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<title>Muir Mathieson</title>

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Muir Mathieson

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</style><table class="infobox biography vcard"><tbody><tr><th colspan="2" class="infobox-above" style="font-size:125%;"><div class="fn">Muir Mathieson</div></th></tr><tr><td colspan="2" class="infobox-image"></td></tr><tr><th scope="row" class="infobox-label">Born</th><td class="infobox-data"><div style="display:inline" class="nickname">James Muir Mathieson</div> (1911-01-24)24 January 1911 <div style="display:inline" class="birthplace"><a href="Stirling" title="Stirling">Stirling</a>, Scotland</div></td></tr><tr><th scope="row" class="infobox-label">Died</th><td class="infobox-data">2 August 1975(1975-08-02) (aged 64) <div style="display:inline" class="deathplace">Oxford</div></td></tr><tr><th scope="row" class="infobox-label">Spouse</th><td class="infobox-data"><a href="Hermione_Darnborough" title="Hermione Darnborough">Hermione Darnborough</a></td></tr><tr><th scope="row" class="infobox-label">Children</th><td class="infobox-data">4</td></tr></tbody></table>

James Muir Mathieson, <a href="OBE" class="mw-redirect" title="OBE">OBE</a> (24 January 1911 – 2 August 1975) was a British musician whose career was spent mainly as the <a href="Musical_director" class="mw-redirect" title="Musical director">musical director</a> for British film studios.

Born in Scotland, to a musical family, Mathieson won a scholarship to the <a href="Royal_College_of_Music" title="Royal College of Music">Royal College of Music</a> in London. His teachers there included <a href="Malcolm_Sargent" title="Malcolm Sargent">Malcolm Sargent</a>, who recommended him to the film producer <a href="Alexander_Korda" title="Alexander Korda">Alexander Korda</a>, whose musical director he became in 1934. Mathieson made most of his career in the film industry. After the <a href="Second_World_War" class="mw-redirect" title="Second World War">Second World War</a> he was musical director to the <a href="The_Rank_Organisation" title="The Rank Organisation">Rank Organisation</a>.

Among the composers from whom Mathieson commissioned film scores were <a href="Arthur_Bliss" title="Arthur Bliss">Arthur Bliss</a>, <a href="Ralph_Vaughan_Williams" title="Ralph Vaughan Williams">Ralph Vaughan Williams</a>, <a href="William_Walton" title="William Walton">William Walton</a> and <a href="Benjamin_Britten" title="Benjamin Britten">Benjamin Britten</a>. Mathieson rarely wrote the music for the films on which he worked, considering himself to lack the talent for original composition, but he helped the composers who wrote for him to make their material precisely fit the action of the film, and he arranged concert suites from some of the scores he commissioned. He was responsible as musical director, arranger, conductor or occasionally composer for nearly a thousand films.

<div class="mw-heading mw-heading2"><h2 id="Life_and_career">Life and career</h2></div>

<div class="mw-heading mw-heading3"><h3 id="Early_years">Early years</h3></div>

Mathieson was born in <a href="Stirling" title="Stirling">Stirling</a>, Scotland, on 24 January 1911, the elder of the two sons of John George Mathieson (1880–1955), an artist and engraver, and his wife Jessie née Davie (1884–1954), a violinist, pianist and teacher.<a href="#cite_note-odnb-1">[1]</a> The younger son, <a href="Dock_Mathieson" title="Dock Mathieson">Dock</a>, followed Muir into the musical profession and became a conductor and musical director in British films.<a href="#cite_note-2">[2]</a> Jessie ("Jen") Mathieson was a talented musician, who among other engagements foreshadowed her sons' careers by playing the piano accompaniment for silent films at the local cinema.<a href="#cite_note-3">[3]</a> As a teenager Mathieson formed and conducted a youth orchestra in Stirling.<a href="#cite_note-4">[4]</a>

After attending <a href="Stirling_High_School" title="Stirling High School">Stirling High School</a> Mathieson went to the <a href="Royal_College_of_Music" title="Royal College of Music">Royal College of Music</a> in London from February 1929, winning a succession of scholarships.<a href="#cite_note-5">[5]</a> At the college he studied piano with <a href="Arthur_Benjamin" title="Arthur Benjamin">Arthur Benjamin</a> and conducting with <a href="Malcolm_Sargent" title="Malcolm Sargent">Malcolm Sargent</a>.<a href="#cite_note-6">[6]</a><a href="#cite_note-8">[n 1]</a> As a student his talent for conducting attracted attention. <a href="The_Times" title="The Times">The Times</a> singled him out, commenting that in his handling of a college production of Benjamin's musical farce The Devil Take Her, Mathieson "made the points of a witty score pointedly".<a href="#cite_note-9">[8]</a> While still a student he undertook a range of jobs, from conducting a choir of Welsh miners, to touring Canada conducting a ballet company, and taking the baton for an amateur production of <a href="The_Pirates_of_Penzance" title="The Pirates of Penzance">The Pirates of Penzance</a>.<a href="#cite_note-10">[9]</a>

