Notes Resounding

Every revelation since the initiation, in 1986, of research toward the realisation of a long-overdue, credible, biography of Max Steiner begs the question WHY? Why has Max been denied greater awareness and, thereby, greater appreciation of his formative years, the very foundation upon which his unique contribution to motion picture history was to be built. True, current literature, for the most part, hints of his extraordinary background, the detail regrettably being more representative of shadow than substance. In the Society’s 25th Anniversary issue of the Journal stress was laid upon the fact that, by then, we had merely scratched the surface – in the analogy of “Gold Is Where You Find It,” we had still to strike the mother lode.

Fool’s gold, the illusion created by an accumulation of “myth information” and oversight but, by sheer volume and repetition, accepted without question has become increasingly identifiable and ultimately discarded. The axiom “When the legend becomes fact, print the legend” has seldom served to better illustrate the shrouding of material critical to the story of a composer truly of his age, thereby generating frustration and confusion rather than encouragement of concerned interest. His legacy, like that which he inherited from within his family background, is one steeped in the tradition of the Gold and Silver periods of Viennese musical enterprise, its later influence rarely commented upon in depth.

Given his paternal grandfather’s name, Maximilian, it is particularly appropriate that our retrospective be established as of 1862, the year in which Friedrich Strampfer, Director of the German Theater in Temesvár, Hungary, having succeeded to the management of the renamed Theater an der Wien, brought Maximilian, Josephine Gallmeyer and Karl Blasel to Vienna with him. Seven years later Maximilian and Marie Geistinger were to achieve joint directorship of the theatre, the innovations they introduced adding to the city’s lustre, until the fateful collapse of the [Vienna] stock market, May 9, 1873 (Black Friday). The continuation of major works by Johann Strauss [Jr.] failed to restore the theatre’s fortune and, undoubtedly, financial insecurity hastened Maximilian’s death, September 29, 1880, aged but fifty years.

It is to Franz, Max’s uncle that the control of Theater an der Wien is then transferred, until the scandal which arose from his illicit liaison with Angelika (Lili), Johann Strauss’s second wife, led to his dismissal, albeit with a substantial gratuity and Lili. They were fated soon to part, Franz continuing in theatre management until his death in Berlin, 1920, Lili leading a tragic life until her death, unmarried, in March 1919.

Max’s father, Gabor (Gabriel) developed an obsession with theatre at an early age, his ambitions knowing no bounds, studying acting and music, as a child appearing on stage at the Theater an der Wien and the Prince Sulkowski Theater, where Max Reinhardt studied. Eventually he assisted his father and brother Franz in administrative matters related to their various theatrical enterprises and, as artistic director, worked in the Prater’s Rotunde [Vienna], in Hanover and Dresden. In 1883, midst all his activities, he married Marie Josephine Hasiba (Mizzi) from Graz, an attractive dancer from the corps de ballet and chorus of Theater an der Wien. May 10, 1888, their son Maximilian Raoul Walter was born at 72 Praterstrasse, Vienna (now the Hotel Nordbahn) where, on December 2, 1988, a commemorative plaque was unveiled by Bergermeister Dr. Helmut Zilk.

In 1895 Gabor devises “Venedig in Wien” (Venice in Vienna) situated in the Prater, an entertainment complex of canals and bridges, palace replicas, theatres, restaurants, beer halls and coffee houses etc., an incredible undertaking employing no fewer than 2300 persons, artistes, catering and technicians included. Operetta, music of all shades, vaudeville, to which was added “Das Riesenrad” (The Giant Wheel), damaged during World War Two but now immaculately restored to its full splendour, were all part of the presentations. By the turn of the century “Der Kleine Hexenmeister” had become the most versatile and innovative manager in the realm of Viennese entertainment. On June 19, 1987 “Gabor Steiner Weg”, in the Prater, was dedicated to his memory – of him it can be truly said “he did it his weg”.

