take to it. They thought the big gorilla looked unreal and too mechanical. In fact, they didn't want to waste any more money on it and told me to use old tracks. Merian C. Cooper, the producer, then came to me and asked me to score it to the best of my ability and that he would pay the cost of the orchestra." [Interviews. See also <emph>Notes to You</emph>, pp. 118-21.] Steiner took him at his word, he brought in an eighty-piece orchestra and ran up a bill for fifty thousand dollars. But it was worth every penny because it was his score that literally makes that film work. As soon as the audience hears that three-note theme-- those three massive, darkly orchestrated descending chords-- it knows it is in for a fantastic experience. The score accents all the strangeness and mystery and horror in the story, it limns the frightful giant gorilla but it also does something else. It speaks for the streak of tenderness in the monster, the fascination and the compassion he feels for the terrified girl he picks up in his huge paw-- the music is the voice of the doomed brute.Steiner became the man the producers ran to when they were in trouble with their films, as if he were a doctor who could heal the afflictions of their children. When <emph>Of Human Bondage</emph> (1934) was previewed, it had no score and the producers were distressed to find the audiences laughing in the wrong places. Steiner was called in and asked to clarify the intentions of the film with his music. When John Ford's <emph>The Lost Patrol</emph> (1934) was viewed by the head men of RKO, they all agreed that the film, admirably directed and acted, lacked a certain tension. They felt more sympathy was needed in order for the audience to sense the plight of a band of soldiers lost in the desert and being picked off by Arabs who were never seen. Steiner was again brought in to acoustically supply the suspense and 'paint in' the Arabs. Ford took no chances on his next film, <emph>The Informer</emph> (1935), and hired Steiner as the composer before he started production. He even sent his scriptwriter to talk to the composer, which, claims Steiner, is the only time in his film career he conferred with a writer prior to filming. In this case, the extra interest of the film-makers paid off because it brought them Academy Awards for several areas of their work, including one for Steiner. For most of his Hollywood career, Steiner was probably too busy to be concerned with any aspect of film other than music. The mere scanning of the list of his scores leaves one wondering how any man could have done so much.In addition to composing scores, Steiner also acted as the arranger-conductor on many RKO musicals. He music- directed most of the Fred Astaire-Ginger Rogers pictures' <emph>Flying Down to Rio</emph> (1933), <emph>The Gay Divorcee</emph> (1934), <emph>Roberta</emph> (1935), <emph>Top Hat</emph> (1935)-- and his last job for RKO was <emph>Follow the Fleet</emph> (1936). Steiner claims he left RKO because they refused to raise his salary but a more feasible explanation would be the offers made by other studios. Selznick by 1936 had set up his own production company, and the only composer he wanted was Steiner, who wrote the scores for three films Selznick produced in association with United Artists: <emph>Little Lord Fauntleroy</emph> (1936), <emph>The Garden of Allah</emph> (1936), and <emph>A Star Is Born</emph> (1937). Steiner would probably have worked for Selznick exclusively but he was used to prodigious work schedules and Selznick didn't turn out films very quickly. Steiner then accepted a long-term contract from Warner Brothers, with the provision he could work for Selznick when that producer needed him. The first Steiner score for Warners was <emph>The Charge of the Light Brigade</emph> (1936) with Errol Flynn leading the noble Six Hundred. Over the years he would score another fourteen of Flynn's pictures, mostly action stories and although he did this kind of work most dexterously-- supplying exciting passacaglias for fights and battles-- he complained that this wasn't really the kind of movie he enjoyed. What he really liked were the Bette Davis romantic dramas (he did eighteen of them), and the actress said many years later, "Max understood more about drama than any of us."It's doubtful if any composer in history has worked harder than Max Steiner. In his first dozen years for Warners he averaged eight scores per year, and they were symphonic scores, calling for forty and fifty minutes of music each. He would seldom look at a film more than two or three times; then with the aid of an assistant he would break down the sequences he felt needed music and map out the timings. In the case of sequences that needed split-second cues, he would have someone make an acute timing sheet. After making a piano sketch of the score he would go over it and mark in all the instructions for orchestration. Only a man with such a torrent of musical ideas could possibly have coped with the volume of work. His peak year was 1939, in which he worked on twelve films, including <emph>Gone With the Wind</emph> (1939), the longest score then written. Selznick had spent two years putting his mighty package together and Steiner was the only composer he would consider, but the problem was Steiner's Warner workload. The scoring was discussed several times but Selznick couldn't get Steiner to agree to a starting date for the scoring. He then let it be known that he might consider Herbert Stothart as co-composer of the score. Stothart, the long-time chief composer at M-G-M and a born Southerner, dearly wanted the assignment, but once Steiner heard of the possibility of another composer being brought in, he doubled his efforts to clear himself for Selznick. [See <emph>Notes to You</emph>, pp. 147-48.]Writing the three-hour score of <emph>Gone With the Wind</emph> occupied Steiner for twelve weeks, although it was in that same period he wrote the <emph>Symphonie Moderne</emph> for <emph>Four Wives</emph> (1940), and the incidental music for <emph>Intermezzo</emph> (1939). There are sixteen main themes in the score and almost three hundred separate musical segments. Steiner says he managed to live through these twelve weeks only with medical aid; a doctor came frequently to his home and gave him Benzedrine so that he could maintain a daily work routine of twenty hours at a stretch. He was greatly aided in this Herculean task by a team of five of Hollywood's best orchestrators: Hugo Friedhofer, Bernhard Kaun, Adolph Deutsch, Maurice de Packh, and Heinz Roemheld, all of them composers in their own right and all capable of rounding out Steiner's ideas and devices. Obviously, the score would never have been written without these five men. Sadly, the score did not win the Oscar it deserved, although the film won eight for its other various contributions. Bob Hope, as the MC, referred to that particular Academy Awards show as "this Selznick benefit."Steiner recalls the excitement of the preview at Riverside, California: "Selznick and all his executives and aides were beside themselves with anxiety and elation. During the intermission I went out into the lobby, spotted David and some of his entourage and went up to them. I asked them if they had noticed anything amiss in the first half. They looked at each other, puzzled. Selznick shook his head. I then pointed out to them that the entire eleventh reel was missing. None of them had noticed it. I had because I was waiting for my music." [Interviews. See <emph>Notes to You</emph>, p. 148 for another version of this incident.]About the producers and the studio chieftains, Steiner shakes his head. "They're amazing people. They seem to think that if they pay you well, they own you. Even Leo Forbstein, who understood the problems of composers, became unreasonable after a few years of being an executive. When I was scoring one particular epic, I fell ill with intestinal flu. One evening, after several days in bed, Leo phoned and asked me if I could come in the following morning at nine and conduct a recording session. I explained that I was flat on my back, under sedation and so weak I couldn't even get up to go to the bathroom. All he could say to this was, 'Max, we gotta have you there.' My doctor was with me so I put him on the phone and he told Leo how sick I was. Afterwards, the doctor handed the phone to me and I said to Leo, 'It would cost me my life to get there at nine tomorrow morning.' There was a long pause and then Leo asked, 'Well, how about one o'clock?'" [Interviews.]Steiner's favorite story of musical ignorance: "When I was at RKO, recording a session, one of their directors came in and asked me if I would record one of his compositions with the orchestra. In this business you never say no. He then gave me a single sheet of paper on which was written the simplest, barest melodic line. He went off and I laid the thing aside. The same afternoon he came back and asked if it was ready. I said, 'Look, this would have to be harmonized and orchestrated and . . .' Before I could say anything else, he chimed in with, 'Come on, Maxie, you can do all that later-- get the guys to play the piece now.' But that's not as bad as some producer badgering you to write a score as fast as you can so he can take off on a trip. I remember one who did this, and I told him I couldn't possibly have the score completed in the next three days in order to record the following day, because it was a difficult score. He wanted to have a premiere the next week so that he could go to Europe. There was no way to do this and he had to delay his trip. At the premiere he came up to me and said, 'What was so difficult about it-- it sounded all right to me.'" [Interviews.]Steiner's career with Warners spanned almost thirty years and included the scores of around one hundred and fifty films-- an incredible output. Not unnaturally, there was a fair amount of self-plagiarism and repetition, especially toward the end, but the general level of craftsmanship and the consistent understanding of the musical needs of filmic story telling added up to an astonishing total contribution. The scores are too many to discuss but outstanding, in the minds of Steiner buffs, are: <emph>Dodge City</emph> (1939), <emph>They Died With Their Boots On</emph> (1941), <emph>The Big Sleep</emph> (1946), and <emph>The Treasure of the Sierra Madre</emph> (1948).Steiner wrote scores for more than twenty large scale Westerns but <emph>Dodge City</emph> is a fair choice in that genre. Its title music tells the audience immediately that it's an epic of Western America, all about empire building and progress. The stately measured tones of the theme, with downward modulations 酄琣 Puccinni (Tosca on the range?) accelerate into upward spiraling scherzos as scenes of a train and a stagecoach racing each other come into view. Then Flynn and his marvelous pair of sidekicks, Alan Hale and Guinn Williams, spot the train carrying their boss, Colonel Dodge. Flynn yells, "Let's pay our respects to the Colonel," and off they gallop, supported by a galloping orchestra. Later, when old Henry Travers looks over a map to figure out where his family might be in their wagon train trek, he says, "I'd say they'd be at Broad Plain by now." And Steiner bursts into an expansive, lilting, loping melody that bespeaks the glorious visual of the wagons and the horses and the cattle making their way across a handsome landscape. Throughout the whole film, whatever the drama or the comedy, the music picks up the picture and carries it. <emph>Dodge City</emph> is, after all, just an entertainment, with no attempt at being serious, accurate or realistic.<emph>They Died With Their Boots On</emph> was Warner's glamorized account of the controversial George Armstrong Custer and his career from his days at West Point to his death at the Battle of the Little Big Horn. Again, it's entertainment. Flynn was at his best as the charming, impetuous, glory-loving Custer, with Olivia de Havilland giving her eighth and final performance opposite Flynn. Steiner's love theme for the two is exquisite, perhaps his love theme par excellence, and he uses it to almost painfully overscore Flynn and de Havilland's final scene together, where Custer rides off into history, never to return. Since Custer himself had chosen the Irish jig "Garry Owen" as the regimental march for his U.S. Seventh Cavalry, it was reasonable to feature it in a film such as this. The infectious tune is splendidly treated by Steiner in a montage sequence following Custer's introduction to his officers at Fort Lincoln; he and a friend play the melody on the piano, then it is picked up by a small group of soldiers with fifes and drums, then by a bigger group and finally by the entire band on parade. Steiner also uses it in an effective scene of the regiment riding along a crest in the early light of dawn, counterpointing it with the love theme. But the real highlight of this score is the highlight of the film-- the final last stand of Custer and his men. Steiner pits his Indian theme against "Garry Owen" in furious, mounting key changes. This is an extraordinary piece of composition and the only way to appreciate its merit is to hear it away from the picture. It is easy to see why Steiner did not enjoy assignments such as this one-- the visual is so commanding that the audience is hardly aware, except most subliminally, that music is being employed.Two of Humphrey Bogart's best films have Steiner scores. <emph>The Big Sleep</emph> is the ultimate "private eye" story, with Bogie as Philip Marlowe, Raymond Chandler's tough, glib detective. Steiner ushers in the mystery and the mayhem with heavy chordal passages accented with chimes; he gives Bogie a cheeky little theme, a wryly romantic one for Lauren Bacall, swirling music for chases in fogs, orchestral flutters for suspense, and, in that final showdown where Bogie routs the hoods, there are rising modulations punctuated by heavy chords. And when the gun smoke clears and Bogie and Baby are looking at each other in that sardonic but enticing way-- you know they're meant for each other because there's a gorgeous Steiner theme telling you it can't be any other way.<emph>The Treasure of the Sierra Madre</emph> is a rich, full score but one that has not pleased every film lover. Many say it overplays its role, and others say, justifiably, that it isn't Mexican music, it's Spanish. Criticisms aside, the score is high on the list of Steiner admirers, and in certain scenes it is beautifully effective. The main theme denotes the determination of the plodding prospectors bent on the finding of gold, with variations on the theme ranging from joyful to tragic. In the scene where bandits attack a train, Steiner builds the excitement with massive orchestra figurations, almost a Richard Straussian coloration. A passage of particular power is the one that marks Bogart's fight following the shooting of Tim Holt, and his later panic when he finds the body has disappeared. Steiner almost holds a mirror up to Bogart in these scenes. He also makes Bogart's violent end more painful: the magnificent Mexican actor Alfonso Bedoya, whose huge mouthful of teeth made him look like a shark when he grinned, comes across Bogart-- Fred Dobbs as this shifty, shallow character is called-- while the exhausted man drinks at a waterhole. The quietly pulsating music underlines Bogart's fears and the obvious intentions of the bandit to kill him. As Bedoya cuts Bogart down with his machete (Bogart off camera) musical strings match the strokes of the large blade and indicated the butchery. Yet another example of Steiner's "catching" an action.Steiner also "caught" William Powell in <emph>Life With Father</emph> (1947), with a theme that delineated both the pomposity of the character and the good heartedness. For Flynn in <emph>Adventures of Don Juan</emph> (1949) he provided a cheeky six-note motif that speaks like a trumpet call for the amorous cavalier. Steiner put his finger on the wackiness of <emph>Arsenic and Old Lace</emph> (1944) with a bizarre treatment of "There Is a Happy Land Far, Far Away." Many times he helped Bette Davis put across her emotional, dramatic problems, notably in <emph>Now, Voyager</emph> (1941) where she, as an ugly duckling, struggled to get away from a domineering mother and find happiness. That score brought Steiner his second Oscar, and it was one of his favorite scores. He and Davis did well by each other in <emph>Dark Victory</emph> (1939), in which she played an heiress dying from a brain tumor. At the end, her eyesight almost gone, Davis makes her way from her garden to her bedroom, aided by a harrowing cello theme. The music lets the viewer know that this is her last trip.Steiner, a soft-hearted man who pretended otherwise, was always effective with emotional scenes. In the film that brought him his third Oscar, Selznick's <emph>Since You Went Away</emph>, he poured out a stream of melodious themes for this wartime tribute to the American home front. Oversweet and now terribly dated, the film contained one scene that was made, almost to order, for Steiner. At the railroad depot, Jennifer Jones sees her soldier (played by her then-husband, the ill-fated Robert Walker) off as he leaves for the war, never to return. The music underlines the poignancy of the situation and then, as the train begins to move and pick up momentum, so does the music. The girl runs along the platform, almost hysterical. The sequence is an emotional wallop of music, dialogue, and photographic effects. What made it even more touching, as Steiner must have known at the time, was that Jones and Walker were, in fact, at the end of their marriage and finding it painful to act together-- especially as Jones was being courted by producer Selznick.According to Steiner, film and music help each other in the way a husband and wife help each other in a good marriage, but neither one can save the other. As for his method: "There is no method. Some pictures require a lot of music, and some are so realistic that music would only interfere. Most of my films were entertainments-- soap operas, story book adventures, fantasies. If those films were made today, they would be made differently and I would score them differently. But my attitude would be the same-- to give the film what it needs. And with me, if the picture is good, the score stands a better chance of being good." [Interviews.]While Steiner was always a melodist, he also always knew how not to use melody in film scoring. Sometimes, a melody calls attention to itself when it should not. Steiner used catchy themes to point up the main characters in pictures but he was adept at doing something more subtle than that--writing neutral music with chordal progressions and just enough melodic motion to make it sound normal but not enough to compel attention. Steiner looked upon scoring more as a craft than an art: "The hardest thing in scoring is to know when to start and when to stop. The location of your music. Music can slow up an action that should not be slowed up and quicken a scene that shouldn't be. Knowing the difference is what makes a film composer. I've always tried to subordinate myself to the picture. A lot of composers make the mistake of thinking of film as a concert platform on which they can show off. This is not the place. Some composers get carried away with their own skill--they take a melody and embellish it with harmonies and counterpoints. It's hard enough to understand a simple melody behind dialogue, much less with all this baloney going on. If you get too decorative, you lose your appeal to the emotions. My theory is that the music should be felt rather than heard. They always used to say that a good score was one you didn't notice, and I always asked, 'What good is it if you don't notice it?'" [Ibid.]Often complimented as the man who invented movie music, Steiner would reply, "Nonsense. The idea originated with Richard Wagner. Listen to the incidental scoring behind the recitatives in his operas. If Wagner had lived in this century, he would have been the Number One film composer." [Ibid.] Asked to criticize contemporary music: "I have no criticism. I can't criticize what I don't understand." [Ibid.]Steiner's last film score was <emph>Two on A Guillotine</emph> in 1965. A miserable, feeble film, its producer accused Steiner of "ruining it." To have ruined such a film could only have been regarded as an accomplishment. It was, however, a weak coda to a mighty career. Steiner would like to have continued scoring but no other producers called upon him. Steiner was by now in his late seventies and his eyesight had failed drastically, something he tried to hide even from his friends. A charming and amusing man, given to terrible puns and very earthy jokes, Steiner could not always conceal his bitterness about an industry that didn't seem to want him any more. Occasionally, the bitterness was justified, as when Twentieth Century-Fox announced their intention of filming <emph>The Day Custer Fell</emph>, later dropped. Steiner called the studio to tell them he would be interested in scoring the film, and the young executive with whom he spoke asked him if he had ever written any music for Westerns.The Steiner birthday parties were always joyous occasions for his many friends. Steiner, who retained in old age the appeal, and sometimes the capriciousness, of a boy, owed his health and welfare to his understanding, patient, charming wife Lee. At his eighty-second birthday party, May 10, 1970, Steiner bedecked himself in all his ribbons and medals and donned a Beethoven wig to greet his guests. One of the guests, Albert K. Bender, who organized the Max Steiner Music Society (an international league of admirers), [The Max Steiner Music Society Collection is also at Brigham Young University.] responded, "Max, you look better than Beethoven." To which Steiner replied, "I should hope so--he's dead." The following year the Steiner birthday party was attended by only a handful of close friends. Long ailing, the old composer was in too much pain to bear company. In his last months he suffered the agonies of cancer. Finally, on December 28, 1971, his heart stopped. The boy who had sat on the lap of Emperor Franz Josef had lived to be almost eighty-four. When Max Steiner died, a link with Old Vienna ceased to be and yet another door on the Old Hollywood was closed.[*Adapted and revised by the Editors from Tony Thomas, <emph>Music for the Movies</emph> (South Brunswick and New York: A.S. Barnes, 1973). 漏 Tony Thomas. Used by permission.]<emph render="bold">A Max Steiner Chronology</emph>, By Edward A.J. LeaneyEDITOR'S NOTE:<emph>The chronology that follows purposely focuses on the time period from Max Steiner's birth up to his arrival in Hollywood. Its intent is to detail those years of heretofore least accessibility by film scholars, Steiner's pre-Hollywood era. As a result, highlights in Steiner's life subsequent to 1929 are dealt with in a sparing way. His many awards are itemized in the Container List. Only his Academy Awards are referenced in this chronology. The material included here subsequent to 1929 and ending in 1981 was provided by the editors.