<div class="mw-heading mw-heading3"><h3 id="Korda">Korda</h3></div>

Mathieson graduated from the college in 1933, and Sargent recommended him to <a href="Alexander_Korda" title="Alexander Korda">Alexander Korda</a> as a conductor and assistant to <a href="Kurt_Schr%C3%B6der" title="Kurt Schröder">Kurt Schröder</a>, musical director of Korda's new company, <a href="London_Films" title="London Films">London Films</a>.<a href="#cite_note-odnb-1">[1]</a> When Mathieson joined Korda's team the film industry was refining synchronised sound on film, with recorded music accompanying the on-screen images. According to Mathieson's biographer Andrew Youdell, Schröder contributed "a reasonable though hardly memorable background score" to Korda's first major success, <a href="The_Private_Life_of_Henry_VIII" title="The Private Life of Henry VIII">The Private Life of Henry VIII</a> (1933), after which political developments in Continental Europe led him to return to his native Germany in 1934, succeeded as Korda's head of music by Mathieson.<a href="#cite_note-odnb-1">[1]</a>

Away from the film studio, Mathieson conducted <a href="Kurt_Weill" title="Kurt Weill">Kurt Weill</a>'s A Kingdom for a Cow at the <a href="Savoy_Theatre" title="Savoy Theatre">Savoy Theatre</a> in June 1935. <a href="#cite_note-11">[10]</a> This was a revised version of the thus-far unstaged <a href="Der_Kuhhandel" title="Der Kuhhandel">Der Kuhhandel</a>.<a href="#cite_note-12">[11]</a> Despite good notices it was not a success.<a href="#cite_note-13">[12]</a>

On 21 December 1935, at the <a href="Brompton_Oratory" title="Brompton Oratory">Brompton Oratory</a>, London, Mathieson married <a href="Hermione_Darnborough" title="Hermione Darnborough">Hermione Louise Alys Darnborough</a>, principal ballerina of <a href="Royal_Ballet" class="mw-redirect" title="Royal Ballet">Sadler's Wells Ballet</a>.<a href="#cite_note-odnb-1">[1]</a> Two years earlier, when already engaged to be married, they had both taken part in <a href="The_Song_of_Hiawatha_(Coleridge-Taylor)" title="The Song of Hiawatha (Coleridge-Taylor)">Hiawatha</a> at the <a href="Royal_Albert_Hall" title="Royal Albert Hall">Royal Albert Hall</a> in London, when Mathieson deputised at a few minutes' notice after the scheduled conductor, Sargent, was taken ill during a performance of the piece, in which Darnborough danced the role of the Spirit of Spring.<a href="#cite_note-14">[13]</a> They had one son and three daughters, among them the actress Fiona Mathieson (1951–1987) later known for her appearances in the <a href="BBC" title="BBC">BBC</a> radio serial <a href="The_Archers" title="The Archers">The Archers</a>.<a href="#cite_note-odnb-1">[1]</a>

Youdell comments that Mathieson's name appeared so frequently on film credits as musical director that there grew a widespread assumption that he composed the music, but in fact he preferred to commission scores from other musicians, believing himself to have little talent for original composition.<a href="#cite_note-odnb-1">[1]</a> <a href="Arthur_Jacobs" title="Arthur Jacobs">Arthur Jacobs</a> comments in <a href="Grove's_Dictionary_of_Music_and_Musicians" class="mw-redirect" title="Grove's Dictionary of Music and Musicians">Grove's Dictionary of Music and Musicians</a>, "more than anyone else, he was responsible for the British practice of engaging independent composers for films, instead of maintaining (as did <a href="Cinema_of_the_United_States" title="Cinema of the United States">Hollywood</a>) a localized core of 'film composers'".<a href="#cite_note-grove-15">[14]</a> He was dubbed the "Tsar of music for British films"; the composer <a href="James_Bernard_(composer)" title="James Bernard (composer)">James Bernard</a> wrote, "If you wanted to write music for films at that time you had to be 'in' with Muir".<a href="#cite_note-16">[15]</a> Mathieson believed that music written for the screen could not only become an integral part of the film but could be an entity in itself, on a par with theatrical incidental music written by <a href="Edvard_Grieg" title="Edvard Grieg">Grieg</a> for <a href="Peer_Gynt_(Grieg)" title="Peer Gynt (Grieg)">Peer Gynt</a> and <a href="Felix_Mendelssohn" title="Felix Mendelssohn">Mendelssohn</a> for <a href="A_Midsummer_Night's_Dream_(Mendelssohn)" title="A Midsummer Night's Dream (Mendelssohn)">A Midsummer Night's Dream</a>.<a href="#cite_note-17">[16]</a> He admired the technical skill with which Hollywood composers fitted their music to the action, but judged British scores to have "more intrinsic musical value". He quoted with approval <a href="Ralph_Vaughan_Williams" title="Ralph Vaughan Williams">Vaughan Williams</a>'s comment that film "contains potentialities for the combination of all the arts such as <a href="Richard_Wagner" title="Richard Wagner">Wagner</a> never dreamt of."<a href="#cite_note-18">[17]</a><a href="#cite_note-20">[n 2]</a>

