Tony Thomas Remembered
Randall D. Larson. When Tony Thomas died of complications after a stroke on July 8, 1997, the film music world lost its greatest friend. In many ways, Tony really got me into film music. Oh, I'd become a soundtrack collector for a couple of years before receiving his book, Music for the Movies, as a gift in 1974. But after devouring his 270-page bible of film music history, I was a permanent aficionado.
I'd known the work of film music maestros like Steiner, Korngold, Herrmann, Rozsa, Mancini, Goldsmith, Williams, but now, thanks to Tony's wonderful book, I knew these men as well. Music for the Movies and its companion volume, Film Score, created the knowledge base that I relied upon when I began reviewing soundtracks and writing books on film music on my own. Along with many others, I owe a big debt of gratitude to Tony for starting me off on such good footing, and for lending his support from time to time as well.
Later on, when Tony began one of the first private film music record labels (Citadel, later Tony Thomas productions), he blessed our soundtrack collections with the first-ever LP's of scores by Steiner, Salter, Rozsa, and others. LP's that are still among the pride of my collection. His liner notes to recordings of music from Hollywood’s golden age are consistently the most knowledgeable and interesting, illuminating facets of the music and its composers. I met Tony only once, at the very first inaugural meeting of the Society for the Preservation of Film Music, at home in the summer of 1983. Tony struck me as a thorough gentleman, a rare species nowadays, and it was a pleasure to know him. He spoke, briefly, at last October’s SPFM banquet - still the eloquent master of film music appreciation.
Tony was an icon who represented everything we loved about movie music, who recognized the changes of the modern era while never forgetting the treasures of the past. And now, as he enjoys the timeless music personally conducted for him by his friends Max, Miklos, Bernard, Hans, Henry, and so many others, may he know the regard with which he is held by those of us left behind.
John W. Morgan. I have known Tony Thomas for nearly 30 years. His many books and articles on film music have served as a firm foundation for the renaissance of classic symphonic film music recordings, starting in the early seventies. He loved film and film music and shared his passion and knowledge with the world. Tony belonged to that old-fashioned world where charm, integrity, wit and loyalty were respected commodities. He had his weekly sojourns of visiting the likes of Miklos Rozsa, Hans Salter and others and it was especially sad when these giants started leaving us and Tony's weekly itinerary grew smaller and smaller.
I first met Tony at the many gatherings at Max Steiner's Beverly Hills home. It was a fabulous time for a kid to meet so many luminaries in the film music world. Tony and I shared a room in England when Fred Steiner recorded his KING KONG album (in 1976!). Normally Tony would be impeccably dressed for any occasion and I, never considered a “fashion plate”, talked Tony into dressing “fast and dirty” so we could get that free hotel breakfast. Well, we both went into the dining room and were politely turned away from entering as we weren't wearing ties! Tony never let me forget that!
As Bill Rosar recounted, we all met at Fred Steiner's home several times trying to get the Society for the Preservation of Film Music up and running. Tony was always there, full of wonderful ideas and he soon became a real anchor to that fledgling organization.
In 1992, Tony introduced me to Klaus Heymann of Marco Polo Records and virtually got me my first “job”, as a film music reconstructor. Some of my best and fondest memories of Tony are when conductor Bill Stromberg and I would have Tony come over and we would play tapes of some recent film music recording we did. As Tony got into the music, he would shut his eyes and start “conducting” the music. It didn't matter that he conducted everything in three-four time, his conducting signified his approval and love of the music. I am proud that Tony's liner notes have adorned several of our releases.
Tony was a true gentleman. He gave freely of his time, talent and experience. The word “No” was not in his vocabulary. I can't even begin to count how many times he has contributed writings to albums for little or no remuneration. His liner notes for many film music recordings will always be a model of wit, knowledge and perspective. Two of Tony's dream projects were complete recordings of Erich Korngold’s DEVOTION and Max Steiner's THEY DIED WITH THEIR BOOTS ON. Both of these recordings have been scheduled and both will be dedicated to Tony.
I lost a dear friend, but the film and film music world has lost a true icon. When you hear a recording of composers such as Korngold, Steiner, Rozsa, Newman, etc., chances are very good that Tony was involved in a significant way. Although Tony is gone, his contributions will be with us forever. Goodbye old friend.,