</emph>1888 May 10. Maximilian Raoul Walter Steiner is born at 72 Praterstrasse, Vienna. As of 1996 the Hotel Nordbahn occupies this address.1894 Edmund Eisler gives Max piano tutelage.1896 Max receives a gift of a Giraffe Piano from Johann Strauss, Jr.1897 Publication of Max's first song, <emph>Lasse einmal noch dich k眉ssen (Let Me Kiss You One More Time)</emph>, with lyrics by Carl Lindau, and dedicated to Steiner's parents.1898 Enrolls in Franz Josef Gymnasium, at the instigation of his mother.1902 April 12. Conducts the Blue Vienna Band, at the People's Palace in London.1903 April 28. Composes a one-act operetta, <emph>Ein Kosest眉ndchen</emph>.1904 September 15. Enrolls at the Konservatorium fusik und darstellende Kunst. Course head, Hermann Gradener.1905 March 3. While in Paris his <emph>Serenade Americaine</emph> is published in journal <emph>Paris Qui Chante</emph>.1905 September 23. Enrolls for second term at Konservatorium. Receives extracurricular tuition due to high level of achievement. Conducting is not included in the Konservatorium curriculum at this time. However, during this period Max frequently conducts at the Wintergarten, Danzer's Orpheum and Venedig in Wien.1905 December 9. Attends the Dresden Court Theater's production of Richard Strauss' <emph>Salome</emph>.1906 Acts as secretary to his father, Gabor, in management of Venedig in Wien, the famous amusement park in Vienna.1906 Max reports in <emph>Notes to You</emph> that he takes his own company to Moscow for performances of an operetta <emph>Der Kristallpokal (The Crystal Cup)</emph>, which he had composed and conducted, for a successful six-week run.1906 December 12. Vaudeville three-act <emph>Das Scheckbuch des Teufels</emph> at Orpheum Theater. Derived from Blum and Ferrier's<emph>Le Carnet du diable</emph>.1907 Burlesque two-act <emph>Der Lustige Witwer (The Merry Widower)</emph>, Orpheum Theater, from the original French version by Carl Lindau/Antony.1907 December 20. Vaudeville one-act, <emph>Die Sh枚ne Griechin (The Beautiful Greek Girl)</emph>, from the original French version by August Neldhart.1908 August 26. Revue, <emph>Hereinspaziert (Saunter on In)</emph>, summer theater at Venedig in Wien. Armin M. Blum and Carl Lindau. Max's father experiences serious financial difficulties.1909 Steiner decides to emigrate to England for employment and to renew friendship with a member of Lottie Stone's Troupe, Miss Mabel Funston, whom he met during the troupe's engagement at the Ronacher Theater when it was under the management of his father. Having located her address, Max learned that in the meantime she had married. She became an established actress and singer.1909 A chance encounter outside Appenrodt's Restaurant in London's West End leads to an introduction to producer George Dance's assistant, Tommy Wray, who immediately engages Max as rehearsal pianist on a temporary basis.1909 Recognized by George Dance for the superiority of his work, Max is promptly assigned as Music Director of the number one touring company's <emph>The Girls of Gottenburg</emph>. Simultaneously, Tommy Wray is scheduled as Music Director for <emph>Veronique</emph>, starring Ruth Vincent who had appeared in the 1904 production (in English) at the Apollo Theater in London.1909 September 6. George Dance reverses the assignments and Max launches his career in England as Music Director of <emph>Veronique</emph> with Ruth Vincent in her original role as Helene de Solanges, in the theater where the operetta was first performed (in French) in 1903 as a London production, the very first production having taken place in Paris in 1898 with Mme. Mariette Sully as Helene. The show opens to excellent reviews, Max's work attracting prominence. Thereafter, with Max as Music Director, the company performs week-long engagements in London, Nottingham, Plymouth, and Cardiff.1909 November 8. Upon arriving at the Royal Theater, Newcastle, in continuation of the tour, Max is sent for and, upon George Dance's personal recommendation, is subsequently engaged by Edward Moss, the legendary impressario, to represent his interests in musical direction relative to his theaters, the London Hippodrome, the London Palladium, the Tivoli, the Adelphi, the Holborn Empire, and the Empire (Leicester Square). It may be accurately said that, in theatrical terms, Max has "arrived."1909 November 22. It is while fulfilling this appointment that Max is approached by John Tiller, the founder of innumerable dancing troupes whose name and fame remain legendary in the musical theatre.1910 March 21. John Tiller's approach leads to Max's appointment as Musical Director/Composer of Tiller's touring company's production of <emph>Amsterdam</emph> opening in Glasgow, then weekly in Edinburgh, Aberdeen, Dundee, Newcastle, Birmingham, Middlesbrough, and Blackpool.1910 July 11. Composes music for a ballet in the Tiller summer season show, <emph>Lovely Lucerne</emph>, at the Winter Garden, Blackpool. Another number, <emph>Carambas</emph>, was later copyrighted by Max in 1911. Such Tiller shows were almost a traditional part of the Blackpool summer attractions. To have 150 members appearing in these shows was not unusual, given the high quality of their presentations.1911 October 30. A second season of <emph>Amsterdam</emph> with Max as Musical Director/Composer touring Manchester, Dublin, Leeds, Nelson, and Portsmouth.1911 December 16. The same Tiller Company appeared at The Alhambra, Paris, to remain until . . .1912 January 15. . . . the end of the tour and the return to London.1912 April. With his father's liabilities escalating, Max returns to Vienna and succeeds in the management of the Ronacher Theater for an initial six months.1912 July 15. During his absence in London, the Tiller summer season at Blackpool features Steiner's ballet, <emph>Bits of Dresden</emph>, conducted by Ralph Harwood.1912 July 31. Max's fiancee, Beatrice Tilt, resides in Vienna.1912 August 25. Max and Beatrice declare first proclamation of their marriage banns, a European custom requiring public announcement of the intention to marry beginning two weeks prior to the actual wedding.1912 September 8. Max and Beatrice declare their second proclamation of their marriage banns.1912 September 9. The Tiller summer show, including <emph>Bits of Dresden</emph>, comes to the end of its run.1912 September 12. Max and Beatrice are married. Dr. Karl Muck's name appears on the marriage certificate. His actual profession was that of a lawyer, in Austrian terms, and his presence can be attributed to friendship and business association with Max's father, Gabor.1912 October 1. <emph>Der Kristallpokal (The Crystal Cup)</emph> is performed at the Ronacher Theater, Vienna.1912 December 24. A scene is included in The Palace Theater, London, program entitled <emph>A Dresden Fantasy</emph>. Music appears credited to Herman Finck and Max Steiner (Finck was resident conductor at The Palace, with a penchant for utilizing the work of other composers).1912 December. In <emph>Notes to You</emph> Max refers to his false imprisonment prior to Christmas in connection with the closure a short time earlier of the Ronacher Theater due to poor business.1913 January. Similarly Max refers to his release at the beginning of January when Dr. Muck's culpability, rather than Steiner's, was discovered by police. Muck was then sent to jail.1913 Now deprived of his management of the Ronacher Theater and unable to gain employment in Vienna, Max returns to England at the suggestion of Clifford Fischer, then in the preparatory stages of presenting his new American extravaganza, <emph>Come Over Here</emph>, at the London Opera House. Max is engaged as Musical Director, adopting the Anglicized name of Phil Saxe.1913 April 13. <emph>Come Over Here</emph> opening is postponed because of malfunctioning stage machinery.1913 April 19. <emph>Come Over Here</emph> opens to enthusiastic reviews in the press.1913 May 9. Max is appointed as Music Director of the innovative London Opera House dancing school, under the directorship of the renowned Theodore Kosloff.1913 May 26. The short operetta <emph>Love in Albania</emph>, written and composed by Max Steiner, is included in The Tivoli Theatre's program for a two-week run. Receiving excellent reviews, it has been established to be previously known as <emph>Der Kristallpokal</emph>.1913 July 11. Anna Held appears in <emph>Come Over Here</emph>.1913 August 14. Fanny Brice appears in<emph>Come Over Here</emph>.1913 November 15. <emph>Come Over Here</emph>ends its run.1913 November 18. Olympic Fund performance given at The London Opera House under the patronage of the Duke of Westminster. At the end of the show, Max and the members of the orchestra are among those warmly introduced to the Duke. A singular, much appreciated act of courtesy by the Duke is to have an unforeseeable influence upon Max's future.1913 November 19. The Fischer/Stanley <emph>Society Circus</emph> opens at The London Opera House to mixed reviews.1913 November 30. The London Opera House closes as revenues declined.1913 December 15. Creditors' meeting results in eventual return to variety presentations at The London Opera House.1914 February 7. The Tivoli Theatre closes.1914 July 6.<emph>Dora's Doze</emph> opens at the London Palladium to negative reviews. Ned Wayburn is producer, engaging Mac as Music Director. However, Max is conductor for only two weeks and resident conductor, James Sales, replaces him. Max is incorrect when he recalls the title of the piece being reverted to its original title, <emph>Tillie's Nightmare</emph>, because of the connection he believed would be placed upon <emph>Doze</emph> by the English sense of humor. Negotiations between Ned Wayburn and Max's uncle Franz to transfer show to The Wintergarten, Berlin, grind to a halt because of the German military build-up.1914 July 27. Austrian reservists experience partial motilization and are notified in Egypt, Asia, the United States, and Australia.1914 July 28. War is declared by Austria.1914 August 4. England declares war.1914 August 20. The British ambassador departs Vienna.1914 October 14-24. <emph>The London Times</emph> features letters to the editor and feature articles on "Enemy Aliens" in England.1914 October 25. <emph>The London Times</emph> article "Aliens in England" lists prohibited areas, announcing "Aliens Restriction," ordering that no Germans or Austrians could be employed at various restaurants and other places of business.1914 November 15. A special court is implemented to handle alien appeals to the recently instituted restrictions. The Duke of Westminster returns from The Front to attend the funeral of his uncle who had died in action. The fear of internment spurs Max into appealing to the Duke for his intervention in the procurement of emigration papers which would enable him to depart to America. Subsequently he is instructed to report to H.M. Inspector under the Alien Act. Clearance is granted. His passage, and the requisite entrance financing, is provided by friends and former associates in the theatrical profession. Beatrice is to await his ability to establish a new career rather than accompany him.1914 December 16. Booked initially to board the <emph>Lucia</emph>, it is on the <emph>Lapland</emph> that Max finally embarks from the port of Liverpool.1914 December 25. Max disembarks and is met by his uncle "Doc" Steiner and his wife. "Doc" Steiner was a talent agent/broker for the Keith-Albee circuit. His wife was the housekeeper of the Hermitage Hotel on 42nd Street. Max took temporary lodgings with them and his 14-year-old cousin Bey.1915 Eventually Max finds alternative accommodations, an attic room on 44th Street near Eighth Avenue which he shared with Emmanuel Listz and Otto Gigy. (Listz was a bass baritone who had worked for Gabor in Vienna; Gigy was a partner with Marian Vadie in vaudeville.) Lacking citizenship documents and hampered by union regulations, Max is only able to obtain occasional minor copying jobs. While waiting on the steps of Bryan Hall, hoping for any sign of work, Max meets the dance team of Adelaide and Hughes who had achieved great success in London during Max's years in England. Finding common ground, they immediately hire him for their opening at the Palace Theater. Union rules are against the undertaking, but Max does succeed in obtaining work arranging music. It is while Max was barely making a living that his former agent in England, Willy Edelston, finds him an opening for a ten-piece band at Reisenweber's Restaurant, Coney Island. The show, <emph>Too Much Mustard</emph>, derived its title from a popular song of the time. Eventually adopted by Vernon and Irene Castle as <emph>The Castle Walk</emph>, this show, though lasting but a short run, attracts the attention of George LeMaire who in turn encourages the manager of the Riverside Theater, Samuel L. "Roxy" Rothafel, to see a performance if only to judge the singers and dancers. Impressed by Max's contribution to his show, Rothafel engages him to work at the Riverside Theater, in charge of the forty-three piece non-union orchestra and scheduling the programs to suit whatever the silent feature film demanded to enhance the story line. That Max succeeded in meeting these demands became apparent when, upon the retirement of William Fox's general music director, he is offered the position. Only when William Fox yields to union pressure is Max accepted as a union member, removing past barriers to employment within the entire musical profession.1916 For the presentation of William Farnum's film <emph>The Bondman</emph>, Max is permitted to recruit literally all the musicians employed by the Fox Company, some 110 in all, at The Playhouse on 14th Street. However, Steiner's musical involvement with this film has been repeatedly attributed to him, but not, as yet, substantiated.1916 November 29. The Shuberts stage the musical <emph>Follow Me</emph> at the Casino Theater, starring Florenz Zeigfeld's ex-wife Anna Held. The Musical Director is Frank Tours, an old friend of Max's, engaged on a temporary basis and, when the time came for him to leave, he recommends Max as his replacement. In anger, Anna Held reject's Max's appointment, doubtless forgetful of the time when she appeared in <emph>Come Over Here</emph> in which Max was involved in July 1913. Conducting roadshow revivals of musical comedies occupies Max increasingly, beginning, as related in <emph>Notes to You</emph>, with John Cort's production of <emph>The Masked Model</emph>.1917 January 11. The Shubert show <emph>Have a Heart</emph> opens at the Liberty Theater. Despite Jerome Kern's delightful music and lyrics by P.G. Wodehouse, it is not a hit. In <emph>Notes to You</emph> Max thought the show's title to be <emph>Alone at Last</emph> which was the Shubert Theater presentation of October 15, 1915, by Franz Lehar. It ran until the spring of 1916.1918 April 1. <emph>Rainbow Girl</emph> opens at the New Amsterdam Theater and runs for twenty weeks before touring, with Max continuing as Musical Director.1919 September 23. <emph>See Saw</emph> opens at the Cohan Theater for an eleven-week run.1920 Steiner becomes a naturalized American citizen.1920 February 20. <emph>Dere Mable</emph> opens at Baltimore Academy of music. Max is taken ill and Vinton Freedley, a member of the cast, replaces him, thereby changing the course of Freedley's career. The show closes out of town.1920 March 22. <emph>Yes, Madame</emph> opens and promptly closes out of town.1920 May 5. <emph>Ed Wynn's Carnival</emph> opens at the New Amsterdam Theater, with Max as orchestrator.1920 August 9. <emph>Good Times</emph> opens at the Hippodrome. Max composes a ballet, <emph>Shadowland</emph>. The show runs for 456 performances.1920 October 11. <emph>Kissing Time</emph> opens at the Lyric Theater, with Max as Music Director, for 75 performances.1921 February 11. <emph>The Rose Girl</emph> opens at the Ambassador Theater, with Max as Music Director, for a four-week run.1921 May 9. <emph>Phoebe of Quality Street</emph> opens at the Shubert Theater, but closes after 16 performances.1921 August 9. <emph>Tangerine</emph> opens at The Casino, with Max as Music Director, for 337 performances.1922 Max brings his parents to the United States, where they reside at the Central Park Hotel. However, they become homesick and return to Vienna within three months of their arrival.1922 August 28. <emph>George White's Scandals</emph> opens at the Globe Theater, with Max as Music Director, for 89 performances.1923 January 22. <emph>Peaches</emph> opens at the Garrick Theater in Philadelphia. This is Max's only show as composer for the year, and is commissioned by Charles Lederer with book and lyrics by Harry B. Smith. Despite good notices, it lasts barely two weeks in Philadelphia, then goes to Baltimore, but folds after two weeks.1923 May 28. <emph>Adrienne</emph> opens at the Cohan Theater, with Max as Music Director, for 235 performances.1924 April 8. <emph>Sitting Pretty</emph> opens at The Fulton Theater, Max as Music Director, for 95 performances.1924 June 24. <emph>Ziegfeld Follies</emph> opens at the New Amsterdam. The piano parts and orchestrations for one particular number feature the Tiller girls. The revue runs for 401 performances.1924 October 6. <emph>Ed Wynn's Grab Bag</emph> opens at the Globe Theater, for 184 performances.1924 December 1. <emph>Lady, Be Good!</emph> opens at the Liberty Theater. Paul Lanin replaces Max as the show's conductor, for 330 performances. Max orchestrates the Finale to Part One of the show.1925 April 13. <emph>Tell Me More</emph> opens at the Gaiety Theater, with Max as Music Director, for 100 performances.1925 October 14. <emph>Holka Polka</emph> opens at the Lyric Theater, with Max as Music Director, for 21 performances.1925 October 20. <emph>Castles in the Air</emph> is first performed under the title of<emph>Land of Romance</emph>in Providence, Rhode Island, before transferring to the Olympic Theater in Chicago for a successful run of nearly one year. A subsequent transfer to the Selwyn Theater in New York City causes the company to split and at that time Max leaves the show.1926 November 26. <emph>Twinkle Twinkle</emph> opens at the Liberty Theater, with Max as Music Director, for 167 performances.1927 February 2. <emph>Rio Rita</emph> opens at Ziegfeld Theater, with Oscar Bradley as Musical Director.1927 March 28. <emph>Rufus Le Maires' Affairs</emph> opens at the Majestic Theater, with Max as Music Director, for a seven-week run.1927 April 25. <emph>Hit the Deck</emph> opens at the Belasco Theater. Max replaced Paul Lanin as Music Director, and ran for 352 performances.1927 April 27. Max marries Audree van Lieu.1927 May. Max replaces Oscar Bradley as Music Director for <emph>Rio Rita</emph>.1927 October 24. <emph>The Love Call</emph> opens at the Majestic Theater, with Max as Music Director.1928 November 21. Following tryouts in Philadelphia and Baltimore with Vincent Youmans, <emph>Rainbow</emph> opens at the Gallo Theater. Confronted by malfunctioning stage machinery, the opening night is a failure. The producer subsequently goes broke. Max is hired as Music Director with Paul Lanin and Oscar Radin as orchestrators for 29 performances.1928 December 26. <emph>Hello Daddy</emph> opens at the Fields Theater, with Max as Music Director, for 208 performances.1929 November 26. As Music Director for <emph>Sons O' Guns</emph>, Max remains very briefly, having been offered the opportunity to orchestrate at RKO studio by Harry Tierney. It was an offer he could not refuse when faced with the overwhelming popularity of sound motion pictures.1930 Is appointed head of RKO Music Department. Max composes his first original film score for <emph>Cimarron</emph>.1933 December 14. Max and Audree Van Lieu divorce.1935 Receives first Academy Award for <emph>The Informer</emph>. This is the second year an award for best score is given. It is in the form of a framed certificate with an Oscar statuette positioned at the top of the frame.1936 October 31. Marries Louise Klos, a harpist in studio orchestras and in concert performances whom Max first met in 1931. Max leaves RKO studio and signed contract with Warner Bros.1937 First score under contract, <emph>Kid Galahad</emph>, is released.1937 November 7. Mother, Marie "Mitzie" Steiner, dies in Vienna.1938 September 15. Father, Gabor Steiner, arrives in New York, then travels to Hollywood to live with Max.1940 March 2. Son Ronald is born.1942 Receives Academy Award for <emph>Now, Voyager</emph>.1944 September 11. Gabor Steiner dies in Hollywood.1944 Max founds Screen Composers Association.1944 Receives Academy Award for <emph>Since You Went Away</emph>.1946 Max and Louise Klos divorce becomes final.1947 April. Marries Leonette Blair.1953 September 16. Max leaves long-term contract relationship Warner Bros. and begins freelance career.1953 December. Max founds Max Steiner Music, Inc.1962 April 29. Son Ronald Steiner commits suicide in Honolulu, Hawaii.1963 Commences writing draft of <emph>Notes to You</emph>, his autobiography.1965 Max composes last film score for <emph>Two on a Guillotine</emph>.1965 The Max Steiner Music Society is founded in Bridgeport, Connecticut, by Albert K. Bender.1971 December 28. Max Steiner dies at Mt. Sinai Hospital in Hollywood.1971 December 30. Funeral services are held at Forest Lawn-Hollywood Hills. Approximately 75 friends and associates, including Jack L. Warner, attend. Eulogies are delivered by David Raksin, Elmer Bernstein, and Merian C. Cooper. Steiner is buried at Forest Lawn in Glendale.1973 March 2. Leonette Steiner accepts award on behalf of Max from Motion Picture Hall of Fame.1975 December 30. Leonette Steiner and Albert K. Bender, representing the Max Steiner Music Society, attend the ceremonies dedicating the Max Steiner star on the Hollywood Walk of Fame on Hollywood Blvd., sponsored by the Hollywood Chamber of Commerce.1981 October 9. Leonette Steiner dies of heart failure at Cedars-Sinai Medical Center in Beverly Hills.1981 October 13. Funeral services are held at Forest Lawn in Glendale.1981 November. The Max Steiner Collection is placed at the Harold B. Lee Library at Brigham Young University, Provo, Utah.[漏 1996 Edward A.J. Leaney. Used by permission.]<emph render="bold">A Max Steiner Filmography</emph>, By Clifford McCartyThis filmography lists every motion picture with which Steiner was involved as a composer or musical director. The films are listed in the order of their copyright dates.As General Music Director at RKO Radio Pictures from late 1930 to early 1936, Steiner was credited as musical director on most of the studio's films as a matter of course, although he did not always receive screen credit. The notation "(md)" after many titles indicates that Steiner was the musical director only, and no evidence exists that he composed any original music for these pictures.After leaving RKO in May of 1936, Steiner was freed from administrative and supervisory duties and was able to devote himself almost solely to composing and conducting his own film scores.The filmography is based on an examination of Steiner's scores (and sometimes sketches) and the music cue sheets, particularly at the two companies for whom most of his work was done. For making materials available I am especially grateful to Vernon Harbin and John Hall at RKO General, and to Danny Franklin, Joel Franklin, and Lois McGrew at Warner Bros. Harriet Crawford at Columbia Pictures was also helpful, as was Tom DeMary at the University of Texas at Austin, who provided additional information from the David O. Selznick collection about some of Selznick's productions. I also thank my old friends Tony Thomas and Rudy Behlmer, who kindly facilitated my research in countless ways.<emph>Abbreviations:</emph>ac = additional composition, substantially less than the main score. md = musical director. nsc = no screen credit for a film which was composed substantially by Max Steiner. stock = stock music, either printed or re-used from previous films.1929<emph>Side Street</emph> (silent foreign version, with Roy Webb) RKO<emph>The Delightful Rogue</emph> (silent foreign version, with Roy Webb) RKO1930<emph>The Case of Sergeant Grischa</emph> (main title; + stock) RKO<emph>Dixiana</emph> (first screen credit at RKO: "Orchestrations by Max Steiner") RKO<emph>Chi Chi</emph> (picture unfinished and unreleased) RKO<emph>Half Shot at Sunrise</emph> (md) RKO<emph>Hook, Line and Stinker</emph> (md) RKO<emph>The Royal Bed</emph> (md) RKO<emph>Cimarron</emph> RKO<emph>Beau Ideal</emph> (+ stock) RKO1931<emph>Kept Husbands</emph> (+ stock) RKO<emph>The Lady Refuses</emph> (md) RKO<emph>Behind Office Doors</emph> (md) RKO<emph>Bachelor Apartment</emph> (+ stock) RKO<emph>The Sin Ship</emph> (md) RKO<emph>Cracked Nuts</emph> RKO<emph>Laugh and Get Rich</emph> (md) RKO<emph>Young Donovan's Kid</emph> (main title; + stock) RKO<emph>Everything's Rosie</emph> (md) RKO<emph>White Shoulders</emph> (md) RKO<emph>Transgression</emph> RKO<emph>Three Who Loved</emph> (md) RKO<emph>The Public Defender</emph> RKO<emph>Traveling Husbands</emph> (md) (first screen credit: "Musical Director . . . Max Steiner") RKO<emph>Too Many Cooks</emph> (md) RKO<emph>The Woman Between</emph> (md) RKO<emph>The Runaround</emph> RKO<emph>High Stakes</emph> (+ stock) RKO<emph>Caught Plastered</emph> (md) RKO<emph>The Gay Diplomat</emph> RKO<emph>Smart Woman</emph> (md) RKO<emph>Fanny Foley Herself</emph> RKO<emph>Friends and Lovers</emph> (md) (although the screen credit states, "Musical score by Victor Schertzinger and Max Steiner," neither the score itself nor the cue sheet reveals any music by Steiner.) RKO<emph>Consolation Marriage</emph> RKO<emph>Way Back Home</emph> RKO<emph>Secret Service</emph> RKO<emph>Are These Our Children?</emph> (first screen credit: "Music by Max Steiner") RKO<emph>Peach-o-Reno</emph> RKO1932<emph>Men of Chance</emph> RKO<emph>Girl of the Rio</emph> RKO<emph>Ladies of the Jury</emph> (main title; + stock) RKO<emph>Carnival Boat</emph> (md) RKO<emph>Lady With a Past</emph> (md) RKO<emph>The Lost Squadron</emph> RKO<emph>The Saddle Buster</emph> (md) RKO<emph>Girl Crazy</emph> (ac) RKO<emph>Young Bride</emph> (md) RKO<emph>Symphony of Six Million</emph> RKO<emph>The Roadhouse Murder</emph> (md) RKO<emph>Ghost Valley</emph> (md) RKO<emph>State's Attorney</emph> RKO<emph>Westward Passage</emph> (md) RKO<emph>Is My Face Red?</emph> RKO<emph>What Price Hollywood?</emph> RKO<emph>Roar of the Dragon</emph> RKO<emph>Beyond the Rockies</emph> (md) RKO<emph>The Age of Consent</emph> (md) RKO<emph>Bird of Paradise</emph> RKO<emph>Hold 'Em Jail</emph> (md) RKO<emph>The Most Dangerous Game</emph> RKO<emph>Hell's Highway</emph> (md) RKO<emph>Come On Danger!</emph> (md) RKO<emph>A Bill of Divorcement</emph> (main title: W. Franke Harling) RKO<emph>Thirteen Women</emph> RKO<emph>The Phantom of Crestwood</emph> (md) RKO<emph>Little Orphan Annie</emph> (md) RKO<emph>Renegades of the West</emph> (md) RKO<emph>Secrets of the French Police</emph> (md) RKO<emph>The Conquerors</emph> RKO<emph>The Sport Parade</emph> (md) RKO<emph>Rockabye</emph> (md) RKO<emph>Men of America</emph> (md) RKO<emph>The Half Naked Truth</emph> RKO<emph>Penguin Pool Murder</emph> (main title) RKO<emph>The Animal Kingdom</emph> RKO<emph>The Monkey's Paw</emph> RKO1933<emph>No Other Woman</emph> (md) RKO<emph>The Past of Mary Holmes</emph> (md) RKO<emph>The Cheyenne Kid</emph> (+ stock) RKO<emph>Lucky Devils</emph> RKO<emph>The Great Jasper</emph> (md) RKO<emph>Topaze</emph> (md) RKO<emph>Our Betters</emph> (md) RKO<emph>King Kong</emph> RKO<emph>So This Is Harris!