While Mathieson was in charge of music for Korda, a range of composers provided scores, including his old teacher, Arthur Benjamin, and <a href="Richard_Addinsell" title="Richard Addinsell">Richard Addinsell</a>, <a href="Georges_Auric" title="Georges Auric">Georges Auric</a>, <a href="Miklos_Rozsa" class="mw-redirect" title="Miklos Rozsa">Miklos Rozsa</a>, and <a href="Arthur_Bliss" title="Arthur Bliss">Arthur Bliss</a>. Benjamin wrote scores for <a href="The_Scarlet_Pimpernel_(1934_film)" title="The Scarlet Pimpernel (1934 film)">The Scarlet Pimpernel</a> (1934) and <a href="The_Return_of_the_Scarlet_Pimpernel" title="The Return of the Scarlet Pimpernel">The Return of the Scarlet Pimpernel</a> (1937); Addinsell wrote for <a href="Dark_Journey_(film)" title="Dark Journey (film)">Dark Journey</a> (1937), <a href="Farewell_Again" title="Farewell Again">Farewell Again</a> (1937), <a href="South_Riding_(film)" title="South Riding (film)">South Riding</a> (1937), and <a href="Fire_Over_England" title="Fire Over England">Fire Over England</a> (1936); Auric composed the score for <a href="The_Man_Who_Could_Work_Miracles" title="The Man Who Could Work Miracles">The Man Who Could Work Miracles</a> (1936), Rozsa for <a href="The_Four_Feathers_(1939_film)" title="The Four Feathers (1939 film)">The Four Feathers</a> (1939) and <a href="The_Thief_of_Bagdad_(1940_film)" title="The Thief of Bagdad (1940 film)">The Thief of Baghdad</a> (1940), and Bliss for <a href="Things_to_Come" title="Things to Come">Things to Come</a> (1935). The last of these was regarded as a landmark in film music, and the score was quickly arranged into a concert suite, becoming a best-seller for <a href="Decca_Records" title="Decca Records">Decca</a> when released on record.<a href="#cite_note-odnb-1">[1]</a>

<div class="mw-heading mw-heading3"><h3 id="Second_World_War">Second World War</h3></div>

With the outbreak of the <a href="Second_World_War" class="mw-redirect" title="Second World War">Second World War</a> in September 1939 Mathieson became musical director to the <a href="Ministry_of_Information_(United_Kingdom)" title="Ministry of Information (United Kingdom)">Ministry of Information</a>, the <a href="Royal_Air_Force" title="Royal Air Force">Royal Air Force</a>, and <a href="British_Army" title="British Army">army</a> film units.<a href="#cite_note-odnb-1">[1]</a> By now he had considerable experience of commissioning film scores, and he approached the veteran <a href="Ralph_Vaughan_Williams" title="Ralph Vaughan Williams">Ralph Vaughan Williams</a>, generally regarded as the most important living British composer.<a href="#cite_note-21">[19]</a> Vaughan Williams gladly agreed to help the war effort by writing film music – a genre wholly new to him – for <a href="Powell_and_Pressburger" title="Powell and Pressburger">Powell and Pressburger</a>'s propaganda film <a href="49th_Parallel_(film)" title="49th Parallel (film)">49th Parallel </a> (1941).<a href="#cite_note-vw239-7">[7]</a> Working with Mathieson, Vaughan Williams quickly grasped the split-hair timings of film music: "a second of music meant exactly a second of music", and he enjoyed working with the studio team.<a href="#cite_note-vw239-7">[7]</a> Mathieson conducted the <a href="London_Symphony_Orchestra" title="London Symphony Orchestra">London Symphony Orchestra</a> (LSO) in the finished score, with the composer at the sessions, ready to "cut, enlarge, alter, adapt" as necessary.<a href="#cite_note-22">[20]</a> Vaughan Williams wrote a second score for Mathieson: <a href="Coastal_Command_(film)" title="Coastal Command (film)">Coastal Command</a> (1942), made under the auspices of the <a href="Crown_Film_Unit" title="Crown Film Unit">Crown Film Unit</a>.<a href="#cite_note-23">[21]</a><a href="#cite_note-25">[n 3]</a>

