Promotional poster for M (1931, dir. Fritz Lang)

When Adolf Hitler became Chancellor of Germany in 1933, one of his earliest actions was to ban Jews from working in that country’s storied film industry, praised as the most creative cinema in the world. Men and women who had created landmarks of movie history fled their homeland in the ensuing months and years. Many of them went to Hollywood.

CINEMA’S EXILES: FROM HITLER TO HOLLYWOOD traces the experiences of the exiles who took refuge in Hollywood, and examines their impact on both the German and the American cinemas. In Germany, they had created such groundbreaking pictures as The Cabinet of Dr. Caligari, The Blue Angel, and M-The Murderers Among Us. In Hollywood, their influence ranged from the horror genre and film noir, to comedy and drama. With their lush compositions, they changed the role of music in the motion picture. They even made westerns.

More than 800 film professionals escaped to Hollywood in the years between 1933 and 1939. They include actors Felix Bressart, Hedy Lamarr and Peter Lorre; directors Fritz Lang, Henry Koster, Billy Wilder and Fred Zinnemann; composers Frederick Hollander, Hans Salter and Franz Waxman; and cinematographer Rudy Mate. Not every exile found success in Hollywood; most never regained the fame they had known in Europe. Many had to seek work outside the industry. Still others would fail in America, financially dependent on the generosity of fellow Germans, among them actress Marlene Dietrich, and director Ernst Lubitsch. A few returned to Germany after the war — but not many. The majority had set upon the road taken by many refugees, that of integrating into the American culture – and giving an element of themselves back to that culture.

Production still from To Be Or Not To Be (1942, dir. Ernst Lubitsch)

By the 1950’s the émigré’s output reflected a degree of professional integration in Hollywood perhaps unimagined when they had all dreamt of California as a destination. Their films number among the classics of the American cinema. Excerpts from several of them are included in CINEMA’S EXILES: FROM HITLER TO HOLLYWOOD, among them The Bride of Frankenstein, Fury, The Adventures of Robin Hood, Ninotchka, To Be or Not To Be, Casablanca, The Wolf Man, Double Indemnity, Phantom Lady, Sunset Boulevard, High Noon, The Big Heat, and Some Like It Hot. The program also highlights the films created by the early German cinema, including The Cabinet of Dr. Caligari, Metropolis, The Blue Angel, and M – The Murderers Among Us.

In addition to film clips, CINEMA’S EXILES includes a variety of visual elements: behind-the-scenes archival footage of director Fritz Lang in Germany, Marlene Dietrich’s Blue Angel screen test, rarely seen historical footage. Home movie footage and photographs have been provided to the production by the several of the exiles’ families, and the production has received the cooperation of the Museum of Film and Television, Berlin, the Academy of Motion Pictures, Los Angeles and the National Archives. Eyewitness accounts of this era are provided by screen actress Lupita Kohner, author Peter Viertel and with archive statements from Billy Wilder, Fritz Lang and Fred Zinnemann, among others.

Franz Waxman conducts. (c) John W. Waxman Photo Collection. All rights reserved. Used with permission.

By Elyse Eisenberg

How is the star film composer of Hollywood’s Golden Years virtually unknown to moviegoers today? The name Franz Waxman doesn’t usually ring a bell, but the movies he worked on—“Philadelphia Story”, “Rebecca”, more…are classics. Read more about this composer’s life and work:

German-born film composer Franz Waxman composed the scores for hundreds of films, including Alfred Hitchcock’s “Rebecca” (1940) and “Rear Window” (1954), and the iconic “Sunset Boulevard” (1950).

If you ask Franz Waxman’s son, John Waxman, to discuss his own life’s work–a library of music for motion pictures, one of the largest in the world– he immediately starts reminiscing about his father and the “Hollywood Sound”. There are very few people who remember this musical heritage–there are very few left who care. It’s a great legacy lost forever, Waxman said, who added that while people might recognize the music from his father’s films, most people do not know his father’s name.

“Among film historians and people who are serious about film, Franz Waxman is one of the best-known film composers. Maybe what John Waxman is saying is that he is not as famous as he should have been,” said Jeanine Basinger, a film professor at Wesleyan University for almost 40 years, who has taught hundreds of students in her film program.