</emph> (short) (md) RKO<emph>Christopher Strong</emph> (ac: Roy Webb) RKO<emph>Sweepings</emph> RKO<emph>Diplomaniacs</emph> (with Roy Webb) RKO<emph>The Silver Cord</emph> (+ stock) RKO<emph>Son of the Border</emph> (md) RKO<emph>Emergency Call</emph> (md) RKO<emph>Cross Fire</emph> (md) RKO<emph>Flying Details</emph> (md) RKO<emph>Melody Cruise</emph> RKO<emph>Bed of Roses</emph> (md) RKO<emph>Double Harness</emph> (md) RKO<emph>Headline Shooter</emph> (md) RKO<emph>Before Dawn</emph> (md) RKO<emph>No Marriage Ties</emph> (md) RKO<emph>Morning Glory</emph> RKO<emph>Blind Adventure</emph> (md) RKO<emph>One Man's Journey</emph> (md) RKO<emph>Rafter Romance</emph> (md) RKO<emph>Midshipman Jack</emph> (md) RKO<emph>Ann Vickers</emph> (md) RKO<emph>Flaming Gold</emph> (md) RKO<emph>A Preferred List</emph> (short) (md) RKO<emph>Ace of Aces</emph> (md) RKO<emph>Chance at Heaven</emph> (md) RKO<emph>After Tonight</emph> (md) RKO<emph>Little Women</emph> RKO<emph>The Right to Romance</emph> (ac; score: Roy Webb) RKO<emph>Aggie Appleby, Maker of Men</emph> (md) RKO<emph>Suits to Nuts</emph> (short) (md) RKO<emph>If I Were Free</emph> (md) RKO<emph>The Son of Kong</emph> RKO<emph>Flying Down to Rio</emph> (md) RKO1934<emph>Man of Two Worlds</emph> (md) RKO<emph>The Meanest Gal in Town</emph> (md) RKO<emph>Long Lost Father</emph> (md) RKO<emph>Two Alone</emph> (md) RKO<emph>The Lost Patrol</emph> RKO<emph>Keep 'Em Rolling</emph> (md) RKO<emph>Spitfire</emph> (md) RKO<emph>Success at Any Price</emph> (md) RKO<emph>This Man Is Mine</emph> (md) RKO<emph>Sing and Like It</emph> (md) RKO<emph>The Crime Doctor</emph> (md) RKO<emph>Finishing School</emph> (md) RKO<emph>Strictly Dynamite</emph> (md) RKO<emph>Where Sinners Meet</emph> (md) RKO<emph>Stingaree</emph> RKO<emph>Murder on the Blackboard</emph> (with Bernhard Kaun) RKO<emph>The Life of Vergie Winters</emph> RKO<emph>Let's Try Again</emph> (md) RKO<emph>Of Human Bondage</emph> RKO<emph>We're Rich Again</emph> (md) RKO<emph>His Greatest Gamble</emph> (md) RKO<emph>Hat, Coat, and Glove</emph> (md) RKO<emph>Bachelor Bait</emph> (md) RKO<emph>Their Big Moment</emph> (md) RKO<emph>Down to Their Last Yacht</emph> (md) RKO<emph>The Fountain</emph> RKO<emph>The Age of Innocence</emph> RKO<emph>The Richest Girl in the World</emph> (md) RKO<emph>The Gay Divorcee</emph> RKO<emph>Dangerous Corner</emph> (md) RKO<emph>Gridiron Flash</emph> (md) RKO<emph>Wednesday's Child</emph> (md) RKO<emph>By Your Leave</emph> (md) RKO<emph>Anne of Green Gables</emph> (md) RKO<emph>The Dancing Millionaire</emph> (short) (md) RKO<emph>The Little Minister</emph> RKO1935<emph>West of the Pecos</emph> (md) RKO<emph>Roberta</emph> RKO<emph>Star of Midnight</emph> (+ stock) RKO<emph>The Informer</emph> RKO<emph>Pickled Peppers</emph> (short) (md) RKO<emph>Break of Hearts</emph> RKO<emph>She</emph> RKO<emph>Alice Adams</emph> (waltz theme; score: Roy Webb) RKO<emph>Top Hat</emph> (md) RKO<emph>The Three Musketeers</emph> RKO<emph>I Dream Too Much</emph> RKO1936<emph>Follow the Fleet</emph> RKO<emph>Little Lord Fauntleroy</emph> Selznick/UA<emph>The Charge of the Light Brigade</emph> WB<emph>The Garden of Allah</emph> Selznick/UA<emph>God's Country and the Woman</emph> WB1937<emph>Green Light</emph> WB<emph>Lost Horizon</emph> (md; score: Dimitri Tiomkin) Columbia<emph>Slim</emph> (with Heinz Roemheld) (nsc) WB<emph>Kid Galahad</emph> (with Heinz Roemheld) (nsc) WB<emph>A Star Is Born</emph> Selznick/UA<emph>The Life of Emile Zola</emph> WB<emph>That Certain Woman</emph> WB<emph>First Lady</emph> WB<emph>Submarine D-1</emph> WB<emph>Tovarich</emph> (first use of trademark fanfare, "Warner Bros. Presents," subsequently used on hundreds of WB pictures) WB1938<emph>Gold Is Where You Find It</emph> WB<emph>Jezebel</emph> WB<emph>The Adventures of Tom Sawyer</emph> (+ stock) (nsc) Selznick/UA<emph>Crime School</emph> WB<emph>White Banners</emph> WB<emph>The Amazing Dr. Clitterhouse</emph> WB<emph>Four Daughters</emph> WB<emph>The Sisters</emph> WB<emph>Angels with Dirty Faces</emph> WB<emph>The Dawn Patrol</emph> WB1939<emph>They Made Me a Criminal</emph> WB<emph>The Oklahoma Kid</emph> (ac: Adolph Deutsch, Hugo Friedhofer) WB<emph>Dodge City</emph> (ac: Adolph Deutsch) WB<emph>Dark Victory</emph> WB<emph>Confessions of a Nazi Spy</emph> (nsc) WB<emph>Daughters Courageous</emph> WB<emph>Each Dawn I Die</emph> (nsc) WB<emph>The Old Maid</emph> WB<emph>Dust By My Destiny</emph> WB<emph>Intermezzo</emph> (ac: Hugo Friedhofer) (nsc) Selznick/UA<emph>We Are Not Alone</emph> WB<emph>Gone With the Wind</emph> (ac: Hugo Friedhofer, Adolph Deutsch, Heinze Roemheld) Selznick/MGM1940<emph>Four Wives</emph> WB<emph>Dr. Ehrlich's Magic Bullet</emph> WB<emph>Virginia City</emph> WB<emph>All This, and Heaven Too</emph> WB<emph>City for Conquest</emph> WB<emph>A Dispatch from Reuter's</emph> WB<emph>The Letter</emph> WB<emph>Santa Fe Trail</emph> (ac: Hugo Friedhofer) WB1941<emph>The Great Lie</emph> WB<emph>Shining Victory</emph> WB<emph>The Bride Came C.O.D.</emph> WB<emph>Dive Bomber</emph> WB<emph>Sergeant York</emph> WB<emph>One Foot in Heaven</emph> WB1942<emph>They Died With Their Boots On</emph> WB<emph>Captains of the Clouds</emph> WB<emph>In This Our Life</emph> WB<emph>The Gay Sisters</emph> WB<emph>Desperate Journey</emph> (ac: Hugo Friedhofer) WB<emph>Now, Voyager</emph> WB1943<emph>Casablanca</emph> WB<emph>Mission to Moscow</emph> WB<emph>Watch on the Rhine</emph> WB<emph>This Is the Army</emph> (with Ray Heindorf) WB<emph>The Battle of Britain</emph> (documentary) (U.S. War Dept.) (nsc) (with William Lava, Howard Jackson)1944<emph>Up in Arms</emph> (ac: Howard Jackson) (nsc) Goldwyn/RKO<emph>Passage to Marseille</emph> WB<emph>The Adventures of Mark Twain</emph> WB<emph>Since You Went Away</emph> Selznick/UA<emph>Arsenic and Old Lace</emph> WB<emph>The Conspirators</emph> (ac: Hugo Friedhofer) WB1945<emph>Roughly Speaking</emph> WB<emph>The Corn Is Green</emph> WB<emph>Rhapsody in Blue</emph> WB<emph>Mildred Pierce</emph> WB<emph>Tomorrow Is Forever</emph> International/RKO1946<emph>San Antonio</emph> WB<emph>My Reputation</emph> WB<emph>Saratoga Trunk</emph> (ac: William Lava) WB<emph>Her Kind of Man</emph> (nsc) (with Franz Waxman, Adolph Deutsch, Paul Dessau, William Lava) WB<emph>One More Tomorrow</emph> (main title: Hugo Friedhofer) WB<emph>A Stolen Life</emph> WB<emph>Night and Day</emph> WB<emph>The Big Sleep</emph> WB<emph>Cloak and Dagger</emph> WB1947<emph>The Man I Love</emph> WB<emph>The Beast With Five Fingers</emph> WB<emph>Pursued</emph> WB<emph>Love and Learn</emph> WB<emph>Cheyenne</emph> WB<emph>The Unfaithful</emph> WB<emph>Deep Valley</emph> WB<emph>Life With Father</emph> WB<emph>Dark Passage</emph> (ac; score: Franz Waxman) WB<emph>The Voice of the Turtle</emph> WB<emph>My Wild Irish Rose</emph> WB1948<emph>The Treasure of the Sierra Madre</emph> WB<emph>My Girl Tisa</emph> WB<emph>April Showers</emph> (with Ray Heindorf) WB<emph>Winter Meeting</emph> WB<emph>The Woman in White</emph> WB<emph>Silver River</emph> WB<emph>Key Largo</emph> WB<emph>Johnny Belinda</emph> WB<emph>Fighter Squadron</emph> WB<emph>The Decision of Christopher Blake</emph> WB<emph>A Kiss in the Dark</emph> WB1949<emph>Adventures of Don Juan</emph> WB<emph>South of St. Louis</emph> WB<emph>Flamingo Road</emph> WB<emph>The Fountainhead</emph> WB<emph>Without Honor</emph> Hakim/UA<emph>Beyond the Forest</emph> WB<emph>White Heat</emph> WB<emph>Mrs. Mike</emph> (ac: William Lava) Regal/UA<emph>The Lady Takes a Sailor</emph> WB1950<emph>Backfire</emph> (ac; score: Daniele Amfitheatrof) WB<emph>Young Man With a Horn</emph> (theme: Ray Heindorf) (nsc) WB<emph>Caged</emph> WB<emph>The Flame and the Arrow</emph> WB<emph>The Breaking Point</emph> (ac: Howard Jackson) (nsc) WB<emph>The Glass Menagerie</emph> WB<emph>Rocky Mountain</emph> WB<emph>Sugarfoot</emph> WB<emph>Dallas</emph> WB1951<emph>Operation Pacific</emph> WB<emph>Lightning Strikes Twice</emph> WB<emph>Raton Pass</emph> WB<emph>I Was a Communist for the FBI</emph> WB<emph>On Moonlight Bay</emph> WB<emph>Jim Thorpe--All-American</emph> WB<emph>Force of Arms</emph> WB<emph>Come Fill the Cup</emph> (ac; score: Ray Heindorf; + stock) WB<emph>Close to My Heart</emph> WB<emph>Distant Drums</emph> WB1952<emph>I'll See You in My Dreams</emph>(ac with Howard Jackson; score: Ray Heindorf) WB<emph>This Woman Is Dangerous</emph> (ac; score: David Buttolph) WB<emph>Room for One More</emph> WB<emph>The Lion and the Horse</emph> WB<emph>Mara Maru</emph> WB<emph>The Miracle of Our Lady of Fatima</emph> WB<emph>Springfield Rifle</emph> WB<emph>The Iron Mistress</emph> WB1953<emph>The Jazz Singer</emph> WB<emph>This Is Cinerama</emph> (documentary/travelogue) (ac: Roy Webb, Paul Sawtell, Leo Shuken, Sidney Cutner) (nsc) Cinerama<emph>Trouble Along the Way</emph> WB<emph>By the Light of the Silvery Moon</emph> WB<emph>The Desert Song</emph> WB<emph>House of Wax</emph> (trailer only; film score: David Buttolph) WB<emph>The Charge at Feather River</emph> WB<emph>So This Is Love</emph> WB<emph>So Big</emph> WB1954<emph>The Boy from Oklahoma</emph> WB<emph>The Caine Mutiny</emph> Columbia<emph>King Richard and the Crusaders</emph> WB<emph>The Violent Men</emph> Columbia1955<emph>Battle Cry</emph> WB<emph>The Last Command</emph> Republic<emph>The McConnell Story</emph> WB<emph>Illegal</emph> WB<emph>Come Next Spring</emph> Republic1956<emph>Hell on Frisco Bay</emph> WB<emph>Helen of Troy</emph> WB<emph>The Searchers</emph> WB<emph>Bandido</emph> Jacks/UA<emph>Death of a Scoundrel</emph> RKO1957<emph>China Gate</emph> (with Howard Jackson; theme by Victor Young) 20th Century-Fox<emph>Band of Angels</emph> WB<emph>Escapade in Japan</emph> RKO<emph>All Mine to Give</emph> RKO1958<emph>Fort Double</emph> WB<emph>Darby's Rangers</emph> WB<emph>Marjorie Morningstar</emph> WB1959<emph>The Hanging Tree</emph> WB<emph>John Paul Jones</emph> WB<emph>The FBI Story</emph> WB<emph>A Summer Place</emph> WB1960<emph>Cash McCall</emph> WB<emph>Ice Palace</emph> WB<emph>The Dark at the Top of the Stairs</emph> WB1961<emph>The Sins of Rachel Cade</emph> WB<emph>Portrait of a Mobster</emph> (although Steiner received screen credit, the score was actually compiled by Howard Jackson from<emph>White Heat</emph>and four other Steiner scores) WB<emph>Parrish</emph> WB<emph>Susan Slade</emph> WB<emph>A Majority of One</emph> WB1962<emph>Rome Adventure</emph> WB1963<emph>Spencer's Mountain</emph> WB1964<emph>A Distant Trumpet</emph> WB<emph>FBI Code 98</emph> (although Steiner received screen credit, the score was actually by Howard Jackson, based on Steiner's themes from<emph>The FBI Story</emph>) WB<emph>Those Calloways</emph> Disney<emph>Youngblood Hawke</emph> WB<emph>Two on a Guillotine</emph> WB</bioghist><scopecontent><head>Scope and Content Note</head>The Max Steiner Collection constitutes an invaluable primary source for information concerning the use of music and its evolution in motion pictures by a man acknowledged by many as the "dean" of film music. It contains Steiner's personal writings, correspondence, film and music credits, contracts, royalty and other financial statements, awards, scrap books, photographs, published and unpublished music, and bound volumes of film music sketches (mostly in pencil) and original studio disc recordings.Covering the years 1880 through 1981, the focus of the collection is Steiner's involvement in the music industry and how his talent took him from his celebrated birthplace of Vienna to London, then across the Atlantic to New York, and finally to Hollywood and the motion picture industry. The collection begins with the section labeled Personal and Steiner's unpublished autobiography, <emph>Notes to You</emph>, written from 1963 to 1964. Filled with amusing stories and anecdotes taken from his life, it serves as the only available reference on his childhood and early career before his arrival in Hollywood. The autobiography also illustrates the musical and entertainment tradition of the Steiner family as well as Steiner's relationship with his mother and father.The Family Correspondence begins in 1931, two years after Steiner arrived in Hollywood at RKO in 1929. This correspondence, from that time through 1972, constitutes an important part of the collection as it documents the personal side of Steiner's relationships, including those with his father Gabor and divorced wives Beatrice, Audree, and Louise, as well as his last wife Leonette, and son Ronald.The section entitled Music consists of general correspondence Steiner received and sent to various people in and out of the film and music industry. The correspondence is arranged alphabetically, while each individual folder's contents is chronological, thus preserving Steiner's original order. This correspondence deals with fan requests for information on Steiner's body of music, Steiner's request for information of various kinds, inquiries about uses of Steiner's music, requests for appearances, etc.Steiner maintained individual correspondence files relating to specific companies, associations, and/or individuals with whom he dealt at length. The folders containing correspondence with music companies, including those concerning royalties, document the business environment in which Steiner functioned. Correspondence files with letters to and from his principal attorneys, Louis Minter and Leonard Zissu, contain valuable information on Steiner's business and personal activities, projects realized and unrealized, and the launching of Max Steiner Music, Inc.The Awards file contains most of the awards (and limited related correspondence) given to Steiner for his film music over the years, including the Blue Ribbon, Laurel, Academy of Motion Picture Arts and Sciences, and Golden Globe awards. Steiner's three Academy Award Oscars are also a part of the collection. These awards are in the form of both certificates and three-dimensional plaques and trophies. A few of these items also relate to Steiner's father, Gabor.The three scrap books of newspaper clippings and trade magazine notices in the Scrap Books section that were kept by Steiner from 1930 to 1953 give a perspective on public perceptions of his work during that important period. The articles in the scrapbook contain valuable contemporary interviews with Steiner.The bulk of the Steiner Collection consists of the original sketches, scores, published sheet music, and original studio recordings connected with 216 Steiner-composed motion pictures. These notations appear in the Film Music Sketches, Scores, and Recordings section. The musical sketches to 191 films are contained in 177 bound volumes. They document few of his many musical contributions during the RKO era primarily because music was limited to main and end titles with perhaps some source music in between. However, his most significant larger scores during this time are represented in the collection. Beginning in the early 1950s, these volumes contain photographic copies of Steiner's original pencil sketches since Warner Brothers (the studio to which he was under contract for most of his career) chose to retain the originals in their corporate records now preserved at the University of Southern California. These sketches frequently contain Steiner's notes, written in the margins, to his orchestrators (usually Hugo Friedhofer during the late 1930s at Warner Bros., and later, beginning in 1946, Murray Cutter). Steiner's comments are colorful, often humorous, and most revealing about the nature of the cooperation and trust between composer and orchestrator. The sketches in the BYU collection include those which have hitherto been uncredited to Steiner such as <emph>Up in Arms</emph> (1944), <emph>The Battle of Britain</emph> (1943), an episode of director Frank Capra's military training film series <emph>Why We Fight</emph>, and even the trailer to <emph>House of Wax</emph> (1953). The sketches often include compositions for trailers. If composers other than Steiner collaborated on a score, those composers are noted in the filmography. Motion picture titles are listed alphabetically by title as they were released in the United States. The entry is then followed by the producing and releasing studio and the release year of the film. Adjacent to the release title in quotation marks is the title as written by Steiner on the music manuscript. If no alternate title is present, the manuscript was identified by Steiner as it was released. Where published sheet music exists on a particular title, that is noted with the name of the music publisher.Finally, the digital audio tape number will indicate the presence of one or more original recorded cues from the applicable motion picture title. These recordings are tape transfers from Steiner's original studio reference discs. Please consult the register to the Steiner recordings for the indication of precise cues represented in each title. The 92 digital audiotape recordings contain 164 of Steiner's scores and Dimitri Tiomkin's <emph>Lost Horizon</emph>, for which Steiner was the Music Director and conductor.Listed in the General Music section are concert pieces, songs, and operettas, both foreign and domestic, published and unpublished, written by Steiner. Dates are given as published on each item, or written on unpublished pieces. Those scores found in the Source File are compositions authored by other composers but preserved by Steiner for various reasons in his collection.Among the fifty Photographs that are found in the collection, nearly half are of Steiner. The remaining images are of family, Hollywood personalities with whom he associated, members of the Max Steiner Music Society, and other miscellaneous and unidentifiable images.The list of Steiner's film credits at the end of this register includes those scores for which he went uncredited on the screen such as <emph>The Adventures of Tom Sawyer</emph> (1938) and <emph>Confessions of a Nazi Spy</emph> (1939). In the latter case, Steiner requested that his credit not be shown on the screen. He was fearful for the fate of family members still in the trouble areas of Europe at the time of release of this film. While the original sketch is in Steiner's distinctive hand, even there he chose to list its authorship simply as "Music by staff."</scopecontent><arrangement><head>Notes on Arrangement</head>The entire collection is divided into seven major sections: Personal; Music; Awards; Scrap Books; Film Music Sketches, Scores, and Recordings; General Music; and Photographs. Wherever possible, the majority of the folders and their contents were preserved just as Steiner had kept them, with the same or similar heading, even though Steiner's original physical arrangement could not be determined.</arrangement><controlaccess><head>Subject Tracings</head><controlaccess><head>People</head><persname>Steiner, Max, 1888-1971</persname></controlaccess><controlaccess><head>Titles</head><subject>Gone with the wind (Motion picture)</subject><subject>King Kong (Motion picture: 1933)</subject><subject>Since you went away (Motion picture: 1944)</subject><subject>Now Voyager (Motion picture: 1942)</subject><subject>Star is born (Motion picture: 1937)</subject><subject>Searchers (Motion picture: 1956)</subject><subject>Casablanca (Motion picture)</subject><subject>Treasure of the Sierra Madre (Motion picture: 1948)</subject><subject>Summer place (Motion picture: 1959)</subject><subject>Informer (Motion picture: 1935)</subject></controlaccess><controlaccess><head>Genre/Form</head><genreform>Photographs</genreform><genreform>Scrapbooks</genreform><genreform>Scores</genreform><genreform>Phonograph records</genreform><genreform>Awards</genreform><genreform>Souvenirs (Keepsakes)</genreform><genreform>Interviews</genreform></controlaccess><controlaccess><head>Subject</head><subject>Composers--United States</subject><subject>Composers--Austria</subject><subject>Wine glasses</subject><subject>Cigarette cases</subject><subject>Motion picture music</subject></controlaccess></controlaccess><dsc type="in-depth"><head>Container List</head><c01 level="series" tpattern="container:container:description"><head>Series I</head><did><unittitle>Personal</unittitle></did><thead><row><entry>Box</entry><entry>Folder</entry><entry>Contents</entry></row></thead><c02 level="subseries"><did><unittitle>Biographical</unittitle></did><c03><did><container type="box">1</container><container type="folder">1-2</container><unittitle><emph>Notes to You</emph>typescript, photocopy</unittitle><note>Unpublished autobiography, written ca. 1963-1964, 205 pp.</note></did></c03><c03><did><container type="box">1</container><container type="folder">3</container><unittitle>Studio generated biographies, <unitdate type="inclusive" normal="1946/1948" era="ce" calendar="gregorian">1946-1948</unitdate>. 3 biographies</unittitle></did></c03><c03><did><container type="box">1</container><container type="folder">4</container><unittitle>Christmas telegram list, 1955, 3 pp.; program from MGM's<emph>The Great Waltz</emph>, annotated, 2 pp.; "A Tribute to Our Little Colonel," doggerel poem about Steiner, ca. early 1930s, 1 p.; article from 1943 magazine or newspaper, 2 pp.</unittitle></did></c03></c02><c02 level="subseries"><did><unittitle>Family</unittitle></did><c03><did><container type="box">1</container><container type="folder">5-6</container><unittitle>Gabor Steiner</unittitle><note>Correspondence, 1933-1942.</note></did></c03><c03><did><container type="box">7</container><container type="folder">1-2</container><unittitle>Gabor Steiner</unittitle><note>Memorabilia, 1880-1930s; posters, Austrian newspaper articles in German, foreign honors, German language correspondence.</note></did></c03><c03><did><container type="box">1</container><container type="folder">7-8</container><unittitle>Beatrice Tilt Steiner</unittitle><note>Correspondence, <unitdate type="inclusive" era="ce" calendar="gregorian">1931-1955</unitdate>, re: alimony payments; 87 telegrams and money order carbons, 84 letters and payment records.</note></did></c03><c03><did><container type="box">1</container><container type="folder">9</container><unittitle>Audree van Lieu Steiner</unittitle><note>Correspondence, 1932-1933, re: alimony payments; 17 money order carbons, 10 letters and payment records.</note></did></c03><c03><did><container type="box">1</container><container type="folder">10</container><unittitle>Louise Klos Steiner</unittitle><note>Correspondence, 1939-1955, re: alimony payments and family news; 79 telegrams, money order carbons, and receipts.</note></did></c03><c03><did><container type="box">2</container><container type="folder">1</container><unittitle>Louise Klos Steiner</unittitle><note>121 letters and payment records.</note></did></c03><c03><did><container type="box">2</container><container type="folder">2</container><unittitle>Leonette Blair Steiner</unittitle><note>Correspondence, 1971-1973, 2 letters</note></did></c03><c03><did><container type="box">2</container><container type="folder">3</container><unittitle>Ronald Steiner</unittitle><note>Correspondence, 1940-1955, 24 letters.</note></did></c03><c03><did><container type="box">2</container><container type="folder">4</container><unittitle>Ronald Steiner</unittitle><note>Blair Academy, 1954-1955, 28 letters.</note></did></c03></c02><c02 level="subseries"><did><unittitle>Financial</unittitle></did><c03><did><container type="box">2</container><container type="folder">5</container><unittitle>Insurance</unittitle><note>Correspondence, 1953.</note></did></c03><c03><did><container type="box">2</container><container type="folder">6-7</container><unittitle>House Bills</unittitle><note>Statements and invoices, 1947-1954.</note></did></c03><c03><did><container type="box">2</container><container type="folder">8</container><unittitle>Charitable Contributions</unittitle><note>Statements, 1943-1953.</note></did></c03><c03><did><container type="box">2</container><container type="folder">9</container><unittitle>Estate</unittitle><note>Cash reconciliation statement, Mrs. Max Steiner, January 1-March 31, 1972; cash analysis statement, April 23, 1974.