Mathieson worked with many other composers during the war; apart from those with Vaughan Williams, his most conspicuous collaboration was with <a href="William_Walton" title="William Walton">William Walton</a> on <a href="Laurence_Olivier" title="Laurence Olivier">Laurence Olivier</a>'s film of Shakespeare's <a href="Henry_V_(1944_film)" title="Henry V (1944 film)">Henry V</a> (1944).<a href="#cite_note-26">[23]</a> Mathieson and Walton had worked together on five films before then: <a href="Escape_Me_Never_(1935_film)" title="Escape Me Never (1935 film)">Escape Me Never</a> (1935), <a href="As_You_Like_It_(1936_film)" title="As You Like It (1936 film)">As You Like It</a> (1936), and three war films: <a href="The_Next_of_Kin" title="The Next of Kin">The Next of Kin</a> (1941), <a href="Went_the_Day_Well%3F" title="Went the Day Well?">Went the Day Well?</a> and <a href="The_First_of_the_Few" title="The First of the Few">The First of the Few</a> (both 1942).<a href="#cite_note-27">[24]</a> In 1944, with Olivier's backing, Mathieson asked Walton to provide the music for the spectacular <a href="Technicolor" title="Technicolor">Technicolor</a> adaptation of Shakespeare's play. Youdell describes the film of Henry V as "one of the greatest and most imaginative productions of the war period" and Walton's score as of "almost unparalleled beauty in its melody, orchestration, and construction".<a href="#cite_note-odnb-1">[1]</a>

Walton did not share Mathieson's view that film music could or should be adapted for the concert hall or recording – he said, "Film music is not good film music if it can be used for any other purpose" – but he allowed Mathieson to arrange a concert suite from the Henry V music.<a href="#cite_note-28">[25]</a> Walton conducted a recording of it in 1963,<a href="#cite_note-29">[26]</a> though he later told <a href="Andr%C3%A9_Previn" title="André Previn">André Previn</a> that he found the suite "rather tame" compared with the original film score.<a href="#cite_note-30">[27]</a> During the war Mathieson conducted frequent public concerts, sometimes programming suites from other film scores that he had commissioned.<a href="#cite_note-odnb-1">[1]</a>

By the end of the war Mathieson had become musical director for the <a href="The_Rank_Organisation" title="The Rank Organisation">Rank Organisation</a>, which included several film-making units, such as <a href="Two_Cities_Films" title="Two Cities Films">Two Cities</a>, <a href="Powell_and_Pressburger" title="Powell and Pressburger">The Archers</a>, and <a href="Cineguild_Productions" title="Cineguild Productions">Cineguild</a>. He supervised the music of most of the major films produced under the Rank banner, continuing to engage leading composers including <a href="Richard_Addinsell" title="Richard Addinsell">Richard Addinsell</a> (<a href="Blithe_Spirit_(1945_film)" title="Blithe Spirit (1945 film)">Blithe Spirit</a> 1945),<a href="#cite_note-31">[28]</a> <a href="William_Alwyn" title="William Alwyn">William Alwyn</a> (<a href="Odd_Man_Out" title="Odd Man Out">Odd Man Out</a>, 1946),<a href="#cite_note-32">[29]</a> <a href="Arnold_Bax" title="Arnold Bax">Arnold Bax</a> (<a href="Oliver_Twist_(1948_film)" title="Oliver Twist (1948 film)">Oliver Twist</a>, 1948),<a href="#cite_note-h120-33">[30]</a> Bliss (<a href="Men_of_Two_Worlds" title="Men of Two Worlds">Men of Two Worlds</a>, 1946),<a href="#cite_note-34">[31]</a> <a href="Walter_Goehr" title="Walter Goehr">Walter Goehr</a> (<a href="Great_Expectations_(1946_film)" title="Great Expectations (1946 film)">Great Expectations</a>, 1946) <a href="#cite_note-35">[32]</a> and Walton (<a href="Hamlet_(1948_film)" title="Hamlet (1948 film)">Hamlet</a>, 1948).<a href="#cite_note-h120-33">[30]</a> For the 1945 film of <a href="No%C3%ABl_Coward" title="Noël Coward">Noël Coward</a>'s <a href="Brief_Encounter" title="Brief Encounter">Brief Encounter</a> Mathieson relaxed his insistence on newly commissioned music, and at Coward's behest arranged and conducted <a href="Sergei_Rachmaninoff" title="Sergei Rachmaninoff">Rachmaninoff's</a> <a href="Piano_Concerto_No._2_(Rachmaninoff)" title="Piano Concerto No. 2 (Rachmaninoff)">Second Piano Concerto</a> with <a href="Eileen_Joyce" title="Eileen Joyce">Eileen Joyce</a> as soloist.<a href="#cite_note-36">[33]</a>