The Hollywood films from Waxman’s time did not feature cinematographers or composers, and often even the directors were invisible, according to Basinger, because at the time it was all about the stars. All of that began to change in the 1960s when movies evolved into an art form, and people began looking at the art behind the scenes.

So why isn’t Franz Waxman known today? For Basinger the answer is clear: because of the era in which he worked, when composers received little credit. Basinger pointed out that unusually, Waxman was able to maintain his own voice and creativity while serving the artistic needs of the studio.

John Waxman recounts:

“Sometimes my father got assigned to films that were real stinkers, and the producers thought the music could save it. The legendary composer, Max Steiner, used to say, ‘You can dress up a corpse but you can’t bring it back to life. My father also had to pay the rent.”

The Sound of Hollywood’s Golden Age

John Waxman, who makes film music available to orchestras all over the world, says that the popularity of film music has grown tremendously since 1980. “When I first started off, some publishers laughed at me. They didn’t think it was serious music, just filler. But, it’s really much more than that.” Waxman explains: “The best example is in Hitchcock’s “Psycho”–all of the tension and anxiety is conveyed through the music; if you watch the film without the music, the scenes go on forever.”

Basinger says: “For the great composers, like Franz Waxman, the music is worthwhile on its own, but if the music has been designed with pauses and crescendos, and you leave that out of the film, then you are leaving out a design element.”

“My father would say good music is good music, no matter what the genre or context,” Waxman said. “My father could work in every genre, including horror films (”Bride of Frankenstein” [1935]), comedies (”Philadelphia Story” [1940]), war pictures (”Objective, Burma!” [1945]), historical dramas, women’s pictures and Westerns. “He was a chameleon.”

Waxman recounts:

“My father would work on a Kirk Douglas western in the morning, would go to the studio for lunch, work until dinner on the “Spirit of St. Louis” (1957), after dinner he would take a swim, and work on “Miracle In The Rain” (1956) in the evening. He couldn’t wait for inspiration to strike, he had to turn out so many scores in such a short time.”

“One of the great things about Franz Waxman was that he could soar with the romanticism and emotional fullness, as in the Hollywood melodrama ‘Rebecca’, where he infused the main character who is remembered and unseen with so much power and emotional appeal,” Basinger said.

Franz Waxman is one of a number of film composers whose inventive work helped define the Golden Age in Hollywood. A new PBS documentary “Cinema’s Exiles: From Hitler to Hollywood” takes an in-depth look at the impact of Franz Waxman and many other German and Eastern European exiles on Hollywood’s film industry.

During the “Golden Age” of cinema there were many prolific film composers. They include Max Steiner, Hans Eisler, Miklos Rosza, Dimitri Tiomkin, and Erich Wolfgang Korngold.

The Genesis for the PBS Documentary Cinema’s Exiles

“The idea started off with my father, but I knew that there were many other German refugees from the film industry who also changed the motion picture business,” said John Waxman, who pitched the idea to Karen Thomas, the producer for the documentary.

“One of the things my dad does well is carry on the importance of film music, and my family’s legacy,” said Franz Waxman’s granddaughter Alyce Waxman. “It is such a beautiful story of how these composers defined American cinema, how they went from something so bleak to something so great. So, many people associate film with America, when it was actually outsiders who created film.”

Basinger explains:

“The “Golden Age in Hollywood’ was not born in Hollywood– it came from composers in Europe who were trained in the classical music traditions of Beethoven and Wagner, who used large orchestras and lushly romantic scores. The reason why Hollywood cinema became so great was because it absorbed huge talent from Europe, all of the greats fleeing persecution were absorbed in Hollywood cinema.”

Ironically, their experiences in Nazi Germany gave the work depth. “There’s a great emotional sensitivity in their music, that they have suffered, and lived full lives. They were not just born in California. There is a power and sophistication that comes from their survival and the great European tradition that elevates their music,” Basinger said.