</note></did></c03></c02><c02 level="subseries"><did><unittitle>Funeral</unittitle></did><c03><did><container type="box">2</container><container type="folder">10</container><unittitle>Condolences, <unitdate type="inclusive" normal="1971/1972" era="ce" calendar="gregorian">1971-1972</unitdate></unittitle></did></c03></c02></c01><c01 level="series" tpattern="container:container:description"><head>Series II</head><did><unittitle>Music</unittitle></did><thead><row><entry>Box</entry><entry>Folder</entry><entry>Contents</entry></row></thead><c02 level="subseries"><did><unittitle>General Correspondence, <unitdate type="inclusive" normal="1932/1960" era="ce" calendar="gregorian">1932-1960</unitdate></unittitle></did><c03><did><container type="box">2</container><container type="folder">11</container><unittitle>A <unitdate type="inclusive" normal="1934/1958" era="ce" calendar="gregorian">1934-1958</unitdate></unittitle></did></c03><c03><did><container type="box">2</container><container type="folder">12</container><unittitle>B <unitdate type="inclusive" normal="1936/1957" era="ce" calendar="gregorian">1936-1957</unitdate></unittitle></did></c03><c03><did><container type="box">2</container><container type="folder">13</container><unittitle>C <unitdate type="inclusive" normal="1935/1957" era="ce" calendar="gregorian">1935-1957</unitdate></unittitle></did></c03><c03><did><container type="box">2</container><container type="folder">14</container><unittitle>D <unitdate type="inclusive" normal="1934/1958" era="ce" calendar="gregorian">1934-1958</unitdate></unittitle></did></c03><c03><did><container type="box">2</container><container type="folder">15</container><unittitle>E <unitdate type="inclusive" normal="1939/1956" era="ce" calendar="gregorian">1939-1956</unitdate></unittitle></did></c03><c03><did><container type="box">2</container><container type="folder">16</container><unittitle>F <unitdate type="inclusive" normal="1932/1957" era="ce" calendar="gregorian">1932-1957</unitdate></unittitle></did></c03><c03><did><container type="box">3</container><container type="folder">1</container><unittitle>G <unitdate type="inclusive" normal="1933/1957" era="ce" calendar="gregorian">1933-1957</unitdate></unittitle></did></c03><c03><did><container type="box">3</container><container type="folder">2</container><unittitle>H <unitdate type="inclusive" normal="1940/1960" era="ce" calendar="gregorian">1940-1960</unitdate></unittitle></did></c03><c03><did><container type="box">3</container><container type="folder">3</container><unittitle>I <unitdate type="inclusive" normal="1934/1954" era="ce" calendar="gregorian">1934-1954</unitdate></unittitle></did></c03><c03><did><container type="box">3</container><container type="folder">4</container><unittitle>J <unitdate type="inclusive" normal="1937/1954" era="ce" calendar="gregorian">1937-1954</unitdate></unittitle></did></c03><c03><did><container type="box">3</container><container type="folder">5</container><unittitle>K <unitdate type="inclusive" normal="1935/1954" era="ce" calendar="gregorian">1935-1954</unitdate></unittitle></did></c03><c03><did><container type="box">3</container><container type="folder">6</container><unittitle>L <unitdate type="inclusive" normal="1934/1953" era="ce" calendar="gregorian">1934-1953</unitdate></unittitle></did></c03><c03><did><container type="box">3</container><container type="folder">7</container><unittitle>Mc <unitdate type="inclusive" normal="1936/1955" era="ce" calendar="gregorian">1936-1955</unitdate></unittitle></did></c03><c03><did><container type="box">3</container><container type="folder">8</container><unittitle>M <unitdate type="inclusive" normal="1935/1956" era="ce" calendar="gregorian">1935-1956</unitdate></unittitle></did></c03><c03><did><container type="box">3</container><container type="folder">9</container><unittitle>N <unitdate type="inclusive" normal="1936/1954" era="ce" calendar="gregorian">1936-1954</unitdate></unittitle></did></c03><c03><did><container type="box">3</container><container type="folder">10</container><unittitle>O <unitdate type="inclusive" normal="1942/1954" era="ce" calendar="gregorian">1942-1954</unitdate></unittitle></did></c03><c03><did><container type="box">3</container><container type="folder">11</container><unittitle>P <unitdate type="inclusive" normal="1942/1957" era="ce" calendar="gregorian">1942-1957</unitdate></unittitle></did></c03><c03><did><container type="box">3</container><container type="folder">12</container><unittitle>R <unitdate type="inclusive" normal="1934/1955" era="ce" calendar="gregorian">1934-1955</unitdate></unittitle></did></c03><c03><did><container type="box">3</container><container type="folder">13</container><unittitle>S <unitdate type="inclusive" normal="1932/1967" era="ce" calendar="gregorian">1932-1967</unitdate></unittitle></did></c03><c03><did><container type="box">3</container><container type="folder">14</container><unittitle>T <unitdate type="inclusive" normal="1938/1951" era="ce" calendar="gregorian">1938-1951</unitdate></unittitle></did></c03><c03><did><container type="box">3</container><container type="folder">15</container><unittitle>U <unitdate type="inclusive" normal="1940/1954" era="ce" calendar="gregorian">1940-1954</unitdate></unittitle></did></c03><c03><did><container type="box">3</container><container type="folder">16</container><unittitle>V <unitdate type="inclusive" normal="1939/1951" era="ce" calendar="gregorian">1939-1951</unitdate></unittitle></did></c03><c03><did><container type="box">4</container><container type="folder">1</container><unittitle>W <unitdate type="inclusive" normal="1937/1956" era="ce" calendar="gregorian">1937-1956</unitdate></unittitle></did></c03><c03><did><container type="box">4</container><container type="folder">2</container><unittitle>XYZ <unitdate type="inclusive" normal="1932/1947" era="ce" calendar="gregorian">1932-1947</unitdate></unittitle></did></c03></c02><c02 level="subseries"><did><unittitle>Credits and Copyrights of Songs and Film Music Cues</unittitle></did><c03><did><container type="box">4</container><container type="folder">3</container><unittitle>Max Steiner disc and recording index</unittitle></did></c03><c03><did><container type="box">4</container><container type="folder">4</container><unittitle>Max Steiner Film and Music Credits Lists, <unitdate type="inclusive" normal="1930/1959" era="ce" calendar="gregorian">1930-1959</unitdate>, 32 pp.</unittitle></did></c03><c03><did><container type="box">4</container><container type="folder">5</container><unittitle>"Published numbers composed by Max Steiner for Warner Brothers Pictures, Inc.," <unitdate type="inclusive" normal="1937/1955" era="ce" calendar="gregorian">1937-1955</unitdate>, 12 pp.</unittitle></did></c03><c03><did><container type="box">4</container><container type="folder">6</container><unittitle>"Unpublished numbers composed by Max Steiner for Warner Bros. Pictures, Inc.," alphabetical list of cues from Steiner films, <unitdate type="inclusive" normal="1936/1955" era="ce" calendar="gregorian">1936-1955</unitdate>, 128 pp.</unittitle></did></c03><c03><did><container type="box">4</container><container type="folder">7</container><unittitle>"List of pictures for which Max Steiner composed and conducted the music: Warner Bros. Pictures, Inc.," with recording dates, <unitdate type="inclusive" normal="1936/1955" era="ce" calendar="gregorian">1936-1955</unitdate>, 6 pp.</unittitle></did></c03><c03><did><container type="box">4</container><container type="folder">8</container><unittitle>"List of unpublished compositions composed by Max Steiner which were taken from cue sheets of Warner Brothers." Listed by production title, <unitdate type="inclusive" normal="1936/1955" era="ce" calendar="gregorian">1936-1955</unitdate>, 68 pp.</unittitle></did></c03><c03><did><container type="box">4</container><container type="folder">9</container><unittitle>Max Steiner's unpublished copyright deposits in the Library of Congress, <unitdate type="inclusive" normal="1909/1965" era="ce" calendar="gregorian">1909-1965</unitdate></unittitle></did></c03><c03><did><container type="box">4</container><container type="folder">10</container><unittitle>List of musicals, <unitdate type="inclusive" normal="1909/1934" era="ce" calendar="gregorian">1909-1934</unitdate>, 23 pp.</unittitle></did></c03></c02><c02 level="subseries"><did><container type="box">4</container><container type="folder">11</container><unittitle>Lyrics</unittitle></did></c02><c02 level="subseries"><did><unittitle>Coleman, Albert</unittitle><note>Conductor, Atlanta Pops Orchestra</note></did><c03><did><container type="box">4</container><container type="folder">12</container><unittitle>Correspondence, <unitdate type="inclusive" normal="1951/1955" era="ce" calendar="gregorian">1951-1955</unitdate></unittitle></did></c03></c02><c02 level="subseries"><did><unittitle>Selznick, David O.</unittitle></did><c03><did><container type="box">4</container><container type="folder">13</container><unittitle>Correspondence, <unitdate type="inclusive" normal="1936/1954" era="ce" calendar="gregorian">1936-1954</unitdate></unittitle></did></c03></c02><c02 level="subseries"><did><unittitle>Warner, Jack L.</unittitle></did><c03><did><container type="box">4</container><container type="folder">14</container><unittitle>Correspondence, <unitdate type="inclusive" normal="1938/1949" era="ce" calendar="gregorian">1938-1949</unitdate></unittitle></did></c03></c02><c02 level="subseries"><did><unittitle>List of Orchestra Leaders</unittitle></did><c03><did><container type="box">4</container><container type="folder">15</container><unittitle>List of orchestra leaders and copies of letters written to orchestra leaders promoting Max Steiner's songs, <unitdate type="inclusive" normal="1941/1949" era="ce" calendar="gregorian">1941-1949</unitdate></unittitle></did></c03></c02><c02 level="subseries"><did><unittitle>Film Music Lectures</unittitle></did><c03><did><container type="box">4</container><container type="folder">16</container><unittitle>Correspondence in response to, <unitdate type="inclusive" normal="1938/1941" era="ce" calendar="gregorian">1938-1941</unitdate></unittitle></did></c03></c02><c02 level="subseries"><did><container type="box">4</container><container type="folder">17</container><unittitle>Invitations, <unitdate type="inclusive" normal="1952" era="ce" calendar="gregorian">1952</unitdate></unittitle></did></c02><c02 level="subseries"><did><unittitle>Max Steiner Music, Inc.</unittitle></did><c03><did><container type="box">4</container><container type="folder">18</container><unittitle>Correspondence and contract, <unitdate type="inclusive" normal="1953/1954" era="ce" calendar="gregorian">1953-1954</unitdate></unittitle></did></c03></c02><c02 level="subseries"><did><unittitle>Cinerama</unittitle></did><c03><did><container type="box">4</container><container type="folder">19</container><unittitle>Correspondence, <unitdate type="inclusive" normal="1952/1955" era="ce" calendar="gregorian">1952-1955</unitdate></unittitle></did></c03></c02><c02 level="subseries"><did><unittitle>Legal</unittitle></did><c03><did><container type="box">4</container><container type="folder">20</container><unittitle>Louis B. Minter, Attorney</unittitle><note>Correspondence, 1938-1954.</note></did></c03><c03><did><container type="box">5</container><container type="folder">1-2</container><unittitle>Leonard Zissu, Attorney</unittitle><note>Correspondence, 1947-1955.</note></did></c03><c03><did><container type="box">5</container><container type="folder">3</container><unittitle>Contracts</unittitle><note>Music publishing, 1932-1974.</note></did></c03><c03><did><container type="box">5</container><container type="folder">4</container><unittitle>Contracts</unittitle><note>Studio agreements, 1931-1955.</note></did></c03></c02><c02 level="subseries"><did><unittitle>Music Companies</unittitle></did><c03><did><container type="box">5</container><container type="folder">5</container><unittitle>American Society of Composers, Authors and Publishers (ASCAP)</unittitle><note>Correspondence, 1933-1955.</note></did></c03><c03><did><container type="box">5</container><container type="folder">6</container><unittitle>Capitol Records Inc.</unittitle><note>Correspondence, contracts, royalty statements and receipts, 1948-1954.</note></did></c03><c03><did><container type="box">5</container><container type="folder">7</container><unittitle>Chappell & Company Inc.</unittitle><note>Correspondence, 1947-1954.</note></did></c03><c03><did><container type="box">5</container><container type="folder">8</container><unittitle>Columbia Pictures Corporation</unittitle><note>Correspondence, 1954.</note></did></c03><c03><did><container type="box">5</container><container type="folder">9</container><unittitle>Music Corporation of America</unittitle><note>Correspondence, contracts, 1954-1956.</note></did></c03><c03><did><container type="box">5</container><container type="folder">10</container><unittitle>Music Publishers Holding Corporation</unittitle><note>Correspondence, 1945-1956.</note></did></c03><c03><did><container type="box">5</container><container type="folder">11</container><unittitle>Radio Corporation of America</unittitle><note>Correspondence, contracts, 1954-1956.</note></did></c03><c03><did><container type="box">5</container><container type="folder">12</container><unittitle>Sam Fox Publishing Company</unittitle><note>Correspondence, 1933-1949.</note></did></c03><c03><did><container type="box">6</container><container type="folder">1</container><unittitle>Screen Composers Association (SCA)</unittitle><note>Correspondence, 1934-1949.</note></did></c03></c02><c02 level="subseries"><did><unittitle>Royalties</unittitle></did><c03><did><container type="box">6</container><container type="folder">2</container><unittitle>Bourne, Inc.</unittitle><note>Statements and correspondence, 1949-1955.</note></did></c03><c03><did><container type="box">6</container><container type="folder">3</container><unittitle>G. Ricordi & Company</unittitle><note>Statements, correspondence, and contracts, 1935-1954.</note></did></c03><c03><did><container type="box">6</container><container type="folder">4</container><unittitle>Mills Music Inc.</unittitle><note>Statements and correspondence, 1945-1954.</note></did></c03><c03><did><container type="box">6</container><container type="folder">5</container><unittitle>Music Publishers Holding Corporation</unittitle><note>Statements and correspondence, 1948-1955.</note></did></c03></c02></c01><c01 level="series" tpattern="container:container:description"><head>Series III</head><did><unittitle>Awards</unittitle></did><thead><row><entry>Box</entry><entry>Folder</entry><entry>Contents</entry></row></thead><c02><did><container type="box">7</container><container type="folder">3</container><unittitle>Officier d'Acad榄〆 (Paris, France <unitdate type="inclusive" normal="1936" era="ce" calendar="gregorian">1936</unitdate>)</unittitle><note>Correspondence</note></did></c02><c02><did><container type="box">7</container><container type="folder">4</container><unittitle>Officier d'Acad榄〆 (Paris, France <unitdate type="inclusive" normal="1936" era="ce" calendar="gregorian">1936</unitdate>)</unittitle><note>Certificate</note></did></c02><c02><did><container type="box">6</container><container type="folder">6</container><unittitle>Blue Ribbon</unittitle><note>Correspondence, 1935-1953.</note></did></c02><c02><did><container type="box">6</container><container type="folder">7</container><unittitle>Blue Ribbon</unittitle><note>Certificates, 1933-1953.</note></did></c02><c02><did><container type="box">6</container><container type="folder">8</container><unittitle>Laurel Award</unittitle><note>Correspondence, 1949-1955.</note></did></c02><c02><did><container type="box">6</container><container type="folder">9</container><unittitle>Golden Globe</unittitle><note>Correspondence and invitation, 1948.</note></did></c02><c02><did><container type="box">6</container><container type="folder">10</container><unittitle>National Academy of Recording Arts and Sciences</unittitle><note>Plaque, 1960.</note></did></c02><c02><did><container type="box">6</container><container type="folder">11</container><unittitle>Academy of Motion Picture Arts and Sciences</unittitle><note>Correspondence, 1934-1955.</note></did></c02><c02><did><container type="box">6</container><container type="folder">12</container><unittitle>Academy of Motion Picture Arts and Sciences</unittitle><note>Nomination certificates, 1941-1955.</note></did></c02><c02><did><container type="box">20</container><container type="folder">1</container><unittitle>Certificate of nomination for Academy Award for<emph>Dark Victory</emph>and<emph>Gone With the Wind</emph>( <unitdate type="inclusive" normal="1940" era="ce" calendar="gregorian">1940</unitdate>)</unittitle></did></c02><c02><did><container type="box">20</container><container type="folder">2</container><unittitle>Certificate of nomination for Academy Award for<emph>Casablanca</emph>( <unitdate type="inclusive" normal="1943" era="ce" calendar="gregorian">1943</unitdate>)</unittitle></did></c02><c02><did><container type="box">20</container><container type="folder">3</container><unittitle>Certificate of nomination for Academy Award for<emph>The Flame and the Arrow</emph>( <unitdate type="inclusive" normal="1950" era="ce" calendar="gregorian">1950</unitdate>)</unittitle></did></c02><c02><did><container type="box">20</container><container type="folder">4</container><unittitle>Certificate of nomination for Academy Award for<emph>The Jazz Singer</emph>( <unitdate type="inclusive" normal="1952" era="ce" calendar="gregorian">1952</unitdate>)</unittitle></did></c02><c02><did><container type="box">20</container><container type="folder">5</container><unittitle>Certificate of nomination for Academy Award for<emph>The Miracle of Our Lady of Fatima</emph>( <unitdate type="inclusive" normal="1952" era="ce" calendar="gregorian">1952</unitdate>)</unittitle></did></c02><c02><did><container type="box">20</container><container type="folder">6</container><unittitle>Certificate of nomination for Academy Award for<emph>The Caine Mutiny</emph>( <unitdate type="inclusive" normal="1954" era="ce" calendar="gregorian">1954</unitdate>)</unittitle></did></c02><c02><did><container type="box">20</container><container type="folder">7</container><unittitle>Certificate of nomination for Academy Award for<emph>Battle Cry</emph>( <unitdate type="inclusive" normal="1955" era="ce" calendar="gregorian">1955</unitdate>)</unittitle></did></c02><c02><did><container type="box">20</container><container type="folder">8</container><unittitle>Laurel Award (framed certificate) for<emph>King Kong</emph>( <unitdate type="inclusive" normal="April 1933" era="ce" calendar="gregorian">April 1933</unitdate>)</unittitle></did></c02><c02><did><container type="box">20</container><container type="folder">9</container><unittitle>Laurel Award (framed certificate) for<emph>The Charge of the Light Brigade</emph>( <unitdate type="inclusive" normal="November 1936" era="ce" calendar="gregorian">November 1936</unitdate>)</unittitle></did></c02><c02><did><container type="box">20</container><container type="folder">10</container><unittitle>Laurel Award (framed certificate) for<emph>Arsenic and Old Lace</emph>( <unitdate type="inclusive" normal="October 1944" era="ce" calendar="gregorian">October 1944</unitdate>)</unittitle></did></c02><c02><did><container type="box">20</container><container type="folder">11</container><unittitle>Laurel Award (plaque) for Best Musical Composer of the Year (n.d.)</unittitle></did></c02><c02><did><container type="box">20</container><container type="folder">12</container><unittitle>Laurel Award (plaque) for Composer-Director of the Year ( <unitdate type="inclusive" normal="1952/1953" era="ce" calendar="gregorian">1952-1953</unitdate>)</unittitle></did></c02><c02><did><container type="box">20</container><container type="folder">13</container><unittitle>Laurel Award (plaque) for Best Composer-Conductor of the Industry ( <unitdate type="inclusive" normal="1953/1954" era="ce" calendar="gregorian">1953-1954</unitdate>)</unittitle></did></c02><c02><did><container type="box">20</container><container type="folder">14</container><unittitle>Laurel Award (plaque) for Topliner Composer-Director ( <unitdate type="inclusive" normal="1954/1955" era="ce" calendar="gregorian">1954-1955</unitdate>)</unittitle></did></c02><c02><did><container type="box">20</container><container type="folder">15</container><unittitle>Laurel Award (plaque) for Best Composer ( <unitdate type="inclusive" normal="1955/1956" era="ce" calendar="gregorian">1955-1956</unitdate>)</unittitle></did></c02><c02><did><container type="box">20</container><container type="folder">16</container><unittitle>Laurel Award (plaque) for Top Music Composer ( <unitdate type="inclusive" normal="1956" era="ce" calendar="gregorian">1956</unitdate>)</unittitle></did></c02><c02><did><container type="box">21</container><container type="folder">1</container><unittitle>Laurel Award (plaque) for Best Composer,<emph>Marjorie Morningstar</emph>( <unitdate type="inclusive" normal="1957" era="ce" calendar="gregorian">1957</unitdate>)</unittitle></did></c02><c02><did><container type="box">21</container><container type="folder">2</container><unittitle>Laurel Award (plaque) for Best Motion Picture Score of the Year,<emph>A Summer Place</emph>( <unitdate type="inclusive" normal="1960" era="ce" calendar="gregorian">1960</unitdate>)</unittitle></did></c02><c02><did><container type="box">21</container><container type="folder">3</container><unittitle>Laurel Award (plaque) for Top Five Composer ( <unitdate type="inclusive" normal="1961" era="ce" calendar="gregorian">1961</unitdate>)</unittitle></did></c02><c02><did><container type="box">21</container><container type="folder">4</container><unittitle>Laurel Award (plaque) for Topliner Composer ( <unitdate type="inclusive" normal="1962" era="ce" calendar="gregorian">1962</unitdate>)</unittitle></did></c02><c02><did><container type="box">21</container><container type="folder">5</container><unittitle>Laurel Award (plaque) for Top Five Composer ( <unitdate type="inclusive" normal="1963" era="ce" calendar="gregorian">1963</unitdate>)</unittitle></did></c02><c02><did><container type="box">21</container><container type="folder">6</container><unittitle>Laurel Award (plaque) for Top Five Composer ( <unitdate type="inclusive" normal="1964" era="ce" calendar="gregorian">1964</unitdate>)</unittitle></did></c02><c02><did><container type="box">21</container><container type="folder">7</container><unittitle>Laurel Award (plaque) for Top Five Composer ( <unitdate type="inclusive" normal="1965" era="ce" calendar="gregorian">1965</unitdate>)</unittitle></did></c02><c02><did><container type="box">21</container><container type="folder">8</container><unittitle>Laurel Award (plaque) for Top Five Composer ( <unitdate type="inclusive" normal="1966" era="ce" calendar="gregorian">1966</unitdate>). [damaged]</unittitle></did></c02><c02><did><container type="box">21</container><container type="folder">9</container><unittitle>Certificate of Membership in the California Forestry Medical Corps ( <unitdate type="inclusive" normal="1939" era="ce" calendar="gregorian">1939</unitdate>)</unittitle></did></c02><c02><did><container type="box">21</container><container type="folder">10</container><unittitle>Framed needle-point lamp from Max Steiner Music Society</unittitle></did></c02><c02><did><container type="box">21</container><container type="folder">11</container><unittitle>Certificate of Nomination to the Max Steiner Music Society Hall of Fame ( <unitdate type="inclusive" normal="1973" era="ce" calendar="gregorian">1973</unitdate>)</unittitle></did></c02><c02><did><container type="box">21</container><container type="folder">12</container><unittitle>Founder's Certificate for the Max Steiner Music Society</unittitle></did></c02><c02><did><container type="box">21</container><container type="folder">13</container><unittitle>Gold Seal Citation to Lee Steiner from the Max Steiner Music Society ( <unitdate type="inclusive" normal="1972" era="ce" calendar="gregorian">1972</unitdate>)</unittitle></did></c02><c02><did><container type="box">21</container><container type="folder">14</container><unittitle>National Federation of Music Clubs Special Award for<emph>Symphonie Moderne</emph>( <unitdate type="inclusive" normal="May 1940/May 1941" era="ce" calendar="gregorian">May 1940-May 1941</unitdate>). [damaged]</unittitle></did></c02><c02><did><container type="box">21</container><container type="folder">15</container><unittitle>Framed National Geographic Society Membership Certificate ( <unitdate type="inclusive" normal="22 December 1937" era="ce" calendar="gregorian">22 December 1937</unitdate>)</unittitle></did></c02><c02><did><container type="box">21</container><container type="folder">16</container><unittitle>Sketch of a woman, possibly Max Steiner's mother</unittitle></did></c02><c02><did><container type="box">21</container><container type="folder">17</container><unittitle>Certificate of Honor commemorating the planting of five trees in Israel by Dr. Samuel Sternberg and his daughter Hagith ( <unitdate type="inclusive" normal="1966" era="ce" calendar="gregorian">1966</unitdate>)</unittitle></did></c02><c02><did><container type="box">22</container><container type="folder">1</container><unittitle>Laurel Award for Leading Composer ( <unitdate type="inclusive" normal="1948" era="ce" calendar="gregorian">1948</unitdate>)</unittitle></did></c02><c02><did><container type="box">22</container><container type="folder">2</container><unittitle>Framed photograph of Max Steiner, surrounded by postage stamps</unittitle></did></c02><c02><did><container type="box">22</container><container type="folder">3</container><unittitle>Plaque commemorating the Max Steiner Hollywood Star in the Hollywood Walk of Fame ( <unitdate type="inclusive" normal="19 November 1975" era="ce" calendar="gregorian">19 November 1975</unitdate>)</unittitle></did></c02><c02><did><container type="box">22</container><container type="folder">4</container><unittitle>Motion Picture Hall of Fame Plaque ( <unitdate type="inclusive" normal="2 March 1973" era="ce" calendar="gregorian">2 March 1973</unitdate>)</unittitle></did></c02><c02><did><container type="box">22</container><container type="folder">5</container><unittitle>Brigham Young