In 1946 Mathieson extended his activities to directing, with Instruments of the Orchestra, a twenty-minute film for use in schools, showing the various instruments of the symphony orchestra playing separately and together. He commissioned a new work from <a href="Benjamin_Britten" title="Benjamin Britten">Benjamin Britten</a>: <a href="The_Young_Person's_Guide_to_the_Orchestra" title="The Young Person's Guide to the Orchestra">The Young Person's Guide to the Orchestra</a>, with a narration written by Britten's current librettist, <a href="Eric_Crozier" title="Eric Crozier">Eric Crozier</a>.<a href="#cite_note-37">[34]</a> Sargent conducted the LSO as well as delivering the narration to camera.<a href="#cite_note-odnb-1">[1]</a> The music won a permanent place in the worldwide concert repertoire,<a href="#cite_note-38">[35]</a> and has become Britten's most widely played and popular piece.<a href="#cite_note-39">[36]</a>

In <a href="The_Magic_Box" title="The Magic Box">The Magic Box</a> (1951), a film made to mark the <a href="Festival_of_Britain" title="Festival of Britain">Festival of Britain</a>, Mathieson appeared as a cast member, in a cameo role as <a href="Arthur_Sullivan" title="Arthur Sullivan">Sir Arthur Sullivan</a> conducting a choir.<a href="#cite_note-40">[37]</a> During the early 1950s, Youdell writes, Mathieson continued to be "a principal force in the musical design of British feature films", commissioning music from new film composers including <a href="Malcolm_Arnold" title="Malcolm Arnold">Malcolm Arnold</a> (<a href="The_Sound_Barrier" title="The Sound Barrier">The Sound Barrier</a>, 1952) and <a href="Larry_Adler" title="Larry Adler">Larry Adler</a> (<a href="Genevieve_(film)" title="Genevieve (film)">Genevieve</a>, 1953).<a href="#cite_note-odnb-1">[1]</a><a href="#cite_note-42">[n 4]</a> In 1955 Mathieson commissioned another score from Walton, this time for Olivier's <a href="Richard_III_(1955_film)" title="Richard III (1955 film)">Richard III</a>.<a href="#cite_note-43">[39]</a> Among Mathieson's other 1950s commissions were Arnold's score for <a href="Hobson's_Choice_(1954_film)" title="Hobson's Choice (1954 film)">Hobson's Choice</a> (1954),<a href="#cite_note-h266-44">[40]</a> Addinsell's for <a href="The_Prince_and_the_Showgirl" title="The Prince and the Showgirl">The Prince and the Showgirl</a> (1957),<a href="#cite_note-h266-44">[40]</a> and Alwyn's for <a href="Carve_Her_Name_With_Pride" class="mw-redirect" title="Carve Her Name With Pride">Carve Her Name With Pride</a> and <a href="A_Night_to_Remember_(1958_film)" title="A Night to Remember (1958 film)">A Night to Remember</a> (both 1958).<a href="#cite_note-odnb-1">[1]</a>

In his later years Mathieson worked as a freelance music director. He commissioned the score of <a href="Interpol_(film)" title="Interpol (film)">Interpol</a> (1956) from the nineteen-year-old <a href="Richard_Rodney_Bennett" title="Richard Rodney Bennett">Richard Rodney Bennett</a>.<a href="#cite_note-grove-15">[14]</a> In 1958 he was invited to conduct <a href="Bernard_Herrmann" title="Bernard Herrmann">Bernard Herrmann</a>'s score for <a href="Alfred_Hitchcock" title="Alfred Hitchcock">Alfred Hitchcock</a>'s film <a href="Vertigo_(film)" title="Vertigo (film)">Vertigo</a>; it was to have been recorded in the US, but because of a musicians' strike there Mathieson conducted the recording in Vienna.<a href="#cite_note-45">[41]</a> In 1966 he wrote and directed a series of twenty-four short films, collectively entitled We Make Music.<a href="#cite_note-odnb-1">[1]</a>

His biographer S. J. Hetherington records that Mathieson arranged, directed, conducted, and occasionally composed, the music for almost one thousand films during his career.<a href="#cite_note-46">[42]</a> In addition to his work in films he conducted in the concert hall, particularly with youth orchestras. He was appointed <a href="Order_of_the_British_Empire" title="Order of the British Empire">OBE</a> for his services to music, and was a governor of the <a href="British_Film_Institute" title="British Film Institute">British Film Institute</a>.<a href="#cite_note-odnb-1">[1]</a>

Mathieson died at the <a href="Radcliffe_Infirmary" title="Radcliffe Infirmary">Radcliffe Infirmary</a>, Oxford, on 2 August 1975, aged 64, survived by his widow, who died in October 2010.<a href="#cite_note-odnb-1">[1]</a>

<div class="mw-heading mw-heading2"><h2 id="Notes,_references_and_sources">Notes, references and sources</h2></div>