Max’s predilection for music was enhanced, in 1894, by the engagement of Edmund Eysler (Eisler) as tutor and further encouraged by Johann Strauss; nothing less than the gift of a Giraffe [cabinet] piano. It is this very piano that is housed at Brigham Young University, though Max had expressed a wish that it be accepted by The Smithsonian Institute. The publication of his first song, words by Carl Lindau, dedicated to his parents (their portraits grace the cover) came in 1897. Contemptuous of musicians, his mother instigated his enrolment in the Franz Joseph Gymnasium (Preparatory School) that he become an engineer, a manoeuvre destined for failure.

Frequently accompanying his father to London when Gabor was seeking talent for theatres under his management, it was on one such occasion he conducted a concert in The People’s Palace for which he received creditable reviews, the year 1902. Pleading, successfully, with his father for release from the Gymnasium, much to his mother’s anger and distaste, he enrolled in the Conservatory of Music and Dramatic Art in 1904. Some accounts of his scholastic achievements engender disbelief – in one year he is to be found as having completed a course, variously, of 2, 4, 5, 6, even 8 years normal duration. Our findings are of a different complexion, however; findings with which one can relate without diminishing Max’s unique gifts.

His studies complete, he became his father’s secretary until Gabor’s financial difficulties assumed major proportions, leaving Max without prospects. It was then that he emigrated to England in search of work and here, again, we are confronted by a profusion of misleading accounts. An unusual chain of events led to the discovery of a programme, one of a bundle bought by an acquaintance at auction, for the performance by George Dance’s No. 1 Touring Company of “Veronique” – the Musical Director, Max Steiner! The second in the Company’s schedule, the date and venue indicated was of immeasurable impact; the theatre was located on the outskirts of London and therefore would not have attracted attention by the national press, as would have a West End production. From there on it has become possible to trace his nomadic career in the United Kingdom, France and Ireland – shows, even rehearsal dates, reviews, programmes, personages whose influence was to be vital with the passage of time, compositions too many of which exist in title only. The mother lode had been struck!

With his father’s financial difficulties escalating Max’s return to Vienna was inevitable, whereupon he took over management of the Ronacher Theatre. It was during this extended visit that Max entered the first of his four marriages, namely to Beatrice Mary Tilt, a soubrette in one of Gabor’s shows. When released from an unjust arrest and detention, at the beginning of 1913, he found the theatre’s management had been taken from him; unemployed and denied any financial aid from his mother because of her lingering anger, harking back to his choice of career, there was no alternative but to return to the maternal home. In such dire straits he wrote to Clifford Fischer, a friend of both his father and uncle Franz, who was lessee of the London Opera House [Kingsway], built by Oscar Hammerstein (pere) for what was thought to be good competition to Covent Garden, but failed. He was offered, and accepted, the position of Musical Director for the forthcoming American revue entitled “Come Over Here” and also the Ballet School which opened a while later.

Just before the show closed Clifford Fischer and his partner E. A. V. Stanley, grandson of Baron Taunton, with the participation of the Duke of Westminster, organised the first Olympic Fund Benefit which event Max conducted the orchestra. Introduction to the Duke was to have unforeseeable consequences but for which Max’s future would have differed drastically. The next show was a “Society Circus,” intended to stay the closure of the theatre, to no avail. Producer Max Wayburn engaged Max for the London Palladium presentation of “Tillie’s Nightmare,” now re-titled “Dora’s Doze” – it ran for two weeks and meanwhile Wayburn had begun negotiations with Franz Steiner for it to be transferred to the Wintergarden, Berlin. The evidence of Germany’s war preparations ended that proposal and midst mounting hostility toward Austro-Hungarians domiciled in the U.K. Max feared internment; his salvation lay in his earlier meeting with the Duke of Westminster. He wrote, requesting help – immigration was imperative. His papers were hastily cleared, the barest of funds provided by friends and, forced to separate from Beatrice, he was able to embark for the United States of America. From shipping registers it has been possible to identify the ship, the departure and arrival against previous information found flawed.