University Presidential Club Plaque presented to Mrs. Max (Lee) Steiner, <unitdate type="inclusive" normal="1981" era="ce" calendar="gregorian">1981</unitdate></unittitle></did></c02><c02><did><container type="box">22</container><container type="folder">6</container><unittitle>Limelight Award for<emph>A Summer Place</emph>( <unitdate type="inclusive" normal="1960" era="ce" calendar="gregorian">1960</unitdate>)</unittitle></did></c02><c02><did><container type="box">22</container><container type="folder">7</container><unittitle>Limelight Award for<emph>The Dark at the Top of the Stairs</emph>( <unitdate type="inclusive" normal="1961" era="ce" calendar="gregorian">1961</unitdate>)</unittitle></did></c02><c02><did><container type="box">22</container><container type="folder">8</container><unittitle>The French Legion of Honor Award</unittitle></did></c02><c02><did><container type="box">22</container><container type="folder">9</container><unittitle>Award from the King of Belgium honoring<emph>The Informer</emph>( <unitdate type="inclusive" normal="1935" era="ce" calendar="gregorian">1935</unitdate>)</unittitle></did></c02><c02><did><container type="box">22</container><container type="folder">10</container><unittitle>Engraved silver cup for scoring<emph>She</emph>( <unitdate type="inclusive" normal="1935" era="ce" calendar="gregorian">1935</unitdate>)</unittitle></did></c02><c02><did><container type="box">22</container><container type="folder">11</container><unittitle>Baton commemorating Max Steiner's 80th birthday</unittitle></did></c02><c02><did><container type="box">22</container><container type="folder">12</container><unittitle>Glass with red antique detailing given to Max Steiner as a child by Emperor Franz Joseph of Austria</unittitle></did></c02><c02><did><container type="box">22</container><container type="folder">13</container><unittitle>Foreign Correspondent's Award for<emph>Life With Father</emph>( <unitdate type="inclusive" normal="1947" era="ce" calendar="gregorian">1947</unitdate>)</unittitle></did></c02><c02><did><container type="box">22</container><container type="folder">14</container><unittitle>World Cinema Medal from the Venice Film Festival ( <unitdate type="inclusive" normal="August 1936" era="ce" calendar="gregorian">August 1936</unitdate>)</unittitle></did></c02><c02><did><container type="box">22</container><container type="folder">15</container><unittitle>Brass letter opener shaped like cactus</unittitle></did></c02><c02><did><container type="box">22</container><container type="folder">16</container><unittitle>LP record insert, Folk Music of the Amani Islands</unittitle></did></c02><c02><did><container type="box">23</container><container type="folder">1</container><unittitle>Screen Composers Association First Honorary Award ( <unitdate type="inclusive" normal="1958" era="ce" calendar="gregorian">1958</unitdate>). [Damaged]</unittitle></did></c02><c02><did><container type="box">23</container><container type="folder">2</container><unittitle>Photograph of the Venice World Award for<emph>The Treasure of the Sierra Madre</emph>( <unitdate type="inclusive" normal="1948" era="ce" calendar="gregorian">1948</unitdate>)</unittitle></did></c02><c02><did><container type="box">23</container><container type="folder">3</container><unittitle>The Venice World Award for<emph>The Treasure of the Sierra Madre</emph>( <unitdate type="inclusive" normal="1948" era="ce" calendar="gregorian">1948</unitdate>). [Damaged]</unittitle></did></c02><c02><did><container type="box">24</container><container type="folder">1</container><unittitle>The Wisdom Award of Honor</unittitle></did></c02><c02><did><container type="box">24</container><container type="folder">2</container><unittitle>Certificate from the Los Angeles Museum for the loan of music manuscripts of<emph>Four Wives, The Great Lie</emph>, and<emph>City for Conquest</emph>( <unitdate type="inclusive" normal="11 June 1941" era="ce" calendar="gregorian">11 June 1941</unitdate>)</unittitle></did></c02><c02><did><container type="box">24</container><container type="folder">3</container><unittitle>Certificate from the Los Angeles Museum for the donation of photographs and one sheet of the musical score for<emph>Of Human Bondage</emph>( <unitdate type="inclusive" normal="1935" era="ce" calendar="gregorian">1935</unitdate>)</unittitle></did></c02><c02><did><container type="box">24</container><container type="folder">4</container><unittitle>Framed needle point from the Max Steiner Music Society ( <unitdate type="inclusive" normal="1968" era="ce" calendar="gregorian">1968</unitdate>)</unittitle></did></c02><c02><did><container type="oversize">OS 25</container><unittitle>Certificate of Appointment as Aide-de-camp on the staff of the governor of Kentucky, with the rank of Colonel ( <unitdate type="inclusive" normal="1934" era="ce" calendar="gregorian">1934</unitdate>)</unittitle></did></c02><c02><did><container type="oversize">OS 26</container><unittitle>Separate collage of medals and citations for Gabor Steiner from Italy, France, and other countries ( <unitdate type="inclusive" normal="1905" era="ce" calendar="gregorian">1905</unitdate>)</unittitle></did></c02><c02><did><container type="oversize">OS 27</container><unittitle>Large framed needle-point from Hagith Sternberg ( <unitdate type="inclusive" normal="May 1967" era="ce" calendar="gregorian">May 1967</unitdate>)</unittitle></did></c02><c02><did><container type="oversize">OS 28</container><unittitle>Picture with wooden background and gold border of the Theatre an der Wien ( <unitdate type="inclusive" normal="1901" era="ce" calendar="gregorian">1901</unitdate>)</unittitle></did></c02><c02><did><container type="oversize">OS 29 [vault]</container><unittitle>Academy of Motion Picture Arts and Sciences "Oscar" certificate for<emph>The Informer</emph>( <unitdate type="inclusive" normal="1935" era="ce" calendar="gregorian">1935</unitdate>)</unittitle></did></c02><c02><did><container type="oversize">OS 30 [vault]</container><unittitle>Academy of Motion Pictures Arts and Sciences "Oscar" statuette for<emph>Now, Voyager</emph>( <unitdate type="inclusive" normal="1942" era="ce" calendar="gregorian">1942</unitdate>)</unittitle></did></c02><c02><did><container type="oversize">OS 31 [vault]</container><unittitle>Academy of Motion Pictures Arts and Sciences "Oscar" statuette for<emph>Sine You Went Away</emph>( <unitdate type="inclusive" normal="1944" era="ce" calendar="gregorian">1944</unitdate>)</unittitle></did></c02><c02><did><container type="oversize">OS 32</container><container type="folder">1</container><unittitle>Certificate of tree planting in Israel in the name of Lee Steiner ( <unitdate type="inclusive" normal="10 May 1972" era="ce" calendar="gregorian">10 May 1972</unitdate>)</unittitle><note>Certificate of tree planting in Israel in memory of Max Steiner.</note></did></c02><c02><did><container type="oversize">OS 32</container><container type="folder">2</container><unittitle>Jewish National Fund Golden Book Certificate presented to Max Steiner in honor of his 83rd birthday ( <unitdate type="inclusive" normal="10 May 1971" era="ce" calendar="gregorian">10 May 1971</unitdate>)</unittitle></did></c02></c01><c01 level="series" tpattern="container:description"><head>Series IV</head><did><unittitle>Scrap Books</unittitle></did><thead><row><entry>Box</entry><entry>Contents</entry></row></thead><c02><did><container type="oversize">OS 8</container><unittitle><unitdate type="inclusive" normal="1930/1940" era="ce" calendar="gregorian">1930-1940</unitdate>, 168 pp.</unittitle></did></c02><c02><did><container type="oversize">OS 9</container><unittitle><unitdate type="inclusive" normal="1939/1943" era="ce" calendar="gregorian">1939-1943</unitdate>, 150 pp.</unittitle></did></c02><c02><did><container type="oversize">OS 10</container><unittitle><unitdate type="inclusive" normal="1944/1953" era="ce" calendar="gregorian">1944-1953</unitdate>, 208 pp.</unittitle></did></c02></c01><c01 level="series" tpattern="container:container:container:description"><head>Series V</head><did><unittitle>Film Music Sketches, Scores, and Recordings</unittitle></did><thead><row><entry>Box</entry><entry>Folder</entry><entry>Volume</entry><entry>Contents</entry></row></thead><c02><did><container type="oversize">OS 11</container><container type="folder">1</container><container type="volume">1ab</container><unittitle><emph>Adventures of Don Juan</emph>(Warner Brothers, <unitdate type="inclusive" normal="1949" era="ce" calendar="gregorian">1949</unitdate>) "Don Juan"</unittitle><note>Pencil sketch, 351 pp.Trailer, pencil sketch, 11 pp.Studio music track recordings, tapes 30, 42, 70, 71, 72.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">1</container><container type="volume">2</container><unittitle><emph>Adventures of Mark Twain, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1944" era="ce" calendar="gregorian">1944</unitdate>) "Mark Twain"</unittitle><note>Pencil sketch, 275 pp.Trailer, pencil sketch, 11 pp.Loose pencil sketch, "Mark Twain," 33 pp.Studio music track recordings, tapes 27, 51.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">1</container><container type="volume">158</container><unittitle><emph>Adventures of Tom Sawyer, The</emph>(Selznick/United Artists, <unitdate type="inclusive" normal="1938" era="ce" calendar="gregorian">1938</unitdate>) "Tom Sawyer"</unittitle><note>Pencil sketch, 47 pp.Studio music track recordings, tape 42.</note></did></c02><c02><did><container type="box">7</container><container type="folder">5</container><unittitle><emph>After Tonight</emph>(RKO, 1933)</unittitle><note>"Buy a Kiss," Irving Berlin, Inc., 1933, 5 pp.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">16</container><container type="volume">3</container><unittitle><emph>All Mine to Give</emph>(RKO, <unitdate type="inclusive" normal="1957" era="ce" calendar="gregorian">1957</unitdate>) [British release title:<emph>The Day They Gave Babies Away</emph>.] "Babies"</unittitle><note>Pencil sketch, 198 pp.Loose pencil sketch, 4 pp.Studio music track recordings, tape 3.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">16</container><container type="volume">4</container><unittitle><emph>All This, and Heaven Too</emph>(Warner Brothers, <unitdate type="inclusive" normal="1940" era="ce" calendar="gregorian">1940</unitdate>)</unittitle><note>Pencil sketch, 284 pp.Studio music track recordings, tapes 21, 22.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">16</container><container type="volume">5</container><unittitle><emph>Amazing Dr. Clitterhouse, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1938" era="ce" calendar="gregorian">1938</unitdate>)</unittitle><note>Pencil sketch, 69 pp.Trailer, pencil sketch, 7 pp.Studio music track recordings, tape 15.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">16</container><container type="volume">6</container><unittitle><emph>Angels With Dirty Faces</emph>(Warner Brothers, <unitdate type="inclusive" normal="1938" era="ce" calendar="gregorian">1938</unitdate>)</unittitle><note>Pencil sketch, 114 pp.Trailer, pencil sketch, 12 pp.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">16</container><container type="volume">7</container><unittitle><emph>April Showers</emph>(Warner Brothers, <unitdate type="inclusive" normal="1948" era="ce" calendar="gregorian">1948</unitdate>)</unittitle><note>Pencil sketch, 25 pp.Studio music track recordings, tape 63.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">16</container><container type="volume">8</container><unittitle><emph>Are These Our Children?</emph>(RKO, <unitdate type="inclusive" normal="1931" era="ce" calendar="gregorian">1931</unitdate>)</unittitle><note>Pencil, ink sketch and sketch, copy, 68 pp.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">16</container><container type="volume">9</container><unittitle><emph>Arsenic and Old Lace</emph>(Warner Brothers, <unitdate type="inclusive" normal="1944" era="ce" calendar="gregorian">1944</unitdate>)</unittitle><note>Pencil sketch, 91 pp.Trailer, pencil sketch, 13 pp.Studio music track recordings, tape 28.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">17</container><container type="volume">10</container><unittitle><emph>Backfire</emph>(Warner Brothers, 1950)</unittitle><note>Loose pencil sketch, 3 pp.<emph>Band of Angels</emph>(Warner Brothers, 1957)Pencil sketch, copy, 273 pp.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">2</container><container type="volume">11</container><unittitle><emph>Bandido</emph>(Robert L. Jacks Productions/United Artists, <unitdate normal="1956" type="inclusive" era="ce" calendar="gregorian">1956</unitdate>)</unittitle><note>Pencil sketch, 131 pp.Loose pencil sketch, 17 pp.Studio music track recordings, tape 3.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">2</container><container type="volume">12</container><unittitle><emph>Battle Cry</emph>(Warner Brothers, <unitdate type="inclusive" normal="1954" era="ce" calendar="gregorian">1954</unitdate>)</unittitle><note>Pencil sketch, copy, 228 pp.Trailer, pencil sketch, copy, 5 pp.</note></did></c02><c02><did><container type="oversize">OS 13</container><container type="folder">1</container><unittitle><emph>Battle Cry</emph>(Warner Brothers, <unitdate type="inclusive" normal="1954" era="ce" calendar="gregorian">1954</unitdate>)</unittitle><note>Loose pencil sketch, 272 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">6</container><unittitle><emph>Battle Cry</emph>(Warner Brothers, <unitdate type="inclusive" normal="1954" era="ce" calendar="gregorian">1954</unitdate>)</unittitle><note>"Honey Babe," M. Witmark & Sons, 1954, 3 pp.Studio music track recordings, tape 92.</note></did></c02><c02><did><container type="box">7</container><container type="folder">6</container><container type="volume">172</container><unittitle><emph>Battle of Britain, The</emph>(U.S. War Dept., <unitdate type="inclusive" normal="1943" era="ce" calendar="gregorian">1943</unitdate>)</unittitle><note>Pencil sketch, 46 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">6</container><container type="volume">13</container><unittitle><emph>Beast With Five Fingers, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1947" era="ce" calendar="gregorian">1947</unitdate>)</unittitle><note>Pencil sketch, 165 pp.Trailer, pencil sketch, 5 pp.Studio music track recordings, tapes 29, 57.</note></did></c02><c02><did><container type="box">7</container><container type="folder">6</container><container type="volume">14</container><unittitle><emph>Beyond the Forest</emph>(Warner Brothers, <unitdate type="inclusive" normal="1949" era="ce" calendar="gregorian">1949</unitdate>) "Beyond the Forrest"</unittitle><note>Pencil sketch, 163 pp.Studio music track recordings, tapes 3, 30, 75, 76.</note></did></c02><c02><did><container type="box">7</container><container type="folder">6</container><container type="volume">15</container><unittitle><emph>Big Sleep, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1946" era="ce" calendar="gregorian">1946</unitdate>)</unittitle><note>Pencil sketch, 163 pp.Trailer, pencil sketch, 6 pp.Studio music track recordings, tape 29.</note></did></c02><c02><did><container type="box">7</container><container type="folder">7</container><unittitle><emph>Bill of Divorcement, A</emph>(RKO, <unitdate type="inclusive" normal="1932" era="ce" calendar="gregorian">1932</unitdate>)</unittitle><note>"Unfinished Sonata," Sam Fox Publishing Co., 1933, 5 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">7</container><container type="volume">16</container><unittitle><emph>Bird of Paradise</emph>(RKO, <unitdate type="inclusive" normal="1932" era="ce" calendar="gregorian">1932</unitdate>) "Paradise"</unittitle><note>Pencil, ink sketch, 200 pp.Trailer, ink sketch, 4 pp.Incidental music, ink and pencil sketch, copy, 29 pp.Studio music track recordings, tapes 1, 4.</note></did></c02><c02><did><container type="box">7</container><container type="folder">7</container><container type="volume">17</container><unittitle><emph>Boy From Oklahoma, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1954" era="ce" calendar="gregorian">1954</unitdate>)</unittitle><note>Pencil sketch, 156 pp.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">3</container><unittitle><emph>Break of Hearts</emph>(RKO, <unitdate type="inclusive" normal="1935" era="ce" calendar="gregorian">1935</unitdate>)</unittitle><note>Loose pencil sketch, 37 pp.Studio music track recordings, tapes 2, 4.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">3</container><container type="volume">18</container><unittitle><emph>Breaking Point, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1950" era="ce" calendar="gregorian">1950</unitdate>)</unittitle><note>Pencil sketch and sketch copy, 10 pp.Studio music track recordings, tape 79.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">3</container><container type="volume">19</container><unittitle><emph>Bride Came C.O.D., The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1941" era="ce" calendar="gregorian">1941</unitdate>)</unittitle><note>Pencil sketch, 189 pp.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">3</container><container type="volume">124</container><unittitle><emph>Bride Came C.O.D., The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1941" era="ce" calendar="gregorian">1941</unitdate>)</unittitle><note>Trailer, pencil sketch, 15 pp.Studio music track recordings, tape 24.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">3</container><container type="volume">20</container><unittitle><emph>By the Light of the Silvery Moon</emph>(Warner Brothers, <unitdate type="inclusive" normal="1953" era="ce" calendar="gregorian">1953</unitdate>) "Moon"</unittitle><note>Pencil sketch, 103 pp.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">4</container><unittitle><emph>By the Light of the Silvery Moon</emph>(Warner Brothers, <unitdate type="inclusive" normal="1953" era="ce" calendar="gregorian">1953</unitdate>) "Moon"</unittitle><note>Loose pencil sketch, "Silvery Moon," 19 pp.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">4</container><container type="volume">21</container><unittitle><emph>Caged</emph>(Warner Brothers, <unitdate type="inclusive" normal="1950" era="ce" calendar="gregorian">1950</unitdate>)</unittitle><note>Pencil sketch with cue sheets, 128 pp.Trailer, pencil sketch, 8 pp.Studio music track recordings, tapes 77, 78.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">4</container><container type="volume">22</container><unittitle><emph>Caine Mutiny, The</emph>(Columbia, <unitdate type="inclusive" normal="1954" era="ce" calendar="gregorian">1954</unitdate>)</unittitle><note>Pencil sketch with cue sheets, 254 pp.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">5</container><unittitle><emph>Caine Mutiny, The</emph>(Columbia, <unitdate type="inclusive" normal="1954" era="ce" calendar="gregorian">1954</unitdate>)</unittitle><note>Loose pencil sketch, 5 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">8</container><unittitle><emph>Caine Mutiny, The</emph>(Columbia, <unitdate type="inclusive" normal="1954" era="ce" calendar="gregorian">1954</unitdate>)</unittitle><note>"Theme from The Caine Mutiny," (Full Speed Ahead), Chappell & Co., Inc., 1954, 5 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">8</container><container type="volume">23</container><unittitle><emph>Captains of the Clouds</emph>(Warner Brothers, <unitdate type="inclusive" normal="1942" era="ce" calendar="gregorian">1942</unitdate>)</unittitle><note>Pencil sketch, 132 pp.Trailer, pencil sketch, 4 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">8</container><container type="volume">24</container><unittitle><emph>Casablanca</emph>(Warner Brothers, <unitdate type="inclusive" normal="1943" era="ce" calendar="gregorian">1943</unitdate>)</unittitle><note>Pencil sketch, 91 pp.Trailer, pencil sketch, 8 pp.Studio music track recordings, tape 26.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">6</container><container type="volume">25</container><unittitle><emph>Cash McCall</emph>(Warner Brothers, <unitdate type="inclusive" normal="1960" era="ce" calendar="gregorian">1960</unitdate>)</unittitle><note>Pencil sketch copy, 113 pp.Loose pencil sketch, "McCall," 6 pp.Studio music track recordings, tape 93.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">15</container><container type="volume">26</container><unittitle><emph>Charge at Feather River, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1953" era="ce" calendar="gregorian">1953</unitdate>)</unittitle><note>Pencil sketch, 212 pp.Loose pencil sketch, "Patrol," 2 pp.Studio music track recordings, tape 92.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">7</container><container type="volume">27</container><unittitle><emph>Charge of the Light Brigade, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1936" era="ce" calendar="gregorian">1936</unitdate>)</unittitle><note>Pencil sketch, 309 pp.Trailer, pencil sketch, 17 pp.Loose pencil sketch, "Forward the Light Brigade," 28 pp.</note></did></c02><c02><did><container type="oversize">OS 14</container><container type="folder">2</container><unittitle><emph>Charge of the Light Brigade, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1936" era="ce" calendar="gregorian">1936</unitdate>)</unittitle><note>Loose pencil sketch, "Elsa," 2 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">9</container><unittitle><emph>Charge of the Light Brigade, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1936" era="ce" calendar="gregorian">1936</unitdate>)</unittitle><note>"Forward the Light Brigade," Remick Music Corporation, 1948.Studio music track recordings, tapes 7, 8, 42.</note></did></c02><c02><did><container type="box">7</container><container type="folder">9</container><container type="volume">28</container><unittitle><emph>Cheyenne</emph>(Warner Brothers, <unitdate type="inclusive" normal="1947" era="ce" calendar="gregorian">1947</unitdate>)</unittitle><note>Pencil sketch, 244 pp.Trailer, pencil sketch, 12 pp.Studio music track recordings, tape 29.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">8</container><container type="volume">29</container><unittitle><emph>China Gate</emph>(20th Century-Fox, <unitdate type="inclusive" normal="1957" era="ce" calendar="gregorian">1957</unitdate>) (theme by Victor Young)</unittitle><note>Pencil sketch, 121 pp.Loose pencil sketch, 28 pp.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">9</container><unittitle><emph>Christopher Strong</emph>(RKO, <unitdate type="inclusive" normal="1933" era="ce" calendar="gregorian">1933</unitdate>)</unittitle><note>Loose pencil sketch, 2 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">10</container><unittitle><emph>Christopher Strong</emph>(RKO, <unitdate type="inclusive" normal="1933" era="ce" calendar="gregorian">1933</unitdate>)</unittitle><note>"The Blue Lagoon," Sam Fox Publishing Co., 1933, 5 pp."Morena," Sam Fox Publishing Co., 1933, 3 pp.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">10</container><unittitle><emph>Cimarron</emph>(RKO, <unitdate type="inclusive" normal="1930" era="ce" calendar="gregorian">1930</unitdate>)</unittitle><note>Loose pencil sketch, 3 pp.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">11</container><container type="volume">30</container><unittitle><emph>City for Conquest</emph>(Warner Brothers, <unitdate type="inclusive" normal="1940" era="ce" calendar="gregorian">1940</unitdate>)</unittitle><note>Pencil sketch, 184 pp.Trailer, pencil sketch, 13 pp.Poem, pencil sketch, 73 pp.Loose pencil sketch, 115 pp.Studio music track recordings, tapes 22, 23.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">11</container><container type="volume">31</container><unittitle><emph>Cloak and Dagger</emph>(U.S. Pictures/Warner Brothers, <unitdate type="inclusive" normal="1946" era="ce" calendar="gregorian">1946</unitdate>)</unittitle><note>Pencil sketch, 216 pp.Studio music track recordings, tape 3.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">11</container><container type="volume">32</container><unittitle><emph>Close to My Heart</emph>(Warner Brothers, <unitdate type="inclusive" normal="1951" era="ce" calendar="gregorian">1951</unitdate>)</unittitle><note>Pencil sketch, 136 pp.Studio music track recordings, tapes 88, 89.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">12</container><unittitle><emph>Come Fill the Cup</emph>(Warner Brothers, <unitdate type="inclusive" normal="1951" era="ce" calendar="gregorian">1951</unitdate>)</unittitle><note>Loose pencil sketch, 11 pp.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">13</container><unittitle><emph>Come Next Spring</emph>(Republic, <unitdate type="inclusive" normal="1954" era="ce" calendar="gregorian">1954</unitdate>)</unittitle><note>Loose pencil sketch, 9 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">11</container><unittitle><emph>Come Next Spring</emph>(Republic, <unitdate type="inclusive" normal="1954" era="ce" calendar="gregorian">1954</unitdate>)</unittitle><note>"Come Next Spring," Frank Music Corp., 1955, 2 pp.Studio music track recordings, tape 31.