<div class="mw-heading mw-heading3"><h3 id="Notes">Notes</h3></div>

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<li id="cite_note-8"><a href="#cite_ref-8">^</a> In her biography of <a href="Ralph_Vaughan_Williams" title="Ralph Vaughan Williams">Ralph Vaughan Williams</a> his widow <a href="Ursula_Vaughan_Williams" title="Ursula Vaughan Williams">Ursula</a> states that Mathieson also studied under her husband at the Royal College, but this is not substantiated in the biographies of Mathieson by Hetherington or Youdell.<a href="#cite_note-vw239-7">[7]</a>

</li>

<li id="cite_note-20"><a href="#cite_ref-20">^</a> Wagner had propounded a theory of <a href="Gesamtkunstwerk" title="Gesamtkunstwerk">Gesamtkunstwerk</a> ("total work of art") combining all the arts – visual, musical and literary – in a single stage work.<a href="#cite_note-19">[18]</a>

</li>

<li id="cite_note-25"><a href="#cite_ref-25">^</a> Vaughan Williams later provided the score for the film <a href="Scott_of_the_Antarctic_(film)" title="Scott of the Antarctic (film)">Scott of the Antarctic</a> (1948), which he reworked as his seventh symphony – the <a href="Sinfonia_antartica" title="Sinfonia antartica">Sinfonia antartica</a> (1953) – but the film score was not commissioned by Mathieson, but by his brother <a href="Dock_Mathieson" title="Dock Mathieson">Dock</a> as assistant musical director to <a href="Ernest_Irving" title="Ernest Irving">Ernest Irving</a> at <a href="Ealing_Studios" title="Ealing Studios">Ealing Studios</a>.<a href="#cite_note-24">[22]</a>

</li>

<li id="cite_note-42"><a href="#cite_ref-42">^</a> Genevieve's American distributors insisted that Adler's name must be removed from the credits because of his continuing refusal to co-operate with <a href="Joseph_McCarthy" title="Joseph McCarthy">Joseph McCarthy</a> and the <a href="House_Un-American_Activities_Committee" title="House Un-American Activities Committee">House Un-American Activities Committee</a>. The score was nominated for an <a href="Academy_Award" class="mw-redirect" title="Academy Award">Oscar</a>, but Adler was not mentioned in the nomination.<a href="#cite_note-41">[38]</a>

</li>

</ol></div></div>

<div class="mw-heading mw-heading3"><h3 id="References">References</h3></div>

<li id="cite_note-odnb-1">^ <a href="#cite_ref-odnb_1-0">a</a> <a href="#cite_ref-odnb_1-1">b</a> <a href="#cite_ref-odnb_1-2">c</a> <a href="#cite_ref-odnb_1-3">d</a> <a href="#cite_ref-odnb_1-4">e</a> <a href="#cite_ref-odnb_1-5">f</a> <a href="#cite_ref-odnb_1-6">g</a> <a href="#cite_ref-odnb_1-7">h</a> <a href="#cite_ref-odnb_1-8">i</a> <a href="#cite_ref-odnb_1-9">j</a> <a href="#cite_ref-odnb_1-10">k</a> <a href="#cite_ref-odnb_1-11">l</a> <a href="#cite_ref-odnb_1-12">m</a> <a href="#cite_ref-odnb_1-13">n</a> <a href="#cite_ref-odnb_1-14">o</a> <a href="#cite_ref-odnb_1-15">p</a> Youdell, Andrew. <a rel="nofollow" class="external text" href="https://doi.org/10.1093/ref:odnb/57322">"Mathieson, (James) Muir (1911–1975)"</a>, Oxford Dictionary of National Biography, Oxford University Press, 2012. (subscription or <a rel="nofollow" class="external text" href="https://www.oxforddnb.com/help/subscribe#public">UK public library membership</a> required)

</li>

<li id="cite_note-2"><a href="#cite_ref-2">^</a> McFarlane, p. 465

</li>

<li id="cite_note-3"><a href="#cite_ref-3">^</a> Hetherington, p. 16

</li>

<li id="cite_note-4"><a href="#cite_ref-4">^</a> Hetherington, p. 20

</li>

<li id="cite_note-5"><a href="#cite_ref-5">^</a> "Muir Mathieson's Visit", Faversham News, 10 September 1948, p. 8; and Hetherington, p. 33

</li>

<li id="cite_note-6"><a href="#cite_ref-6">^</a> Hetherington, p. 32

</li>

<li id="cite_note-vw239-7">^ <a href="#cite_ref-vw239_7-0">a</a> <a href="#cite_ref-vw239_7-1">b</a> <a href="#cite_ref-vw239_7-2">c</a> Vaughan Williams, p. 239

</li>

<li id="cite_note-9"><a href="#cite_ref-9">^</a> "Royal College of Music", The Times, 5 June 1933, p. 8

</li>

<li id="cite_note-10"><a href="#cite_ref-10">^</a> Hetherington, p. 34

</li>

<li id="cite_note-11"><a href="#cite_ref-11">^</a> "Savoy Theatre", The Times, 29 June 1935, p. 12