Waxman’s Career High Points

Franz Waxman began his musical career playing at the Tingle Tangle club in Berlin, and he eventually got a break writing songs for Frederick Hollander, who gave Waxman his first important movie assignment: orchestrating and conducting a score for Josef von Sternberg’s classic Marlene Dietrich vehicle, “The Blue Angel.” Then, one evening, after Hitler had come to power, Waxman was walking home from the studio when he was beaten up by a group of Hitler Youth. He got back up, went back to his apartment and left that night with his girlfriend. They left everything and went to Paris. In Paris, he ended up in the Hotel Ansonia, where other film professionals from Germany passed through. Many refugees like Waxman who emigrated to the U.S. were forced to leave family behind, but ended up finding work in close-knit Jewish communities.

Waxman states:

“You know the famous story in Hollywood– it’s 25 percent talent and 75 percent connections. Once in the U.S., my father was invited along with my mother to the home of writer Salka Viertel. There, he met director James Whale, who said he had a picture he wanted my father to score for Universal Pictures. It was “The Bride of Frankenstein”. It led to a two-year contract with Universal as head of the music department and it was the beginning of steady employment for the next 30 years.”

Waxman won the Academy Award in 1950 for Billy Wilder’s “Sunset Boulevard” and in 1951 for George Stevens’ “A Place in the Sun.” He was the only composer to have won the award for Best Score two years in a row, according to Waxman.

Still, John Waxman reflects on the “golden age” as a challenging time for his father and the émigré composers: “It was tough in those days because composers were not appreciated in the same way they are today. People look back at the ‘golden age’, and think it must have been really great. It wasn’t all that great.”

Waxman’s Final Masterpiece

“My father’s brother and part of his family were exterminated in Auschwitz. My father didn’t talk about it. It was too painful. All of these émigrés lived with these stories, every one of them had stories, but they did not look back. They were interested in the future,” Waxman said.

While Franz Waxman focused most of his career on composing scores for Hollywood films, his last great work was very much about the Holocaust–but not for film–it was a concert.

Waxman recounts:

“My father received a commission from the Cincinnati May Festival for a composition for a children’s chorus, and he was looking for a work that would fit their requirements. My aunt was a German refugee who worked in New York finding European books for McGraw-Hill that were appropriate for translation and publication in the U.S. One morning she called my father and asked him to order her a roast beef sandwich with lettuce, tomato and Russian dressing for lunch, because she had a package from Prague–a book which she was sure would be a subject that he could compose to.”

It was the publication “I Never Saw Another Butterfly”, of poems written by children interned at the Terezin ghetto near Prague. “The Nazis tried to portray the Terezin ghetto as a ‘model’ camp to the Red Cross, when actually very few children there survived,” Waxman said. Franz Waxman wrote the work “The Song of Terezin”–a series of eight songs each based on a poem from the book–over a six-week period. “He composed it almost like Mozart writing the requiem–he knew he was sick and had to finish it fast. Five months before he died, Waxman was able to make a trip to Prague.

Franz Waxman passed away in 1967, at the age of 60.

(b. Sucha, Austria 1906 – d. West Los Angeles 2002)

Born as Samuel Wilder. Writer and director. Called ‘Billie’ by his mother, a fan of William Cody, Wilder became a reporter for the yellow press when his father moved his family from rural Galicia to Vienna just before World War I. Following the American band leader Paul Whiteman to Berlin, Wilder worked for seven years as a free journalist for a number of newspapers and as ghostwriter for several film scripts. His first success in the film industry was the collaborative Menschen am Sonntag (1928, with Robert and Curt Siodmak, Edgar G. Ulmer, and Fred Zinnemann). Scripts for Der Mann, der seinen Mörder sucht (1931), Emil und die Detektive (1932) and Ein blonder Traum (1932) followed.

One day after the Reichstag fire in February of 1933, Wilder left for France where he directed his first film, the low-budget Mauvaise Graine (1934). Under contract at Paramount as of 1936, he teamed up with Charles Brackett to write a series of highly successful films, including Bluebeard’s Eighth Wife (1938) and Ninotchka (1939) for Ernst Lubitsch, a filmmaker whom Wilder always considered a role model.