</note></did></c02><c02><did><container type="box">7</container><container type="folder">11</container><container type="volume">33</container><unittitle><emph>Confessions of a Nazi Spy</emph>(Warner Brothers, <unitdate type="inclusive" normal="1939" era="ce" calendar="gregorian">1939</unitdate>) (Music by "Staff")</unittitle><note>Pencil sketch, 73 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">12</container><container type="volume">82</container><unittitle><emph>Conquerors, The</emph>(RKO, <unitdate type="inclusive" normal="1932" era="ce" calendar="gregorian">1932</unitdate>)</unittitle><note>Pencil sketch, 86 pp."The Conquerors," Sam Fox Publishing Co., 1933, 3 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">13</container><unittitle><emph>Consolation Marriage</emph>(RKO, <unitdate type="inclusive" normal="1931" era="ce" calendar="gregorian">1931</unitdate>)</unittitle><note>"Devotion," Carl Fischer, Inc., 1931, 3 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">14</container><container type="volume">34</container><unittitle><emph>Conspirators, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1944" era="ce" calendar="gregorian">1944</unitdate>) "Consp"</unittitle><note>Pencil sketch and blue line, 157 pp.Trailer, pencil sketch, 8 pp."Orchid Moon," Sam Fox Publishing Co., 1944; artist copy, 3 pp.; orchestra parts; sheet music, 3 pp.Studio music track recordings, tape 28.</note></did></c02><c02><did><container type="box">7</container><container type="folder">14</container><container type="volume">35</container><unittitle><emph>Corn Is Green, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1945" era="ce" calendar="gregorian">1945</unitdate>) "Corn"</unittitle><note>Pencil sketch, 156 pp.Trailer, pencil sketch, 7 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">14</container><container type="volume">36</container><unittitle><emph>Crime School</emph>(Warner Brothers, <unitdate type="inclusive" normal="1938" era="ce" calendar="gregorian">1938</unitdate>)</unittitle><note>Pencil sketch, 114 pp.Trailer, pencil sketch, 13 pp.Studio music track recordings, tape 15.</note></did></c02><c02><did><container type="box">7</container><container type="folder">14</container><container type="volume">37</container><unittitle><emph>Dallas</emph>(Warner Brothers, <unitdate type="inclusive" normal="1950" era="ce" calendar="gregorian">1950</unitdate>)</unittitle><note>Pencil sketch, 193 pp.Studio music track recordings, tapes 82, 83.</note></did></c02><c02><did><container type="box">7</container><container type="folder">14</container><container type="volume">38</container><unittitle><emph>Darby's Rangers</emph>(Warner Brothers, <unitdate type="inclusive" normal="1958" era="ce" calendar="gregorian">1958</unitdate>)</unittitle><note>Pencil sketch, copy, 234 pp.Studio music track recordings, tape 36.</note></did></c02><c02><did><container type="box">7</container><container type="folder">14</container><container type="volume">39</container><unittitle><emph>Dark at the Top of the Stairs, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1960" era="ce" calendar="gregorian">1960</unitdate>)</unittitle><note>Pencil sketch, copy, 165 pp.Studio music track recordings, tape 37.</note></did></c02><c02><did><container type="box">7</container><container type="folder">14</container><container type="volume">40</container><unittitle><emph>Dark Victory</emph>(Warner Brothers, <unitdate type="inclusive" normal="1939" era="ce" calendar="gregorian">1939</unitdate>)</unittitle><note>Pencil sketch, 147 pp.Trailer, pencil sketch, 9 pp.Studio music track recordings, tapes 17, 18, 19.</note></did></c02><c02><did><container type="box">7</container><container type="folder">14</container><container type="volume">41</container><unittitle><emph>Daughters Courageous</emph>(Warner Brothers, <unitdate type="inclusive" normal="1939" era="ce" calendar="gregorian">1939</unitdate>) "Family Affair"</unittitle><note>Pencil sketch, 79 pp.Trailer, pencil sketch, 14 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">14</container><container type="volume">42</container><unittitle><emph>Dawn Patrol, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1938" era="ce" calendar="gregorian">1938</unitdate>)</unittitle><note>Pencil sketch, 9 pp.Trailer, pencil sketch, 3 pp.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">17</container><container type="volume">43</container><unittitle><emph>Death of a Scoundrel</emph>(RKO, <unitdate type="inclusive" normal="1956" era="ce" calendar="gregorian">1956</unitdate>)</unittitle><note>Pencil sketch, 139 pp.Loose pencil sketch, 46 pp.Studio music track recordings, tape 3.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">18</container><container type="volume">44</container><unittitle><emph>Decision of Christopher Blake, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1948" era="ce" calendar="gregorian">1948</unitdate>) "Christopher Blake"</unittitle><note>Pencil sketch, 143 pp.Loose pencil sketch, "Blake," 3 pp.Studio music track recordings, tapes 63, 69, 70.</note></did></c02><c02><did><container type="box">7</container><container type="folder">15</container><container type="volume">45</container><unittitle><emph>Deep Valley</emph>(Warner Brothers, 1947)</unittitle><note>Pencil sketch, 222 pp.Trailer, pencil sketch, 8 pp."Deep Valley," Remick Music Corp., 1947, 3 pp.Studio music track recordings, tapes 3, 59, 60, 61.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">19</container><container type="volume">46</container><unittitle><emph>Desert Song, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1953" era="ce" calendar="gregorian">1953</unitdate>)</unittitle><note>Pencil sketch, 222 pp.Trailer, pencil sketch, 10 pp.Loose pencil sketch, 1 p.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">19</container><container type="volume">47</container><unittitle><emph>Desperate Journey</emph>(Warner Brothers, <unitdate type="inclusive" normal="1942" era="ce" calendar="gregorian">1942</unitdate>)</unittitle><note>Pencil sketch, 223 pp.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">19</container><container type="volume">48</container><unittitle><emph>Dispatch From Reuters, A</emph>(Warner Brothers, <unitdate type="inclusive" normal="1940" era="ce" calendar="gregorian">1940</unitdate>) "Reuter"</unittitle><note>Pencil sketch, 146 pp.Studio music track recordings, tape 23.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">20</container><container type="volume">49</container><unittitle><emph>Distant Drums</emph>(Warner Brothers, <unitdate type="inclusive" normal="1951" era="ce" calendar="gregorian">1951</unitdate>)</unittitle><note>Pencil sketch, 269 pp.Loose pencil sketch, "Drums," 2 pp.Studio music track recordings, tapes 89, 90.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">21</container><container type="volume">50</container><unittitle><emph>Distant Trumpet, A</emph>(Warner Brothers, <unitdate type="inclusive" normal="1964" era="ce" calendar="gregorian">1964</unitdate>)</unittitle><note>Pencil sketch, copy, 222 pp.Loose pencil sketch, 29 pp.Studio music track recordings, tapes 3, 38.</note></did></c02><c02><did><container type="box">7</container><container type="folder">16</container><container type="volume">51</container><unittitle><emph>Dive Bomber</emph>(Warner Brothers, <unitdate type="inclusive" normal="1941" era="ce" calendar="gregorian">1941</unitdate>)</unittitle><note>Pencil sketch, 144 pp.Trailer, pencil sketch, 7 pp."We Watch the Skyways," Remick Music Corp., 1941, 5 pp.Studio music track recordings, tape 24.</note></did></c02><c02><did><container type="box">7</container><container type="folder">16</container><container type="volume">52</container><unittitle><emph>Dr. Ehrlich's Magic Bullet</emph>(Warner Brothers, <unitdate type="inclusive" normal="1940" era="ce" calendar="gregorian">1940</unitdate>) "Magic Bullets"</unittitle><note>Pencil sketch, 138 pp.Studio music track recordings, tapes 20, 21.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">22</container><container type="volume">53</container><unittitle><emph>Dodge City</emph>(Warner Brothers, <unitdate type="inclusive" normal="1939" era="ce" calendar="gregorian">1939</unitdate>)</unittitle><note>Pencil sketch, 165 pp.Trailer, pencil sketch, 12 pp.Loose pencil sketch, 1 p.Studio music track recordings, tape 18.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">22</container><unittitle><emph>Down to Their Last Yacht</emph>(RKO, <unitdate type="inclusive" normal="1934" era="ce" calendar="gregorian">1934</unitdate>)</unittitle><note>Studio music track recordings, tapes 2, 4.</note></did></c02><c02><did><container type="box">7</container><container type="folder">17</container><container type="volume">54</container><unittitle><emph>Dust Be My Destiny</emph>(Warner Brothers, <unitdate type="inclusive" normal="1939" era="ce" calendar="gregorian">1939</unitdate>)</unittitle><note>Pencil sketch, 185 pp.Trailer, pencil sketch, 12 pp."Dust Be My Destiny," Harms Inc., 1939, 5 pp.Studio music track recordings, tape 19.</note></did></c02><c02><did><container type="box">7</container><container type="folder">17</container><container type="volume">55</container><unittitle><emph>Each Dawn I Die</emph>(Warner Brothers, <unitdate type="inclusive" normal="1939" era="ce" calendar="gregorian">1939</unitdate>) "Each Dawn"</unittitle><note>Pencil sketch, 36 pp.Trailer, pencil sketch, 8 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">17</container><container type="volume">56</container><unittitle><emph>Escapade in Japan</emph>(RKO, <unitdate type="inclusive" normal="1957" era="ce" calendar="gregorian">1957</unitdate>)</unittitle><note>Pencil sketch, copy, 155 pp.Studio music track recordings, tapes 3, 34, 35, 36.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">24</container><container type="volume">57</container><unittitle><emph>FBI Story, The</emph>(Warner Brothers, 1959) "FBI"</unittitle><note>Pencil sketch, copy, 281 pp.Loose pencil sketch, 45 pp.Studio music track recordings, tape 36.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">25</container><unittitle><emph>Farewell to Arms, A</emph>(Selznick/20th Century-Fox, <unitdate type="inclusive" normal="1957" era="ce" calendar="gregorian">1957</unitdate>) Audition</unittitle><note>Loose pencil sketch, 12 pp.Studio music track recordings, tape 3.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">25</container><container type="volume">58</container><unittitle><emph>Fighter Squadron</emph>(Warner Brothers, <unitdate type="inclusive" normal="1948" era="ce" calendar="gregorian">1948</unitdate>)</unittitle><note>Pencil sketch, 224 pp.Studio music track recordings, tapes 68, 69.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">25</container><container type="volume">144</container><unittitle><emph>First Lady</emph>(Warner Brothers, <unitdate type="inclusive" normal="1937" era="ce" calendar="gregorian">1937</unitdate>)</unittitle><note>Pencil sketch, 72 pp.Studio music track recordings, tape 14.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">25</container><container type="volume">59</container><unittitle><emph>Flame and the Arrow, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1950" era="ce" calendar="gregorian">1950</unitdate>)</unittitle><note>Pencil sketch, 261 pp.Studio music track recordings, tapes 76, 78, 79.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">25</container><container type="volume">60</container><unittitle><emph>Flamingo Road</emph>(Warner Brothers, <unitdate type="inclusive" normal="1949" era="ce" calendar="gregorian">1949</unitdate>)</unittitle><note>Pencil sketch, 129 pp.Trailer, pencil sketch, 6 pp.Studio music track recordings, tapes 73, 74.<emph>Flying Down to Rio</emph>(RKO, 1933)Studio music track recordings, tape 1.<emph>Follow the Fleet</emph>(RKO, 1936)Studio music track recordings, tape 6.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">26</container><container type="volume">61</container><unittitle><emph>Force of Arms</emph>(Warner Brothers, <unitdate type="inclusive" normal="1951" era="ce" calendar="gregorian">1951</unitdate>)</unittitle><note>Pencil sketch, 124 pp.Loose pencil sketch, 15 pp.Studio music track recordings, tapes 87, 88.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">26</container><container type="volume">62</container><unittitle><emph>Fort Dobbs</emph>(Warner Brothers, <unitdate type="inclusive" normal="1958" era="ce" calendar="gregorian">1958</unitdate>)</unittitle><note>Pencil sketch, copy, 251 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">18</container><unittitle><emph>Fountain, The</emph>(RKO, <unitdate type="inclusive" normal="1934" era="ce" calendar="gregorian">1934</unitdate>)</unittitle><note>"The Fountain Waltz," Irving Berlin Inc., 1935, 4 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">18</container><container type="volume">63</container><unittitle><emph>Fountainhead, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1949" era="ce" calendar="gregorian">1949</unitdate>)</unittitle><note>Pencil sketch, 161 pp.Studio music track recordings, tapes 29, 70, 73, 74, 75.</note></did></c02><c02><did><container type="box">7</container><container type="folder">18</container><container type="volume">64</container><unittitle><emph>Four Daughters</emph>(Warner Brothers, <unitdate type="inclusive" normal="1938" era="ce" calendar="gregorian">1938</unitdate>) "Woman Courageous"</unittitle><note>Pencil sketch, 102 pp.Trailer, pencil sketch, 7 pp."Mickey's Theme," by Max Rabinowitsh, 2 pp."Rhapsody," by Heinz Roemheld, 3 pp.Studio music track recordings, tapes 15, 16.</note></did></c02><c02><did><container type="box">7</container><container type="folder">19</container><container type="volume">65</container><unittitle><emph>Four Wives</emph>(Warner Brothers, <unitdate type="inclusive" normal="1940" era="ce" calendar="gregorian">1940</unitdate>)</unittitle><note>Pencil sketch, 110 pp."Close Together," Remick Music Corp., 1941, 5 pp.Studio music track recordings, tapes 2, 19.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">27</container><container type="volume">66</container><unittitle><emph>Garden of Allah, The</emph>(Selznick/United Artists, <unitdate type="inclusive" normal="1936" era="ce" calendar="gregorian">1936</unitdate>)</unittitle><note>Pencil sketch, 285 pp.Loose pencil sketch, 18 pp.Studio music track recordings, tapes 2, 8, 9, 10, 11.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">28</container><container type="volume">67</container><unittitle><emph>Gay Sisters, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1942" era="ce" calendar="gregorian">1942</unitdate>)</unittitle><note>Pencil sketch, 178 pp.Trailer, pencil sketch, 6 pp.Loose pencil sketch, 2 pp.Studio music track recordings, tapes 49, 50.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">29</container><container type="volume">68</container><unittitle><emph>Glass Menagerie, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1950" era="ce" calendar="gregorian">1950</unitdate>)</unittitle><note>Pencil sketch, 248 pp.Trailer, pencil sketch, 9 pp.Loose pencil sketch, "Menagerie," 2 pp.Studio music track recordings, tapes 79, 80, 81.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">29</container><container type="volume">69</container><unittitle><emph>God's Country and the Woman</emph>(Warner Brothers, <unitdate type="inclusive" normal="1936" era="ce" calendar="gregorian">1936</unitdate>)</unittitle><note>Pencil sketch, 69 pp.Studio music track recordings, tapes 7, 8, 11.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">29</container><container type="volume">70</container><unittitle><emph>Gold Is Where You Find It</emph>(Warner Brothers, <unitdate type="inclusive" normal="1938" era="ce" calendar="gregorian">1938</unitdate>)</unittitle><note>Pencil sketch, 216 pp.Studio music track recordings, tapes 14, 15.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">30</container><container type="volume">71ab</container><unittitle><emph>Gone With the Wind</emph>(Selznick/MGM, <unitdate type="inclusive" normal="1939" era="ce" calendar="gregorian">1939</unitdate>) "Wind" or "GWTW"</unittitle><note>Pencil sketch, 457 pp.Loose pencil sketch, 3 pp.</note></did></c02><c02><did><container type="oversize">OS 14</container><container type="folder">3</container><unittitle><emph>Gone With the Wind</emph>(Selznick/MGM, <unitdate type="inclusive" normal="1939" era="ce" calendar="gregorian">1939</unitdate>) "Wind" or "GWTW"</unittitle><note>Loose ink score (for RCA, ca. 1954), 58 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">20</container><unittitle><emph>Gone With the Wind</emph>(Selznick/MGM, <unitdate type="inclusive" normal="1939" era="ce" calendar="gregorian">1939</unitdate>) "Wind" or "GWTW"</unittitle><note>"Piano Miniatures," Remick Music Corp., 1941, 12 pp."My Own True Love," (Tara's Theme), Remick Music Corp., 1941, 3 pp.Studio music track recordings, tapes 19, 43, 44, 45, 46, 47, 48, 49.</note></did></c02><c02><did><container type="box">7</container><container type="folder">21</container><container type="volume">72</container><unittitle><emph>Great Lie, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1941" era="ce" calendar="gregorian">1941</unitdate>)</unittitle><note>Pencil sketch, 190 pp."I Have So Much More," M. Witmark & Sons, 1941, 5 pp.Studio music track recordings, tapes 24, 3.</note></did></c02><c02><did><container type="box">7</container><container type="folder">21</container><container type="volume">73</container><unittitle><emph>Green Light</emph>(Warner Brothers, <unitdate type="inclusive" normal="1937" era="ce" calendar="gregorian">1937</unitdate>)</unittitle><note>Pencil sketch, 138 pp.Trailer, pencil sketch, 9 pp.Studio music track recordings, tapes 11, 12.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">1</container><container type="volume">74</container><unittitle><emph>Hanging Tree, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1959" era="ce" calendar="gregorian">1959</unitdate>) "H. Tree"</unittitle><note>Pencil sketch, copy, 166 pp.Loose pencil sketch, 33 pp.Studio music track recordings, tapes 3, 36.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">2</container><container type="volume">75</container><unittitle><emph>Helen of Troy</emph>(Warner Brothers, <unitdate type="inclusive" normal="1956" era="ce" calendar="gregorian">1956</unitdate>)</unittitle><note>Copy conductor score, 398 pp.Trailer, copy conductor score, 14 pp.Loose pencil sketch, "Helen" and "Troy," 6 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">22</container><unittitle><emph>Helen of Troy</emph>(Warner Brothers, <unitdate type="inclusive" normal="1956" era="ce" calendar="gregorian">1956</unitdate>)</unittitle><note>"Theme from Helen of Troy," Harms, Inc., 1956, 3 pp.Studio music track recordings, tapes 28, 31, 93.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">14</container><container type="volume">76</container><unittitle><emph>Hell on Frisco Bay</emph>(Jaguar/Warner Brothers, 1956) (working title: "The Darkest Hour")</unittitle><note>Pencil sketch, copy, "The Darkest Hour," Main Title--Reel 11/1, 87 pp.Pencil sketch, copy, "Hour," Reel 11/2-13/4 (end), 47 pp.Loose pencil sketch, "Darkest Hour" 5 pp.Studio music track recordings, tapes 3, 31.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">3</container><container type="volume">77</container><unittitle><emph>Her Kind of Man</emph>(Warner Brothers, <unitdate type="inclusive" normal="1946" era="ce" calendar="gregorian">1946</unitdate>)</unittitle><note>Pencil sketch, 18 pp.<emph>House of Wax</emph>(Warner Brothers, 1953) "Wax"Trailer, pencil sketch, 9 pp.</note></did></c02><c02><did><container type="oversize">OS 11</container><container type="folder">23</container><container type="volume">78</container><unittitle><emph>I Was a Communist for the FBI</emph>(Warner Brothers, 1951) "Communist"</unittitle><note>Pencil sketch, 54 pp.<emph>I'll See You in My Dreams</emph>(Warner Brothers, 1952) "Dreams"Loose pencil sketch, 4 pp.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">4</container><container type="volume">79</container><unittitle><emph>Ice Palace</emph>(Warner BROTHERS, <unitdate type="inclusive" normal="1960" era="ce" calendar="gregorian">1960</unitdate>)</unittitle><note>Pencil sketch, 347 pp.Loose pencil sketch, 14 pp.Studio music track recordings, tapes 36, 37.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">4</container><container type="volume">80</container><unittitle><emph>Illegal</emph>(Warner Brothers, <unitdate type="inclusive" normal="1955" era="ce" calendar="gregorian">1955</unitdate>)</unittitle><note>Copy conductor score, 100 pp.Studio music track recordings, tape 31.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">4</container><container type="volume">81</container><unittitle><emph>In This Our Life</emph>(Warner Brothers, <unitdate type="inclusive" normal="1942" era="ce" calendar="gregorian">1942</unitdate>)</unittitle><note>Pencil sketch, 135 pp.Trailer, pencil sketch, 12 pp.Studio music track recordings, tapes 26, 49.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">4</container><container type="volume">82</container><unittitle><emph>Informer, The</emph>(RKO, <unitdate type="inclusive" normal="1935" era="ce" calendar="gregorian">1935</unitdate>)</unittitle><note>Pencil sketch, 108 pp."The Minstrel Boy," vocal, pencil sketch, 4 pp.Studio music track recordings, tapes 4, 41, 42, 63, 72.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">4</container><container type="volume">83</container><unittitle><emph>Intermezzo</emph>(Selznick/United Artists, <unitdate type="inclusive" normal="1939" era="ce" calendar="gregorian">1939</unitdate>)</unittitle><note>Pencil sketch and copy sketch, 78 pp.Studio music track recordings, tapes 43, 44, 45, 46.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">4</container><container type="volume">84</container><unittitle><emph>Iron Mistress, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1952" era="ce" calendar="gregorian">1952</unitdate>)</unittitle><note>Pencil sketch, 168 pp.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">4</container><container type="volume">85</container><unittitle><emph>Jazz Singer, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1953" era="ce" calendar="gregorian">1953</unitdate>)</unittitle><note>Pencil sketch, 65 pp.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">5</container><container type="volume">86</container><unittitle><emph>Jezebel</emph>(Warner Brothers, <unitdate type="inclusive" normal="1938" era="ce" calendar="gregorian">1938</unitdate>)</unittitle><note>Pencil sketch and blue line, 216 pp.Trailer, pencil sketch, 9 pp.Loose pencil sketch, 1 p.Studio music track recordings, tapes 14, 16, 17.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">5</container><container type="volume">87</container><unittitle><emph>Jim Thorpe--All-American</emph>(Warner Brothers, <unitdate type="inclusive" normal="1951" era="ce" calendar="gregorian">1951</unitdate>) "Thorpe"</unittitle><note>Pencil sketch, 238 pp.Studio music track recordings, tapes 86, 87.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">6</container><container type="volume">88ab</container><unittitle><emph>John Paul Jones</emph>(Warner Brothers, <unitdate type="inclusive" normal="1959" era="ce" calendar="gregorian">1959</unitdate>)</unittitle><note>Pencil sketch, copy, 371 pp.Loose pencil sketch, 2 pp.Studio music track recordings, tape 36.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">7</container><container type="volume">89</container><unittitle><emph>Johnny Belinda</emph>(Warner Brothers, <unitdate type="inclusive" normal="1948" era="ce" calendar="gregorian">1948</unitdate>)</unittitle><note>Pencil sketch, 144 pp.Loose pencil sketch, 1 p.Studio music track recordings, tapes 3, 13, 67, 68.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">7</container><container type="volume">90</container><unittitle><emph>Key Largo</emph>(Warner Brothers, <unitdate type="inclusive" normal="1948" era="ce" calendar="gregorian">1948</unitdate>)</unittitle><note>Pencil sketch, 125 pp.Studio music track recordings, tapes 66, 67.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">7</container><container type="volume">144</container><unittitle><emph>Kid Galahad</emph>(Warner Brothers, <unitdate type="inclusive" normal="1937" era="ce" calendar="gregorian">1937</unitdate>) "Galahad"</unittitle><note>Pencil sketch, 18 pp.Studio music track recordings, tape 13.</note></did></c02><c02><did><container type="box">7</container><container type="folder">23</container><container type="volume">91</container><unittitle><emph>King Kong</emph>(RKO, <unitdate type="inclusive" normal="1933" era="ce" calendar="gregorian">1933</unitdate>)</unittitle><note>Pencil sketch, 114 pp."King Kong," Sam Fox Publishing Co., 1933, 5 pp.Studio music track recordings, tapes 1, 4.</note></did></c02><c02><did><container type="oversize">OS 13</container><container type="folder">2</container><container type="volume">92</container><unittitle><emph>King Richard and the Crusaders</emph>(Warner Brothers, <unitdate type="inclusive" normal="1954" era="ce" calendar="gregorian">1954</unitdate>) "The Talisman"</unittitle><note>Copy conductor score, 297 pp.Loose pencil sketch, 274 pp.</note></did></c02><c02><did><container type="oversize">OS 13</container><container type="folder">2</container><container type="volume">93</container><unittitle><emph>Kiss in the Dark, A</emph>(Warner Brothers, <unitdate type="inclusive" normal="1948" era="ce" calendar="gregorian">1948</unitdate>)</unittitle><note>Pencil sketch, 130 pp.Trailer, pencil sketch, 7 pp.Studio music track recordings, tapes 72, 73.