</li>

<li id="cite_note-12"><a href="#cite_ref-12">^</a> Robinson, J. Bradford and David Drew. <a rel="nofollow" class="external text" href="https://doi.org/10.1093/gmo/9781561592630.article.30032">"Weill, Kurt (Julian)"</a>, Grove Music Online, Oxford University Press, 2001 (subscription required)

</li>

<li id="cite_note-13"><a href="#cite_ref-13">^</a> Schebera, p. 231

</li>

<li id="cite_note-14"><a href="#cite_ref-14">^</a> Reid, p. 206

</li>

<li id="cite_note-grove-15">^ <a href="#cite_ref-grove_15-0">a</a> <a href="#cite_ref-grove_15-1">b</a> Jacobs Arthur. <a rel="nofollow" class="external text" href="https://doi.org/10.1093/gmo/9781561592630.article.18065">"Mathieson, Muir"</a>, Grove Music Online, Oxford University Press, 2001 (subscription required)

</li>

<li id="cite_note-16"><a href="#cite_ref-16">^</a> Huckvale, p. 76

</li>

<li id="cite_note-17"><a href="#cite_ref-17">^</a> Mathieson, p. 7

</li>

<li id="cite_note-18"><a href="#cite_ref-18">^</a> Mathieson, p. 9

</li>

<li id="cite_note-19"><a href="#cite_ref-19">^</a> Millington, Barry. <a rel="nofollow" class="external text" href="https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-5000011027">"Gesamkunstwerk"</a>, Grove Music Online, Oxford University Press, 2002 (subscription required)

</li>

<li id="cite_note-21"><a href="#cite_ref-21">^</a> Cobbe, p. 175

</li>

<li id="cite_note-22"><a href="#cite_ref-22">^</a> Vaughan Williams, p. 245

</li>

<li id="cite_note-23"><a href="#cite_ref-23">^</a> Vaughan Williams, p. 250

</li>

<li id="cite_note-24"><a href="#cite_ref-24">^</a> Hetherington, p. 114

</li>

<li id="cite_note-26"><a href="#cite_ref-26">^</a> Kennedy, p. 125–126

</li>

<li id="cite_note-27"><a href="#cite_ref-27">^</a> Lloyd, p. 120 and Hetherington, p. 49

</li>

<li id="cite_note-28"><a href="#cite_ref-28">^</a> Kennedy, pp. 117 and 126

</li>

<li id="cite_note-29"><a href="#cite_ref-29">^</a> Kennedy, p. 323

</li>

<li id="cite_note-30"><a href="#cite_ref-30">^</a> Kennedy, p. 255

</li>

<li id="cite_note-31"><a href="#cite_ref-31">^</a> Hetherington, p. 95

</li>

<li id="cite_note-32"><a href="#cite_ref-32">^</a> Hetherington, p. 121

</li>

<li id="cite_note-h120-33">^ <a href="#cite_ref-h120_33-0">a</a> <a href="#cite_ref-h120_33-1">b</a> Hetherington, p. 120

</li>

<li id="cite_note-34"><a href="#cite_ref-34">^</a> Hetherington, p. 57

</li>

<li id="cite_note-35"><a href="#cite_ref-35">^</a> Hetherington, p. 118

</li>

<li id="cite_note-36"><a href="#cite_ref-36">^</a> Hetherington, p. 96

</li>

<li id="cite_note-37"><a href="#cite_ref-37">^</a> Carpenter, p. 231

</li>

<li id="cite_note-38"><a href="#cite_ref-38">^</a> Mitchell, Donald. <a rel="nofollow" class="external text" href="https://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-30853">"Britten, (Edward) Benjamin, Baron Britten (1913–1976), composer"</a>, Oxford Dictionary of National Biography, Oxford University Press, 2011. (subscription or <a rel="nofollow" class="external text" href="https://www.oxforddnb.com/help/subscribe#public">UK public library membership</a> required)

</li>

<li id="cite_note-39"><a href="#cite_ref-39">^</a> Matthews, p. 81

</li>

<li id="cite_note-40"><a href="#cite_ref-40">^</a> Mander and Mitchenson, p. 149

</li>

<li id="cite_note-41"><a href="#cite_ref-41">^</a> Holden, Raymond.<a rel="nofollow" class="external text" href="https://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-76107">"Adler, Lawrence Cecil (Larry) (1914–2001), harmonica player and composer"</a>, Oxford Dictionary of National Biography, Oxford University Press, 2011 (subscription or <a rel="nofollow" class="external text" href="https://www.oxforddnb.com/help/subscribe#public">UK public library membership</a> required)

</li>

<li id="cite_note-43"><a href="#cite_ref-43">^</a> Kennedy, p. 195

</li>

<li id="cite_note-h266-44">^ <a href="#cite_ref-h266_44-0">a</a> <a href="#cite_ref-h266_44-1">b</a> Hetherington, p. 266