His US debut as director was The Major and the Minor (1942); already his third feature, the noir Double Indemnity (1944) established him as a major director. In his master piece, Sunset Boulevard (1950), which was nominated for eleven Academy Awards and won three, Wilder offers a harsh look at the star system of the US glamour industry. His films combine comedy and cynicism, without claiming a moral high ground. The Lost Weekend (1957) is a somber investigation of alcoholism, while The Seven Year Itch (1955, with Marilyn Monroe) takes an ironic look at adultery. With A Foreign Affair (1948) Wilder revisits Berlin to show up German and American hypocrisy alike. Also set in a yet undivided Berlin is One, Two, Three (1961), a hilarious spoof on Cold War hysteria.

Photo from Waxman’s application for U.S. citizenship. Click to see the application.

Franz Waxman led a variety of musical lives as composer, conductor and impresario. He was born in Konigshutte, Upper Silesia, Germany, on December 24, 1906, and was the youngest of six children. No one in the family was musical except Franz, who started piano lessons at the age of seven. His father was an industrialist, and not believing his son could earn a living in music, encouraged him in a banking career. He worked for two and a half years as a teller and used his salary to pay for lessons in piano, harmony and composition. He then quit the bank and moved to Dresden and then to Berlin to study music.

During this period he paid for his musical education by playing piano in nightclubs and with the Weintraub Syncopaters, a popular jazz band of the late 1920s. While with the band he began to do their arrangements, and this led to orchestrating some early German musical films. Frederick Hollander, who had written some music for the Weintraubs, gave Waxman his first important movie assignment: orchestrating and conducting Hollander’s score for Josef von Sternberg’s classic film, “The Blue Angel.” The film’s producer, Erich Pommer, who was also head of the UFA Studios in Berlin, was so pleased with the orchestration of the score that he gave Waxman his first major composing assignment: Fritz Lang’s version of “Liliom” (1933) which was filmed in Paris after their exodus from Germany. Pommer’s next assignment, Jerome Kern’s “Music in the Air” (Fox Films, 1934), took him to the United States, and he brought Waxman with him to arrange the music.

Waxman’s first original Hollywood score was James Whale’s “The Bride of Frankenstein” (1935), which led to a two-year contract with Universal as head of the music department. He scored a dozen of the more than 50 Universal films on which he worked as music director. Among the best known are “Magnificent Obsession, “Diamond Jim” and “The Invisible Ray.”

Two years after he went to Hollywood, Waxman, then 30, signed a seven-year contract with Metro-Goldwyn-Mayer to compose. He averaged about seven pictures a year, and it was during this period that he scored such famous Spencer Tracy films as “Captains Courageous,” “Dr. Jekyll and Mr. Hyde” and “Woman of the Year.” In 1937, he was loaned by M-G-M to David O. Selznick for “The Young at Heart” and was nominated for both Best Original Music and Best Score – the first two of 12 Academy Award nominations he was to receive for the 144 films he scored in his 32 years in Hollywood. In 1940 he was again loaned to Selznick, this time for “Rebecca,” and was nominated for his third Academy Award.

Waxman left M-G-M in 1943 and began a long association with Warner Brothers. “Old Acquaintance” is from this period. (Selections from three more of his Warner Brothers scores can be heard on RCA albums: “Mr. Skeffington” is included in “Classic Film Scores for Bette Davis,” “To Have and Have Not,”  and “The Two Mrs. Carrolls” are included in “Casablanca – Classic Film Scores for Humphrey Bogart, and “Objective, Burma!” are on “Captive Blood” – Classic Film Scores for Errol Flynn)

In 1947 Waxman founded the Los Angeles International Music Festival, which he was to head for 20 years. World and American premieres of 80 major works by composers such as Stravinsky, Walton, Vaughan Williams, Shostakovitch and Schoenberg were given at the festival.

