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       M U S I C          T H E O R Y         O N L I N E
                    A Publication of the
                  Society for Music Theory
      Copyright (c) 1993 Society for Music Theory
| Volume 0, number 2      April, 1993      ISSN:  1067-3040   |
  General Editor                          Lee Rothfarb
  Co-Editors                              David Butler
                                          Justin London
                                          Elizabeth West Marvin
                                          David Neumeyer
                                          Gregory Proctor
  Reviews Editor                          Claire Boge
  Consulting Editors
	Bo Alphonce		Thomas Mathiesen
	Jonathan Bernard	Benito Rivera
	John Clough		John Rothgeb
	Nicholas Cook		Arvid Vollsnes
	Allen Forte		Robert Wason
	Stephen Hinton		Gary Wittlich
  Editorial Assistants                    Natalie Boisvert
                                          Cynthia Gonzales
  All queries to: mto-editor@husc.harvard.edu
AUTHOR:  Neumeyer, David
TITLE:  Reaction to comments on the MTO 0.1 essay
REFERENCE: mto.93.0.1.neumeyer.art
File:  mto.93.0.2.neumeyer.tlk
Many thanks to Bob Kosovsky and Steve Smoliar for the Schoenberg/film-music
leads. NOSFERATU, like THE CABINET OF DR. CALIGARI, do seem such obvious
choices for Schoenberg's Op. 34 that I will indeed spend some time hunting up
releases (or performances). 
As to the Schoenberg/MGM story, this has been confused so many times over the
years with a similar Stravinsky/MGM story (Stravinsky wanted $100,000 and a
year to compose his score--the money was no problem; it was the schedule that
killed the deal) that many skeptics--including myself--have assumed that only
one of them is true. William Rosar (in Clifford McCarty's FILM MUSIC I) has
documented the Stravinsky story very thoroughly, but, if Bob's statement about
Schoenberg sketches for THE GOOD EARTH is correct, it would appear that 
perhaps BOTH stories are in fact true.  Rosar does discuss MGM's motivations 
for approaching well-known "serious" composers--they were quite similar to
Warners' reasons for hiring Erich Korngold: to bring in a prestige name (read
"European concert composer") at a time when extensive symphonic underscoring
was very fashionable. Which plays into the "tinsel" question, no?
And, a footnote/correction: David Broekman was music director for Universal
and it's well known that he did not write some of the music that is credited
to him (this was quite common in the early 30's--and at some studios (including
Paramount and 20th Century Fox) much later). The music for FRANKENSTEIN is not
credited and I took the word of one usually reliable source that Broekman
wrote the music for the main titles. But in fact he didn't--William Rosar
again (quoted in Randall Larson's MUSIQUE FANTASTIQUE) has found that it was
Bernard Kaun, who was the son of Hugo Kaun and is best known as an orchestrator
(he worked with Max Steiner quite a bit).
David Neumeyer
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