</li>

<li id="cite_note-45"><a href="#cite_ref-45">^</a> Hetherington, p. 128

</li>

<li id="cite_note-46"><a href="#cite_ref-46">^</a> Hetherington, p. 41

</li>

</ol></div></div>

<div class="mw-heading mw-heading3"><h3 id="Sources">Sources</h3></div>

/* start https://en.wikipedia.org/ */

.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("./mw/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("./mw/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("./mw/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("./mw/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}

/* end https://en.wikipedia.org/ */

</style><cite id="CITEREFCarpenter1992" class="citation book cs1"><a href="Humphrey_Carpenter" title="Humphrey Carpenter">Carpenter, Humphrey</a> (1992). Benjamin Britten: A Biography. London: Faber and Faber. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-571-14324-5</bdi>.</cite></li>

<li><cite id="CITEREFCobbe2010" class="citation book cs1">Cobbe, Hugh (2010) [2008]. Letters of Ralph Vaughan Williams. Oxford: Oxford University Press. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-19-958764-3</bdi>.</cite></li>

<li><cite id="CITEREFHetherington2006" class="citation book cs1">Hetherington, S. J. (2006). <a rel="nofollow" class="external text" href="https://archive.org/details/muirmathieson1910000heth/page/n3/mode/2up">Muir Mathieson: A Life in Film Music</a>. Dalkeith: Scottish Cultural Press. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-1-89-821811-1</bdi>.</cite></li>

<li><cite id="CITEREFHuckvale2006" class="citation book cs1">Huckvale, David (2006). <a rel="nofollow" class="external text" href="https://archive.org/details/jamesbernardcomp00huck">James Bernard, Composer to Count Dracula: A Critical Biography</a>. Jefferson: McFarland. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-78-642302-6</bdi>.</cite></li>

<li><cite id="CITEREFKennedy1989" class="citation book cs1"><a href="Michael_Kennedy_(music_critic)" title="Michael Kennedy (music critic)">Kennedy, Michael</a> (1989). Portrait of Walton. Oxford: Oxford University Press. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-19-816705-1</bdi>.</cite></li>

<li><cite id="CITEREFLloyd1999" class="citation book cs1">Lloyd, Stephen (1999). "Film Music". In Craggs, Stewart (ed.). William Walton: Music and Literature. Aldershot: Ashgate. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-1-85-928190-1</bdi>.</cite></li>

<li><cite id="CITEREFMcFarlane2005" class="citation book cs1">McFarlane, Brian, ed. (2005). <a rel="nofollow" class="external text" href="https://archive.org/details/encyclopediaofbr0002unse_q0u5/page/465">The Encyclopedia of British Film</a> (second ed.). London: Methuen. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-413-77526-9</bdi>.</cite></li>

<li><cite id="CITEREFManderMitchenson1962" class="citation book cs1"><a href="Raymond_Mander" class="mw-redirect" title="Raymond Mander">Mander, Raymond</a>; <a href="Joe_Mitchenson" class="mw-redirect" title="Joe Mitchenson">Mitchenson, Joe</a> (1962). A Picture History of Gilbert and Sullivan. London: Vista Books. <a href="OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/469979595">469979595</a>.</cite></li>

<li><cite id="CITEREFMathieson1944" class="citation journal cs1">Mathieson, Muir (December 1944). <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/943648">"Aspects of Film Music"</a>. Tempo (9): 7–9. <a href="JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/943648">943648</a>.</cite> (subscription required)</li>

<li><cite id="CITEREFMatthews2013" class="citation book cs1"><a href="David_Matthews_(composer)" title="David Matthews (composer)">Matthews, David</a> (2013). Britten. London: Haus Publishing. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-1-908323-38-5</bdi>.</cite></li>

<li><cite id="CITEREFReid1968" class="citation book cs1">Reid, Charles (1968). Malcolm Sargent: A Biography. London: Hamish Hamilton. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-24-191316-1</bdi>.</cite></li>

<li><cite id="CITEREFSchebera1995" class="citation book cs1">Schebera, Jürgen (1995). Kurt Weill: An Illustrated Life. New Haven: Yale University Press. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-30-006055-3</bdi>.</cite></li>

<li><cite id="CITEREFVaughan_Williams1964" class="citation book cs1"><a href="Ursula_Vaughan_Williams" title="Ursula Vaughan Williams">Vaughan Williams, Ursula</a> (1964). RVW: A Biography of Ralph Vaughan Williams. Oxford: Oxford University Press. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-19-315411-7</bdi>.</cite> <code class="cs1-code">{{cite book}}</code>: ISBN / Date incompatibility (help)</li></ul>

<div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2></div>

<ul><li><a rel="nofollow" class="external text" href="https://www.imdb.com/name/nm0558826/">Muir Mathieson</a> at <a href="IMDb_(identifier)" class="mw-redirect" title="IMDb (identifier)">IMDb</a></li></ul>

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