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">8</container><container type="volume">94</container><unittitle><emph>Lady Takes a Sailor, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1949" era="ce" calendar="gregorian">1949</unitdate>)</unittitle><note>Pencil sketch, 190 pp.Trailer, pencil sketch, 12 pp.Loose pencil sketch, 9 pp.Studio music track recordings, tapes 75, 76, 77.</note></did></c02><c02><did><container type="box">7</container><container type="folder">24</container><container type="volume">95</container><unittitle><emph>Last Command, The</emph>(Republic, <unitdate type="inclusive" normal="1955" era="ce" calendar="gregorian">1955</unitdate>)</unittitle><note>Copy conductor score, 217 pp."Consuela," Victor Young Publications, Inc., 1955, 3 pp."Jim Bowie," Victor Young Publications, Inc., 1955, 5 pp.Lyric sheet.Studio music track recordings, tapes 3, 30, 31.</note></did></c02><c02><did><container type="box">7</container><container type="folder">24</container><container type="volume">96</container><unittitle><emph>Letter, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1940" era="ce" calendar="gregorian">1940</unitdate>)</unittitle><note>Pencil sketch, 200 pp.Trailer, pencil sketch, 6 pp.Studio music track recordings, tape 23.</note></did></c02><c02><did><container type="box">7</container><container type="folder">24</container><container type="volume">97</container><unittitle><emph>Life of Emilie Zola, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1937" era="ce" calendar="gregorian">1937</unitdate>) "Zola"</unittitle><note>Pencil sketch, 144 pp.Trailer, pencil sketch, 13 pp.Studio music track recordings, tapes 4, 13, 14.</note></did></c02><c02><did><container type="box">7</container><container type="folder">24</container><container type="volume">117</container><unittitle><emph>Life of Vergie Winters, The</emph>(RKO, <unitdate type="inclusive" normal="1934" era="ce" calendar="gregorian">1934</unitdate>) "Vergie Winters"</unittitle><note>Pencil sketch, 60 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">24</container><container type="volume">98</container><unittitle><emph>Life With Father</emph>(Warner Brothers, <unitdate type="inclusive" normal="1947" era="ce" calendar="gregorian">1947</unitdate>)</unittitle><note>Pencil sketch, 94 pp.Trailer, pencil sketch, 4 pp.Studio music track recordings, tape 29.</note></did></c02><c02><did><container type="box">7</container><container type="folder">24</container><container type="volume">99</container><unittitle><emph>Lightening Strikes Twice</emph>(Warner Brothers, <unitdate type="inclusive" normal="1951" era="ce" calendar="gregorian">1951</unitdate>)</unittitle><note>Pencil sketch, 139 pp.Studio music track recordings, tapes 79, 84, 85.</note></did></c02><c02><did><container type="box">7</container><container type="folder">24</container><container type="volume">100</container><unittitle><emph>Lion and the Horse, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1952" era="ce" calendar="gregorian">1952</unitdate>)</unittitle><note>Pencil sketch, 201 pp.Studio music track recordings, tape 91.</note></did></c02><c02><did><container type="box">7</container><container type="folder">24</container><container type="volume">101</container><unittitle><emph>Little Lord Fauntleroy</emph>(Selznick/United Artists, <unitdate type="inclusive" normal="1936" era="ce" calendar="gregorian">1936</unitdate>)</unittitle><note>Pencil sketch, 119 pp.Studio music track recordings, tapes 6, 7.</note></did></c02><c02><did><container type="box">7</container><container type="folder">24</container><container type="volume">102</container><unittitle><emph>Little Minister, The</emph>(RKO, <unitdate type="inclusive" normal="1934" era="ce" calendar="gregorian">1934</unitdate>)</unittitle><note>Pencil sketch, 160 pp.Studio music track recordings, tapes 2, 4.</note></did></c02><c02><did><container type="box">7</container><container type="folder">25</container><container type="volume">103</container><unittitle><emph>Little Women</emph>(RKO, <unitdate type="inclusive" normal="1933" era="ce" calendar="gregorian">1933</unitdate>)</unittitle><note>Pencil sketch, 100 pp."Josephine," Irving Berlin, Inc., 1934, 5 pp.Studio music track recordings, tape 4.<emph>Lost Horizon</emph>(Columbia, 1937) (Music by Dimitri Tiomkin; Musical Director, Max Steiner)Studio music track recordings, tapes 14, 15.</note></did></c02><c02><did><container type="box">7</container><container type="folder">25</container><container type="volume">104</container><unittitle><emph>Lost Patrol, The</emph>(RKO, <unitdate type="inclusive" normal="1934" era="ce" calendar="gregorian">1934</unitdate>)</unittitle><note>Pencil sketch, 150 pp.Studio music track recordings, tapes 1, 2.</note></did></c02><c02><did><container type="box">7</container><container type="folder">25</container><container type="volume">105</container><unittitle><emph>Love and Learn</emph>(Warner BROTHERS, <unitdate type="inclusive" normal="1947" era="ce" calendar="gregorian">1947</unitdate>)</unittitle><note>Pencil sketch, 106 pp.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">10</container><container type="volume">106</container><unittitle><emph>Majority of One, A</emph>(Warner Brothers, <unitdate type="inclusive" normal="1961" era="ce" calendar="gregorian">1961</unitdate>)</unittitle><note>Pencil sketch, copy, 118 pp.Loose pencil sketch, 89 pp.Studio music track recordings, tape 3.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">10</container><container type="volume">77</container><unittitle><emph>Man I Love, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1947" era="ce" calendar="gregorian">1947</unitdate>)</unittitle><note>Pencil sketch, 80 pp.Studio music track recordings, tape 57.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">11</container><container type="volume">107</container><unittitle><emph>Mara Maru</emph>(Warner Brothers, <unitdate type="inclusive" normal="1952" era="ce" calendar="gregorian">1952</unitdate>) "Maru" and "Manila"</unittitle><note>Pencil sketch, 147 pp.Loose pencil sketch, 6 pp.Studio music track recordings, tape 91.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">11</container><container type="volume">108</container><unittitle><emph>Marjorie Morningstar</emph>(Warner Brothers, <unitdate type="inclusive" normal="1958" era="ce" calendar="gregorian">1958</unitdate>)</unittitle><note>Pencil sketch, 205 pp.Studio music track recordings, tape 36.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">11</container><container type="volume">109</container><unittitle><emph>McConnel Story, The</emph>(Warner BROTHERS, <unitdate type="inclusive" normal="1954" era="ce" calendar="gregorian">1954</unitdate>)</unittitle><note>Copy conductor score, 139 pp.Studio music track recordings, tape 31.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">11</container><container type="volume">110</container><unittitle><emph>Mildred Pierce</emph>(Warner Brothers, <unitdate type="inclusive" normal="1945" era="ce" calendar="gregorian">1945</unitdate>)</unittitle><note>Pencil sketch, 150 pp.Trailer, pencil sketch, 8 pp.Studio music track recordings, tape 57.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">11</container><container type="volume">111</container><unittitle><emph>Miracle of Our Lady of Fatima, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1952" era="ce" calendar="gregorian">1952</unitdate>)</unittitle><note>Pencil sketch, 177 pp.Trailer, pencil sketch, 8 pp.Studio music track recordings, tapes 30, 91.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">11</container><container type="volume">112</container><unittitle><emph>Mission to Moscow</emph>(Warner Brothers, <unitdate type="inclusive" normal="1943" era="ce" calendar="gregorian">1943</unitdate>)</unittitle><note>Pencil sketch, 159 pp.Trailer, pencil sketch, 8 pp.Studio music track recordings, tape 27.<emph>Morning Glory</emph>(RKO, 1933)Studio music track recordings, tape 1.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">11</container><container type="volume">82</container><unittitle><emph>Most Dangerous Game, The</emph>(RKO, <unitdate type="inclusive" normal="1932" era="ce" calendar="gregorian">1932</unitdate>) "Dangerous Game"</unittitle><note>Pencil sketch, 84 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">26</container><unittitle><emph>Mrs. Mike</emph>(Regal/United Artists, <unitdate type="inclusive" normal="1949" era="ce" calendar="gregorian">1949</unitdate>)</unittitle><note>"Kathy," Remick Music Corp., 1949, 3 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">26</container><container type="volume">7</container><unittitle><emph>My Girl Tisa</emph>(U.S. Pictures/Warner Brothers, <unitdate type="inclusive" normal="1948" era="ce" calendar="gregorian">1948</unitdate>) "The Innocent Years," "Ever the Beginning"</unittitle><note>Pencil sketch, 41 pp.Studio music track recordings, tape 62.</note></did></c02><c02><did><container type="box">7</container><container type="folder">26</container><container type="volume">113</container><unittitle><emph>My Reputation</emph>(Warner Brothers, <unitdate type="inclusive" normal="1946" era="ce" calendar="gregorian">1946</unitdate>)</unittitle><note>Pencil sketch, 143 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">27</container><container type="volume">34</container><unittitle><emph>My Reputation</emph>(Warner Brothers, <unitdate type="inclusive" normal="1946" era="ce" calendar="gregorian">1946</unitdate>)</unittitle><note>Trailer, pencil sketch, 8 pp."While You Were Away," Remick Music Corp., 1945, 3 pp.Studio music track recordings, tapes 3, 28.</note></did></c02><c02><did><container type="box">7</container><container type="folder">27</container><container type="volume">114</container><unittitle><emph>My Wild Irish Rose</emph>(Warner Brothers, <unitdate type="inclusive" normal="1947" era="ce" calendar="gregorian">1947</unitdate>)</unittitle><note>Pencil sketch, 68 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">27</container><container type="volume">115</container><unittitle><emph>Night and Day</emph>(Warner Brothers, <unitdate type="inclusive" normal="1946" era="ce" calendar="gregorian">1946</unitdate>)</unittitle><note>Pencil sketch, 98 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">28</container><container type="volume">116</container><unittitle><emph>Now, Voyager</emph>(Warner Brothers, <unitdate type="inclusive" normal="1942" era="ce" calendar="gregorian">1942</unitdate>)</unittitle><note>Pencil sketch, 216 pp.Trailer, pencil sketch, 4 pp."It Can't Be Wrong," Harms, Inc., 1942, 3 pp.Studio music track recordings, tapes 2, 3, 26, 50.</note></did></c02><c02><did><container type="box">7</container><container type="folder">28</container><container type="volume">117</container><unittitle><emph>Of Human Bondage</emph>(RKO, <unitdate type="inclusive" normal="1934" era="ce" calendar="gregorian">1934</unitdate>)</unittitle><note>Pencil sketch, 83 pp.Studio music track recordings, tape 4.</note></did></c02><c02><did><container type="box">7</container><container type="folder">28</container><container type="volume">118</container><unittitle><emph>Oklahoma Kid, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1939" era="ce" calendar="gregorian">1939</unitdate>)</unittitle><note>Pencil sketch, 196 pp.Trailer, pencil sketch, 10 pp.Studio music track recordings, tapes 4, 17, 18.</note></did></c02><c02><did><container type="box">7</container><container type="folder">28</container><container type="volume">119</container><unittitle><emph>Old Maid, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1939" era="ce" calendar="gregorian">1939</unitdate>)</unittitle><note>Pencil sketch, 191 pp.Trailer, pencil sketch, 8 pp.Studio music track recordings, tape 19.</note></did></c02><c02><did><container type="box">7</container><container type="folder">28</container><container type="volume">120</container><unittitle><emph>On Moonlight Bay</emph>(Warner Brothers, <unitdate type="inclusive" normal="1951" era="ce" calendar="gregorian">1951</unitdate>)</unittitle><note>Pencil sketch, 79 pp.Studio music track recordings, tapes 86, 87.</note></did></c02><c02><did><container type="box">7</container><container type="folder">28</container><container type="volume">121</container><unittitle><emph>One Foot in Heaven</emph>(Warner Brothers, <unitdate type="inclusive" normal="1941" era="ce" calendar="gregorian">1941</unitdate>)</unittitle><note>Pencil sketch, 145 pp.Trailer, pencil sketch, 10 pp.Studio music track recordings, tape 25.</note></did></c02><c02><did><container type="box">7</container><container type="folder">28</container><container type="volume">122</container><unittitle><emph>One More Tomorrow</emph>(Warner Brothers, <unitdate type="inclusive" normal="1946" era="ce" calendar="gregorian">1946</unitdate>) "To Morrow"</unittitle><note>Pencil sketch, 84 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">28</container><container type="volume">123</container><unittitle><emph>Operation Pacific</emph>(Warner Brothers, <unitdate type="inclusive" normal="1951" era="ce" calendar="gregorian">1951</unitdate>)</unittitle><note>Pencil sketch, 231 pp.Studio music track recordings, tapes 83, 84.</note></did></c02><c02><did><container type="box">7</container><container type="folder">28</container><container type="volume">124</container><unittitle><emph>Out of the Fog</emph>(Warner Brothers, <unitdate type="inclusive" normal="1941" era="ce" calendar="gregorian">1941</unitdate>) "Dangerous Harbor"</unittitle><note>Pencil sketch, 8 pp.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">12</container><container type="volume">125</container><unittitle><emph>Parrish</emph>(Warner Brothers, <unitdate type="inclusive" normal="1961" era="ce" calendar="gregorian">1961</unitdate>)</unittitle><note>Pencil sketch, copy, 222 pp.Loose copy score, 5 pp.Studio music track recordings, tapes 3, 37.</note></did></c02><c02><did><container type="box">7</container><container type="folder">29</container><container type="volume">126</container><unittitle><emph>Passage to Marseille</emph>(Warner Brothers, <unitdate type="inclusive" normal="1944" era="ce" calendar="gregorian">1944</unitdate>)</unittitle><note>Pencil sketch, 255 pp.Trailer, pencil sketch, 15 pp."Someday I'll Meet You Again," M. Witmark & Sons, 1944, 3 pp.Studio music track recordings, tapes 27, 50, 52.</note></did></c02><c02><did><container type="box">7</container><container type="folder">29</container><container type="volume">127</container><unittitle><emph>Pursued</emph>(U.S. Pictures/Warner Brothers, <unitdate type="inclusive" normal="1947" era="ce" calendar="gregorian">1947</unitdate>)</unittitle><note>Pencil sketch, 222 pp.Trailer, pencil sketch, 15 pp.Studio music track recordings, tapes 58, 59.</note></did></c02><c02><did><container type="box">7</container><container type="folder">29</container><container type="volume">128</container><unittitle><emph>Raton Pass</emph>(Warner Brothers, <unitdate type="inclusive" normal="1951" era="ce" calendar="gregorian">1951</unitdate>) "R. Pass"</unittitle><note>Pencil sketch, 120 pp.Studio music track recordings, tapes 85, 86.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">13</container><container type="volume">122</container><unittitle><emph>Rhapsody in Blue</emph>(Warner Brothers, 1945) "Rhapsody"</unittitle><note>Pencil sketch, 104 pp.<emph>Rockabye</emph>(RKO, 1932)Loose pencil sketch, 2 pp.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">13</container><container type="volume">129</container><unittitle><emph>Rocky Mountain</emph>(Warner Brothers, <unitdate type="inclusive" normal="1950" era="ce" calendar="gregorian">1950</unitdate>)</unittitle><note>Pencil sketch, 165 pp.Studio music track recordings, tapes 81, 82.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">9</container><container type="volume">130</container><unittitle><emph>Rome Adventure</emph>(Warner Brothers, <unitdate type="inclusive" normal="1962" era="ce" calendar="gregorian">1962</unitdate>) (Working title:<emph>Lovers Must Learn</emph>) "Lovers"</unittitle><note>Pencil sketch, copy, 147 pp.Loose pencil sketch, 10 pp.Studio music track recordings, "Lovers Must Learn," tape 37.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">14</container><container type="volume">131</container><unittitle><emph>Room for One More</emph>(Warner Brothers, <unitdate type="inclusive" normal="1952" era="ce" calendar="gregorian">1952</unitdate>)</unittitle><note>Pencil sketch, 145 pp.Loose pencil sketch, 4 pp.Studio music track recordings, tape 90.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">14</container><container type="volume">132</container><unittitle><emph>Roughly Speaking</emph>(Warner Brothers, <unitdate type="inclusive" normal="1945" era="ce" calendar="gregorian">1945</unitdate>)</unittitle><note>Pencil sketch, 185 pp.Trailer, pencil sketch, 10 pp.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">14</container><container type="volume">133</container><unittitle><emph>San Antonio</emph>(Warner Brothers, <unitdate type="inclusive" normal="1946" era="ce" calendar="gregorian">1946</unitdate>)</unittitle><note>Pencil sketch, 295 pp.Trailer, pencil sketch, 10 pp.Studio music track recordings, tape 57.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">14</container><container type="volume">134ab</container><unittitle><emph>Santa Fe Trail</emph>(Warner Brothers, <unitdate type="inclusive" normal="1940" era="ce" calendar="gregorian">1940</unitdate>)</unittitle><note>Pencil sketch, 309 pp.Studio music track recordings, tapes 23, 24.</note></did></c02><c02><did><container type="box">7</container><container type="folder">30</container><container type="volume">135</container><unittitle><emph>Saratoga Trunk</emph>(Warner Brothers, <unitdate type="inclusive" normal="1946" era="ce" calendar="gregorian">1946</unitdate>) "Saratoga"</unittitle><note>Pencil sketch, 330 pp.Trailer, pencil sketch, 8 pp."As Long As I Live," M. Witmark & Sons, 1944, 3 pp."Goin' Home," M. Witmark & Sons, 1944, 3 pp.Studio music track recordings, tapes 28, 29, 57.</note></did></c02><c02><did><container type="box">7</container><container type="folder">30</container><container type="volume">136</container><unittitle><emph>Searchers, The</emph>(C.V. Whitney/Warner Brothers, <unitdate type="inclusive" normal="1956" era="ce" calendar="gregorian">1956</unitdate>)</unittitle><note>Pencil sketch, copy, 226 pp. (last page missing).Studio music track recordings, tapes 31, 32, 33, 34.</note></did></c02><c02><did><container type="box">7</container><container type="folder">30</container><container type="volume">137</container><unittitle><emph>Sergeant York</emph>(Warner Brothers, <unitdate type="inclusive" normal="1941" era="ce" calendar="gregorian">1941</unitdate>)</unittitle><note>Pencil sketch and blue line, 224 pp.Trailer, pencil sketch, 19 pp.Studio music track recordings, tapes 25, 49.</note></did></c02><c02><did><container type="box">7</container><container type="folder">30</container><container type="volume">138</container><unittitle><emph>She</emph>(RKO, <unitdate type="inclusive" normal="1935" era="ce" calendar="gregorian">1935</unitdate>)</unittitle><note>Pencil sketch and blue line, 148 pp.Studio music track recordings, tapes 2, 4, 5.</note></did></c02><c02><did><container type="box">7</container><container type="folder">30</container><container type="volume">139</container><unittitle><emph>Shining Victory</emph>(Warner Brothers, <unitdate type="inclusive" normal="1941" era="ce" calendar="gregorian">1941</unitdate>)</unittitle><note>Pencil sketch, 116 pp.Trailer, pencil sketch, 8 pp.Studio music track recordings, tape 2.</note></did></c02><c02><did><container type="box">7</container><container type="folder">30</container><container type="volume">140</container><unittitle><emph>Silver River</emph>(Warner Brothers, <unitdate type="inclusive" normal="1948" era="ce" calendar="gregorian">1948</unitdate>)</unittitle><note>Pencil sketch, 189 pp.Studio music track recordings, tapes 30, 65, 66.</note></did></c02><c02><did><container type="box">7</container><container type="folder">30</container><container type="volume">141</container><unittitle><emph>Since You Went Away</emph>(Selznick/United Artists, <unitdate type="inclusive" normal="1944" era="ce" calendar="gregorian">1944</unitdate>)</unittitle><note>Pencil sketch, 255 pp.Studio music track recordings, tapes 27, 51, 52, 53, 54, 55.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">15</container><container type="volume">142</container><unittitle><emph>Sins of Rachel Cade, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1961" era="ce" calendar="gregorian">1961</unitdate>) "Rachel Cade"</unittitle><note>Pencil sketch, copy, 185 pp.Loose manuscript, "Rachel," 3 pp.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">15</container><container type="volume">143</container><unittitle><emph>Sisters, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1938" era="ce" calendar="gregorian">1938</unitdate>)</unittitle><note>Pencil sketch, 106 pp.Trailer, pencil sketch, 10 pp.Studio music track recordings, tape 16.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">15</container><container type="volume">144</container><unittitle><emph>Slim</emph>(Warner Brothers, <unitdate type="inclusive" normal="1937" era="ce" calendar="gregorian">1937</unitdate>)</unittitle><note>Pencil sketch, 63 pp.Trailer, pencil sketch, 10 pp.Studio music track recordings, tape 13.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">16</container><container type="volume">145/146</container><unittitle><emph>So Big</emph>(Warner Brothers, <unitdate type="inclusive" normal="1953" era="ce" calendar="gregorian">1953</unitdate>)</unittitle><note>Pencil sketch, 168 pp.Loose pencil sketch, 17 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">31</container><unittitle><emph>So Big</emph>(Warner Brothers, <unitdate type="inclusive" normal="1953" era="ce" calendar="gregorian">1953</unitdate>)</unittitle><note>"Selena's Waltz," M. Witmark & Sons, 1953, 3 pp.Studio music track recordings, tapes 3, 91, 92.</note></did></c02><c02><did><container type="box">7</container><container type="folder">31</container><container type="volume">146</container><unittitle><emph>So This Is Love</emph>(Warner Brothers, <unitdate type="inclusive" normal="1953" era="ce" calendar="gregorian">1953</unitdate>) "Love"</unittitle><note>Pencil sketch, 79 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">31</container><container type="volume">104</container><unittitle><emph>Son of Kong</emph>(RKO, <unitdate type="inclusive" normal="1933" era="ce" calendar="gregorian">1933</unitdate>)</unittitle><note>Pencil sketch, 123 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">31</container><container type="volume">147</container><unittitle><emph>South of St. Louis</emph>(Warner Brothers, <unitdate type="inclusive" normal="1949" era="ce" calendar="gregorian">1949</unitdate>)</unittitle><note>Pencil sketch, 157 pp.Studio music track recordings, tape 72.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">18</container><container type="volume">148</container><unittitle><emph>Spencer's Mountain</emph>(Warner Brothers, <unitdate type="inclusive" normal="1963" era="ce" calendar="gregorian">1963</unitdate>)</unittitle><note>Pencil sketch, copy, 197 pp.Loose pencil sketch, "Spencer," 7 pp.Studio music track recordings, tapes 37, 38.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">18</container><container type="volume">149</container><unittitle><emph>Springfield Rifle</emph>(Warner Brothers, <unitdate type="inclusive" normal="1952" era="ce" calendar="gregorian">1952</unitdate>)</unittitle><note>Pencil sketch, 242 pp.Trailer, pencil sketch, 13 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">32</container><container type="volume">150</container><unittitle><emph>Star Is Born, A</emph>(Selznick/United Artists, <unitdate type="inclusive" normal="1937" era="ce" calendar="gregorian">1937</unitdate>)</unittitle><note>Pencil sketch, 174 pp.Trailer, pencil sketch, 9 pp."A Star Is Born," Irving Berlin Inc., 1937, 5 pp.Studio music track recordings, tapes 12, 13.</note></did></c02><c02><did><container type="box">7</container><container type="folder">33</container><unittitle><emph>Star of Midnight</emph>(RKO, <unitdate type="inclusive" normal="1935" era="ce" calendar="gregorian">1935</unitdate>)</unittitle><note>"Midnight in Manhattan," Irving Berlin Inc., 1935, 5 pp.Studio music track recordings, tape 2.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">19</container><unittitle><emph>Stingaree</emph>(RKO, <unitdate type="inclusive" normal="1934" era="ce" calendar="gregorian">1934</unitdate>)</unittitle><note>Loose pencil sketch, 10 pp.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">20</container><container type="volume">151</container><unittitle><emph>Stolen Life, A</emph>(Warner Brothers, <unitdate type="inclusive" normal="1946" era="ce" calendar="gregorian">1946</unitdate>)</unittitle><note>Pencil sketch, 145 pp.Loose pencil sketch, 3 pp.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">20</container><container type="volume">152</container><unittitle><emph>Submarine D-1</emph>(Warner Brothers, <unitdate type="inclusive" normal="1937" era="ce" calendar="gregorian">1937</unitdate>)</unittitle><note>Pencil sketch, 138 pp.Studio music track recordings, tapes 13, 14.