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In The Spirit of St. Louis (1957), directed by Billy Wilder, Stewart is carried aloft, not only by his replica of Lindbergh’s single engine monoplane, but the heroic, emotional score of Franz Waxman. So much depended on Waxman because of the limited use of dialogue and action, as the story unfolds against the long overwater flight.
For Franz Waxman’s Oratorio “Joshua” is big. It is big in its musical forces, big in its impact, big in its ideas and exaltation.” The Oratorio is dedicated to the memory of Alice Waxman and was first performed on May 23, 1959 with the Temple Emanu-El Choir, conducted by Samuel Adler, the Dallas Symphony Orchestra, in the sanctuary of ...
26 year old violinist from Ukraine Oleksii Semenenko performing Franz Waxman’s ‘Carmen Fantasy’ in the Semi-Finals of the 2015 Queen Elisabeth International ...
The search for an answer to this question which embraces universal values is at its core of a prose-poem by James Forsyth and heightened by the music by Franz Waxman. Opening with a broad and expressive melody played by oboes, 2 soprano saxophones and an organ and supported by the full orchestra, its closing moments are taken up by the violin.
This is the first comprehensive, source-based study about composer Franz Waxman. It focuses on the intermedial transfer of Waxman’s film music and its adaptation for other media (radio broadcasts, soundtrack recordings, sheet music, theme songs, concert suites), but also on his work as a festival organizer and conductor.
Program Notes. The Metro Goldwyn Mayer Fanfare was composed by Franz Waxman and first heard before the “Main Title” of Fritz Lang’s Fury (1936); the first of seven Spencer Tracy films Waxman would score . It has introduced Metro Goldwyn Mayer films over the decades with the help of “Leo the Lion” who can also be heard in the first ...
Waxman’s score for Rear Window (Paramount, 1954) was actually a brilliant and carefully orchestrated collection of popular songs and melodies designed to provide a backdrop to the action. In addition to the conventional film accompaniment, much of the score is intended to serve as diegetic background music heard in the apartment complex.