He was met by his uncle Alexander and Aunt Emma; with just the necessary 57 dollars to support himself, the most menial of music publishing house tasks had to be accepted. Fortuitously he encountered Adelaide and Hughes, a renowned dance team who had enjoyed success in London, and was engaged to orchestrate their music. Then he was hired for “Too Much Mustard,” a show at Reisenweber’s Restaurant, Coney Island; the show’s title that of a popular dance, which was to become “The Castle Walk.” It was then that he came to the attention of “Roxy” Rothafel, a legendary figure in show business, and was promoted to the position of conductor at the Roxy Theatre on 96th Street, New York. Thereafter William Fox secured his services as Musical Director to the Fox circuit. It was for John Cort’s production of “The Masked Model” that Max embarked upon his career in musical comedy, one which embraces literally the highpoint and ebb of the U.S. musical theatre 1915-1929, addressing the extent of the neglect to which his whole legacy has been subjected. As the experience of those years in the U.K. was to serve him well, so were the musical comedy years when he departed for Hollywood, enticed by Harry Tierney’s offer, orchestrator at R.K.O. Studios, and the salaries being offered in the motion picture industry, at the portals of the flourishing use of sound.

The foregoing makes no pretence of offering more than mere nuggets, reminders of the rich vein of his life story there for the grasping, reminiscent of the scene in “The Treasure of the Sierra Madre” where the old timer, Howard, dancing joyfully, mocks Dobbs and Curtin for not seeing what lay at their very feet.

Eventual publication of Max’s biography, in whatever form, will be testimony to the courtesy, cooperation and precious time afforded the writer throughout. It behoves me to express infinite gratitude especially to Peter Schoenwald, so well-versed in the Vienna regime of the Steiner family; to my mentors, the late lamented Dr. Louis Kaufman and his gracious wife, Annette; to Louise Steiner Elian for her encouragement and trust; to the late William Manley, he who discovered the “Veronique” programme and to William Wrobel for his vital collaboration. Their integrity and friendship have been inspirational in preparation of this paean to our Max.

Finally, to Philip and Martin, to Konrad – thanks fellas, this is where I came in!

Editor’s supplementary notes

• Maximilian Steiner died in Baden after two years of ill health. The date of his death was in fact May 29, 1880 as confirmed in Wiener Sonn-und Montags-Zeitung, May 30, 1880: 3
• Most sources state Lili died of cancer May 6, 1919 in Bad Tatzmannsdorf (Tarča), Hungary
• Max Steiner was arrested on December 21, 1912 on instruction of the Public Prosecutor in Vienna. Frau Theresia Sinek, who had signed a contract with him for selling theatre programmes (a financial obligation which he failed to fulfil) brought the legal case against him. In Illustrierte Kronen Zeitung, December 22, 1912: 25-26
• Peter Schoenwald died in 2011 and is the co-author with Norbert Rubey of Venedig in Wien: Theater und Vergnügungsstadt der Jahrhundertwende (Venice in Vienna : Theater and Amusement city at the turn of the century) published 1996 by Ueberreuter, Wien. His name appears on a public information board about Max Steiner on display at the Austria Classic Hotel Wien.

About the author

The name Ted Leaney (full name Edward Alfred James Leaney, 1922-2005) is not generally well known but to members of The Max Steiner Music Society he was a tireless champion of the Society’s cause to perpetuate ‘The Dean of Film Music’, and among the first to engage in scholastic research on Steiner’s family background and formative years. He was by all accounts meticulous in his work and did research the old-fashioned way, by sitting in The British Library for hours on end reading newspapers archived on microfilm. He travelled to Vienna to unearth genealogy records and primary source material, including Max Steiner’s earliest known composition dated 1897: “Lasse einmal nich Dich küssen” (Let Me Kiss You One More Time), a song duet with lyrics by Carl Lindau, dedicated to Steiner's parents, published in Leipzig by Otto Maass. Those close to Ted who had the good fortune to visit him in London where he lived were confronted and overwhelmed by shelves of data on Steiner, wishing there was a Xerox machine to hand in his home. Following Ted’s death in 2005, his Steiner legacy was saved thanks to a timely intervention by Stephen Butler and James D’Arc who acquired from Leaney’s granddaughter seven boxes of papers, now deposited at Brigham Young University. Leaney’s essay was submitted for the 25th anniversary of the MSMS Journal published June 1990. By all accounts the printed version was considerably edited and omitted the appreciation Ted acknowledged for all the help and encouragement he received from family, friends and colleagues. The essay published here however is unabridged and was transcribed from his original hand written pages