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">20</container><container type="volume">153</container><unittitle><emph>Sugarfoot</emph>(Warner Brothers, <unitdate type="inclusive" normal="1950" era="ce" calendar="gregorian">1950</unitdate>)</unittitle><note>Pencil sketch, 142 pp.Studio music track recordings, tapes 79, 84.</note></did></c02><c02><did><container type="box">7</container><container type="folder">34</container><container type="volume">154</container><unittitle><emph>Summer Place, A</emph>(Warner Brothers, <unitdate type="inclusive" normal="1959" era="ce" calendar="gregorian">1959</unitdate>)</unittitle><note>Pencil sketch, copy, 222 pp."Theme From a Summer Place," M. Witmark & Sons, 1959, 3 pp.Studio music track recordings, tape 3.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">21</container><container type="volume">155</container><unittitle><emph>Susan Slade</emph>(Warner Brothers, <unitdate type="inclusive" normal="1961" era="ce" calendar="gregorian">1961</unitdate>)</unittitle><note>Pencil sketch, copy, 210 pp.Loose manuscript, "Slade," 18 pp.Studio music track recordings, tape 37.</note></did></c02><c02><did><container type="box">7</container><container type="folder">35</container><container type="volume">117</container><unittitle><emph>Sweepings</emph>(RKO, <unitdate type="inclusive" normal="1933" era="ce" calendar="gregorian">1933</unitdate>)</unittitle><note>Pencil sketch, 68 pp."Sweepings," Sam Fox Publishing Co., 1933, 3 pp.Studio music track recordings, tape 1.</note></did></c02><c02><did><container type="box">7</container><container type="folder">35</container><container type="volume">8</container><unittitle><emph>Symphony of Six Million</emph>(RKO, <unitdate type="inclusive" normal="1932" era="ce" calendar="gregorian">1932</unitdate>)</unittitle><note>Pencil, ink sketch, 126 pp.Studio music track recordings, tape 1.</note></did></c02><c02><did><container type="box">7</container><container type="folder">35</container><container type="volume">156</container><unittitle><emph>That Certain Woman</emph>(Warner Brothers, <unitdate type="inclusive" normal="1937" era="ce" calendar="gregorian">1937</unitdate>)</unittitle><note>Pencil sketch, 147 pp.Studio music track recordings, tape 13.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">22</container><container type="volume">157</container><unittitle><emph>They Died With Their Boots On</emph>(Warner Brothers, <unitdate type="inclusive" normal="1942" era="ce" calendar="gregorian">1942</unitdate>) "They Died"</unittitle><note>Pencil sketch, 310 pp.Trailer, pencil sketch, 7 pp.Loose pencil sketch, 4 pp.Studio music track recordings, tapes 26, 49.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">22</container><container type="volume">42</container><unittitle><emph>They Made Me a Criminal</emph>(Warner Brothers, <unitdate type="inclusive" normal="1939" era="ce" calendar="gregorian">1939</unitdate>)</unittitle><note>Pencil sketch, 69 pp.Trailer, pencil sketch, 9 pp.Studio music track recordings, tapes 16, 17.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">23</container><unittitle><emph>This Is Cinerama</emph>(Cinerama, <unitdate type="inclusive" normal="1953" era="ce" calendar="gregorian">1953</unitdate>)</unittitle><note>Loose pencil sketch, "7 Wonders," "Cooper," 10 pp.Studio music track recordings, tape 91.</note></did></c02><c02><did><container type="oversize">OS 14</container><container type="folder">1</container><unittitle><emph>Those Calloways</emph>(Disney, <unitdate type="inclusive" normal="1965" era="ce" calendar="gregorian">1965</unitdate>)</unittitle><note>Loose pencil sketch, 184 pp.Studio music track recordings, tape 3.</note></did></c02><c02><did><container type="box">7</container><container type="folder">36</container><container type="volume">158</container><unittitle><emph>Three Musketeers, The</emph>(RKO, <unitdate type="inclusive" normal="1935" era="ce" calendar="gregorian">1935</unitdate>)</unittitle><note>Pencil sketch, 284 pp."The Song of the Three Musketeers," Irving Berlin Inc., 1935, 2 pp.Studio music track recordings, tapes 5, 6.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">24</container><container type="volume">159</container><unittitle><emph>Tomorrow Is Forever</emph>(International/RKO, <unitdate type="inclusive" normal="1945" era="ce" calendar="gregorian">1945</unitdate>)</unittitle><note>Pencil sketch, 200 pp.Loose pencil sketch, 3 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">37</container><unittitle><emph>Tomorrow Is Forever</emph>(International/RKO, <unitdate type="inclusive" normal="1945" era="ce" calendar="gregorian">1945</unitdate>)</unittitle><note>"Tomorrow Is Forever," Advanced Music Corp., 1945, 3 pp.Studio music track recordings, tapes 28, 55, 56, 57.</note></did></c02><c02><did><container type="box">7</container><container type="folder">38</container><container type="volume">160</container><unittitle><emph>Tovarich</emph>(Warner Brothers, 1937)</unittitle><note>Pencil sketch, 126 pp.Studio music track recordings, tape 14.<emph>Traveling Husbands</emph>(RKO, 1931)"There's a Sob In My Heart," Radio Music Company, Inc., 1931, 5 pp.</note></did></c02><c02><did><container type="box">7</container><container type="folder">38</container><container type="volume">161</container><unittitle><emph>Treasure of the Sierra Madre, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1948" era="ce" calendar="gregorian">1948</unitdate>) "Treasure"</unittitle><note>Pencil sketch, 242 pp.Trailer, pencil sketch, 11 pp.Studio music track recordings, tapes 30, 61, 62.</note></did></c02><c02><did><container type="box">7</container><container type="folder">38</container><container type="volume">162</container><unittitle><emph>Trouble Along the Way</emph>(Warner Brothers, <unitdate type="inclusive" normal="1953" era="ce" calendar="gregorian">1953</unitdate>) "Alma Mater"</unittitle><note>Pencil sketch and sketch copy, 108 pp.Trailer, pencil sketch, 9 pp.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">26</container><unittitle><emph>Two on a Guillotine</emph>(Warner Brothers, <unitdate type="inclusive" normal="1965" era="ce" calendar="gregorian">1965</unitdate>)</unittitle><note>Loose pencil sketch, 7 pp.Studio music track recordings, tape 3.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">26</container><container type="volume">163</container><unittitle><emph>Unfaithful, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1947" era="ce" calendar="gregorian">1947</unitdate>)</unittitle><note>Pencil sketch, 73 pp.Trailer, pencil sketch, 7 pp.Studio music track recordings, tape 59.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">26</container><container type="volume">164</container><unittitle><emph>Up in Arms</emph>(Goldwyn/RKO, <unitdate type="inclusive" normal="1944" era="ce" calendar="gregorian">1944</unitdate>)</unittitle><note>Pencil sketch, 106 pp.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">26</container><container type="volume">165</container><unittitle><emph>Violent Men, The</emph>(Columbia, <unitdate type="inclusive" normal="1954" era="ce" calendar="gregorian">1954</unitdate>) "Rough Company"</unittitle><note>Copy conductor score, 157 pp.Studio music track recordings, tape 30.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">26</container><container type="volume">166ab</container><unittitle><emph>Virginia City</emph>(Warner Brothers, <unitdate type="inclusive" normal="1940" era="ce" calendar="gregorian">1940</unitdate>)</unittitle><note>Pencil sketch, 304 pp.Studio music track recordings, tape 21.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">26</container><container type="volume">167</container><unittitle><emph>Voice of the Turtle, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1947" era="ce" calendar="gregorian">1947</unitdate>)</unittitle><note>Pencil sketch, 179 pp.Trailer, pencil sketch, 15 pp.Studio music track recordings, tapes 29, 62, 63.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">26</container><container type="volume">168</container><unittitle><emph>Watch of the Rhine</emph>(Warner Brothers, <unitdate type="inclusive" normal="1943" era="ce" calendar="gregorian">1943</unitdate>)</unittitle><note>Pencil sketch, 144 pp.Trailer, pencil sketch, 5 pp.Studio music track recordings, tape 27.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">27</container><container type="volume">169</container><unittitle><emph>We Are Not Alone</emph>(Warner Brothers, <unitdate type="inclusive" normal="1939" era="ce" calendar="gregorian">1939</unitdate>)</unittitle><note>Pencil sketch, 125 pp.Trailer, pencil sketch, 6 pp.Loose pencil sketch, 8 pp.Studio music track recordings, tape 19.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">27</container><container type="volume">170</container><unittitle><emph>White Banners</emph>(Warner Brothers, <unitdate type="inclusive" normal="1938" era="ce" calendar="gregorian">1938</unitdate>)</unittitle><note>Pencil sketch, 129 pp.Trailer, pencil sketch, 7 pp.Studio music track recordings, tape 15.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">27</container><container type="volume">171</container><unittitle><emph>White Heat</emph>(Warner Brothers, <unitdate type="inclusive" normal="1949" era="ce" calendar="gregorian">1949</unitdate>)</unittitle><note>Pencil sketch, 202 pp.Trailer, pencil sketch, 7 pp.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">28</container><container type="volume">173</container><unittitle><emph>Winter Meeting</emph>(Warner Brothers, <unitdate type="inclusive" normal="1948" era="ce" calendar="gregorian">1948</unitdate>) "Strange Meeting"</unittitle><note>Pencil sketch, 146 pp.Loose pencil sketch, 53 pp.Studio music track recordings, tapes 41, 63, 64.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">25</container><container type="volume">174</container><unittitle><emph>Without Honor</emph>(Hakim/United Artists, <unitdate type="inclusive" normal="1949" era="ce" calendar="gregorian">1949</unitdate>) "Twilight"</unittitle><note>Pencil sketch, "Twilight," 128 pp.Loose pencil sketch, "Twilight," 5 pp.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">25</container><container type="volume">175</container><unittitle><emph>Woman in White, The</emph>(Warner Brothers, <unitdate type="inclusive" normal="1948" era="ce" calendar="gregorian">1948</unitdate>)</unittitle><note>Pencil sketch, 215 pp.Studio music track recordings, tapes 30, 64, 65.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">29</container><container type="volume">176</container><unittitle><emph>Youngblood Hawke</emph>(Warner Brothers, <unitdate type="inclusive" normal="1964" era="ce" calendar="gregorian">1964</unitdate>)</unittitle><note>Pencil sketch, copy, 200 pp.Loose pencil sketch, 73 pp.Studio music track recordings, tapes 3, 38.</note></did></c02><c02><did><container type="oversize">OS 12</container><container type="folder">30</container><container type="volume">177</container><unittitle><emph>Young Man With a Horn</emph>(Warner Brothers, <unitdate type="inclusive" normal="1950" era="ce" calendar="gregorian">1950</unitdate>) "Horn"</unittitle><note>Pencil sketch and sketch copy, 60 pp.Loose pencil sketch, "Horn," 12 pp.Studio music track recordings, tape 77.</note></did></c02></c01><c01 level="series" tpattern="container:container:description"><head>Series VI</head><did><unittitle>General Music</unittitle></did><thead><row><entry>Box</entry><entry>Folder</entry><entry>Contents</entry></row></thead><c02 level="subseries"><did><unittitle>Foreign--Published</unittitle></did><c03><did><container type="oversize">OS 15</container><container type="folder">1</container><unittitle>"Alvaneda," C.M. Roehr, Berlin, <unitdate type="inclusive" normal="1905" era="ce" calendar="gregorian">1905</unitdate>, 5 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 15</container><container type="folder">2</container><unittitle>"Die sch枚ne Griechin," M. Kr盲mer's Nachfolger, Wien, 5 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 15</container><container type="folder">3</container><unittitle>"Heidelberger Marsch," Ludwig Doblinger, Wien, <unitdate type="inclusive" normal="1903" era="ce" calendar="gregorian">1903</unitdate>, 5 pp. (2 c.)</unittitle></did></c03><c03><did><container type="oversize">OS 15</container><container type="folder">4</container><unittitle>"Hoch Krupp!" 3 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 15</container><container type="folder">5-6</container><unittitle>Orchestrations</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">1</container><unittitle>"Lasse einmal noch dich k眉ssen," Otto Maass, Wien, <unitdate type="inclusive" normal="1897" era="ce" calendar="gregorian">1897</unitdate>, 5 pp. (2 c.)</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">2</container><unittitle>"Lied der Wienerin," Bosworth & Co., Leipzig, <unitdate type="inclusive" normal="1904" era="ce" calendar="gregorian">1904</unitdate>, 7 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">3</container><unittitle>"Lob Der Wienerin," Josef Weinberger, Leipzig, <unitdate type="inclusive" normal="1908" era="ce" calendar="gregorian">1908</unitdate>, 7 pp.</unittitle></did></c03></c02><c02 level="subseries"><did><unittitle>Foreign--Unpublished</unittitle></did><c03><did><container type="oversize">OS 16</container><container type="folder">4</container><unittitle>"Alt Woer," 1 p.</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">5</container><unittitle>"Altes Ghettoliedchen," <unitdate type="inclusive" normal="1906" era="ce" calendar="gregorian">1906</unitdate>, 4 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">6</container><unittitle>"B芒nkel," 3 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">7</container><unittitle>"Burenlied," 2 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">8</container><unittitle>"Cancan," 16 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">9</container><unittitle>"Cornet in C," 3 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">10</container><unittitle>"Das Lied vom Kind," 4 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">11</container><unittitle>"Duo," 10 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">12</container><unittitle>"English Girl," 2 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">13</container><unittitle>"Killarney," 17 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">14</container><unittitle>"Lainzer G'stanzln," 2 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">15</container><unittitle>"Lied (O L眉sse, L眉sse!)," 3 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">16</container><unittitle>"A Luil' Pompon!" 4 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">17</container><unittitle>"L眉mpenlied," 7 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">18</container><unittitle>"Marsch," 5 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">19</container><unittitle>"Maurisches St盲ndchen," 4 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">20</container><unittitle>"Man schiebt's hin, Man schiebt's her," <unitdate type="inclusive" normal="1905" era="ce" calendar="gregorian">1905</unitdate>, 2 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">21</container><unittitle>"Mixed Melodies," Paris, <unitdate type="inclusive" normal="1912" era="ce" calendar="gregorian">1912</unitdate>, 24 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">22</container><unittitle>"No. 2 Entr茅 lied," 5 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">23</container><unittitle>"No. 3 Duett," 7 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">24</container><unittitle>"No. 4 Lied," 1 p.</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">25</container><unittitle>"No. 4 Lied mit Chor," 4 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">26</container><unittitle>"No. 5陋 Schl眉ssgesang," 4 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">27</container><unittitle>"Piano," 2 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">28</container><unittitle>"Sch盲fertanz," 3 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">29</container><unittitle>"Schunkellied," 3 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">30</container><unittitle>"Servus Aladar!" 3 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">31</container><unittitle>"Steigermarsch," 3 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">32</container><unittitle>"Trio (Venus, Min茅rve, Juno)," 12 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">33</container><unittitle>"Walzer," 8 pp. (2 c.)</unittitle></did></c03><c03><did><container type="oversize">OS 16</container><container type="folder">34</container><unittitle>"Wienerlied," 7 pp. (2 c.)</unittitle><note>Orchestration, 26 pp.</note></did></c03></c02><c02 level="subseries"><did><unittitle>Foreign--Unidentified</unittitle></did><c03><did><container type="oversize">OS 16</container><container type="folder">35</container><unittitle>Foreign--Unidentified</unittitle></did></c03></c02><c02 level="subseries"><did><unittitle>Domestic--Published</unittitle></did><c03><did><container type="box">OS 17</container><container type="folder">1</container><unittitle>"Arab Chant," Mills Music, Inc., <unitdate type="inclusive" normal="1947" era="ce" calendar="gregorian">1947</unitdate>, 3 pp.</unittitle></did></c03><c03><did><container type="box">OS 17</container><container type="folder">2</container><unittitle>"Arabian Love Song," Mills Music, Inc., <unitdate type="inclusive" normal="1947" era="ce" calendar="gregorian">1947</unitdate>, 5 pp.</unittitle></did></c03><c03><did><container type="box">OS 17</container><container type="folder">3</container><unittitle>"Cupid's Whisper," Francis, Day & Hunter, 7 pp., correspondence</unittitle></did></c03><c03><did><container type="box">OS 17</container><container type="folder">4</container><unittitle>"Merry Manikins," Irving Berlin Co., <unitdate type="inclusive" normal="1928" era="ce" calendar="gregorian">1928</unitdate>, 8 pp.</unittitle></did></c03><c03><did><container type="box">OS 17</container><container type="folder">5</container><unittitle>"My Love Was Gone," Mills Music, Inc., <unitdate type="inclusive" normal="1947" era="ce" calendar="gregorian">1947</unitdate>, 3 pp. (2 c.)</unittitle></did></c03><c03><did><container type="box">OS 17</container><container type="folder">6</container><unittitle>From the musical comedy, "Peaches," all published by Harms, Inc., <unitdate type="inclusive" normal="1923" era="ce" calendar="gregorian">1923</unitdate>:</unittitle><note>"Ev'ry Heart Has a Dream," 5 pp."Insignificant Me," 5 pp."I Wish I Could Believe You," 5 pp."Listen Mister Verdi," 5 pp."Ring for Rosy," 5 pp."Passers By," 5 pp."Wake Me Up With a Kiss," orchestrations.</note></did></c03><c03><did><container type="box">OS 17</container><container type="folder">7</container><unittitle>"Petite Valise," G. Ricordi & Co., Inc., <unitdate type="inclusive" normal="1934" era="ce" calendar="gregorian">1934</unitdate>, 5 pp.</unittitle></did></c03><c03><did><container type="box">OS 17</container><container type="folder">8</container><unittitle>"Plantation," Chappell-Harms, Inc., <unitdate type="inclusive" normal="1928" era="ce" calendar="gregorian">1928</unitdate>, 7 pp. (2 c.)</unittitle></did></c03><c03><did><container type="box">OS 17</container><container type="folder">9</container><unittitle>"Sam Fox Collection of Max Steiner Compositions, Vol. 1," Sam Fox Publishing Co., <unitdate type="inclusive" normal="1933" era="ce" calendar="gregorian">1933</unitdate>, 13 compositions</unittitle></did></c03></c02><c02 level="subseries"><did><unittitle>Domestic--Unpublished</unittitle></did><c03><did><container type="oversize">OS 17</container><container type="folder">10</container><unittitle>"Campfire," 2 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 17</container><container type="folder">11</container><unittitle>"Chant," 3 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 17</container><container type="folder">12</container><unittitle>"Chimes," 1 p.</unittitle></did></c03><c03><did><container type="oversize">OS 17</container><container type="folder">13</container><unittitle>"Close to My Heart," 16 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 17</container><container type="folder">14</container><unittitle>"Dusk Finds Me Dreaming of You," 4 pp. (2 c.)</unittitle></did></c03><c03><did><container type="oversize">OS 17</container><container type="folder">15</container><unittitle>"Eskimo Chant," 3 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 17</container><container type="folder">16</container><unittitle>"Evelyn Hope," 12 pp.</unittitle><note>Orchestration, 30 pp.</note></did></c03><c03><did><container type="oversize">OS 32</container><container type="folder">5</container><unittitle>"For Max Steiner," by Harry Ruby and Arthur Hamilton, 2 pp.</unittitle><note>Studio music track recording, tape 38.</note></did></c03><c03><did><container type="oversize">OS 17</container><container type="folder">17</container><unittitle>"Give Us Your Love," 2 pp. (2 versions)</unittitle></did></c03><c03><did><container type="oversize">OS 17</container><container type="folder">18</container><unittitle>"A Handful of Earth," 4 pp. (4 versions)</unittitle><note>Studio music track recording, tape 3</note></did></c03><c03><did><container type="oversize">OS 17</container><container type="folder">19</container><unittitle>"I'm a Fool for a Song," 4 pp. (2 versions)</unittitle></did></c03><c03><did><container type="oversize">OS 17</container><container type="folder">20</container><unittitle>"Keep Your Faith in Your Flag," 4 pp. (4 versions)</unittitle></did></c03><c03><did><container type="oversize">OS 32</container><container type="folder">4</container><unittitle>"Kids," 2 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 17</container><container type="folder">21</container><unittitle>"The Lady's Maid," 2 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 17</container><container type="folder">22</container><unittitle>"Little Clown Lost," 4 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 17</container><container type="folder">23</container><unittitle>"Mazurka," 4 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 17</container><container type="folder">24</container><unittitle>"Oh Do Not Ask Me!" 3 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 17</container><container type="folder">25</container><unittitle>"Oh Well!" 2 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 17</container><container type="folder">26</container><unittitle>"Peek A Boo Moon," 4 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 17</container><container type="folder">27</container><unittitle>"Petite Marche," 10 pp.</unittitle><note>Orchestration, 16 pp.</note></did></c03><c03><did><container type="oversize">OS 17</container><container type="folder">28</container><unittitle>"Prince of Wales," 4 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 17</container><container type="folder">29</container><unittitle>"Ritual," 3 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 32</container><container type="folder">3</container><unittitle>"Shadows," 50 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 17</container><container type="folder">30</container><unittitle>"Tanya," 2 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 17</container><container type="folder">31</container><unittitle>"Tap Dance (Schottische)," 3 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 17</container><container type="folder">32</container><unittitle>"Tennessee Walking Horse," 4 pp.</unittitle></did></c03><c03><did><container type="oversize">OS 32</container><container type="folder">4</container><unittitle>Untitled, 3 pp.</unittitle></did></c03></c02><c02 level="subseries"><did><unittitle>Domestic--Unidentified</unittitle></did><c03><did><container type="oversize">OS 18</container><container type="folder">1</container><unittitle>Domestic--Unidentified</unittitle></did></c03></c02><c02 level="subseries"><did><unittitle>Source File</unittitle></did><c03><did><container type="oversize">OS 19</container><container type="folder">1</container><unittitle>Johann Strauss published compositions</unittitle></did></c03><c03><did><container type="oversize">OS 19</container><container type="folder">2</container><unittitle>"Menuett," by Haydn</unittitle></did></c03><c03><did><container type="oversize">OS 19</container><container type="folder">3</container><unittitle>Paris qui Chante</unittitle></did></c03><c03><did><container type="oversize">OS 19</container><container type="folder">4</container><unittitle>Producer's Guide to Standard Songs from the catalog of Joy Music, Inc.</unittitle></did></c03><c03><did><container type="oversize">OS 19</container><container type="folder">5</container><unittitle>"The One-Step," by Walter Humphrey</unittitle></did></c03></c02></c01><c01 level="series" tpattern="container:container:description"><head>Series VII</head><did><unittitle>Photographs</unittitle></did><thead><row><entry>Box</entry><entry>Folder</entry><entry>Contents</entry></row></thead><c02><did><container type="oversize">OS 15</container><container type="folder">7</container><unittitle>Photographs</unittitle></did></c02></c01></dsc></archdesc></ead>