By 1947 Waxman had a busy schedule indeed. In addition to devoting a great deal of time to the festival, he was in demand at all the major studios, was guest conducting symphony orchestras in Europe as well as in the United States and was composing concert music. For the film “Humoresque” he wrote a special piece based on themes from Bizet’s “Carmen,” which was played by Isaac Stern on the soundtrack. The “Carmen Fantasie” has become standard repertoire and was recorded by Jascha Heifetz for RCA. Among Waxman’s other concert works are “Overture for Trumpet and Orchestra,” based on themes from “The Horn Blows at Midnight;” “Sinfonietta for String Orchestra and Timpani;” a dramatic song cycle “The Song of Terezin,” and an oratorio, “Joshua.”

Waxman won the Academy Award in 1950 for Billy Wilder’s “Sunset Boulevard” and in 1951 for George Stevens’ “A Place in the Sun.” For over half a century, he was the only composer to have won the award for Best Score in two successive years. It was during the ’50s and ’60s that he composed some of his most important and varied scores. These are represented by the above two Academy Award winners as well as by “Prince Valiant” and “Taras Bulba.” He had usually been associated with romantic films, but now he progressed to epic and jazz-oriented scores. “Crime in the Streets,” “The Spirit of St. Louis,” “Sayonara,” “Peyton Place” and “The Nun’s Story” are also from this period and the complete scores were issued on soundtrack albums. Franz Waxman received many honors during his lifetime, including the Cross of Merit from the Federal Republic of West Germany, honorary memberships in the Mahler Society and the International Society of Arts and Letters, and an honorary doctorate of letters and humanities from Columbia College. He died February 24, 1967, in Los Angeles at the age of 60.

Together with Erich Wolfgang Korngold, Max Steiner, Dimitri Tiomkin, Bernard Herrmann and Alfred Newman a United States postage stamp was issued in 1999. During the recent Waxman centenary a street in his birthplace was named Franz Waxmanstrasse. The Academy of Motion Picture Arts & Sciences and Turner Classic Movies held tributes. The Museum of Modern Art in New York presented a 24 picture retrospective; this was the first time that MoMA honored a composer. The Chicago Symphony Orchestra recently performed the complete score THE BRIDE OF FRANKENSTEIN live to film.

(b. Brünn, Moravia 1897 – d. Hollywood 1957)

Photo from Korngold’s application for U.S. citizenship. Click to see the application.

Composer. Along with fellow Europeans Max Steiner and Franz Waxman, Korngold elevated the status of film music from incidental accompaniment to a new art form. A successful composer on the Continent and protégé of impresario Max Reinhardt before emigrating to the United States, Korngold was a child prodigy who began composing at age 13. Reinhardt brought him to Hollywood when the director made his ambitious film version of A Midsummer Night’s Dream (1935). Korngold’s beautiful adaptation of Mendelssohn’s music themes so impressed Warner Bros. that the studio hired him to score Captain Blood (dir. Michael Curtiz, 1935) and Anthony Adverse (1936, which won Korngold his first Oscar). He returned to Austria to stage an opera, but a postponement brought him back to Hollywood to work on The Adventures of Robin Hood (dir. Curtiz, 1938). The “Anschluss” of his native Austria forced him to remain in the US, becoming a citizen in 1943. Many Korngold aficionados consider Kings Row (1942) to be his greatest work. Other scores include Juarez (dir. William Dieterle, 1939), The Sea Wolf (dir. Curtiz, 1941), The Constant Nymph (1943), Devotion (dir. Curtis Bernhardt), Deception, Of Human Bondage (all 1946), Escape Me Never (1947), and Magic Fire (dir. Dieterle, 1956, his last). He worked in all areas of musical composition, never limiting himself to film scores alone; his operas, symphonies, chamber music, and concertos are still performed today.

Photo from Hollaender’s application for U.S. citizenship. Click to see the application.

Frederick Hollander (a.k.a Friedrich Hollaender) was born to German parents in London on October 18, 1896. His father Victor was a widely acclaimed composer of revues, operettas and popular songs, still known today for his “Kirschen in Nachbars Garten” and “Schaukellied.” Frederick grew up in Berlin, surrounded by an exceptional musical family, including uncles Gustav Hollaender, head of the famous Stern Conservatory, and Felix Hollaender, writer and dramatist with Max Reinhardt.

Young Frederick studied composition at the Stern Conservatory, and was one of Engelbert Humperdinck’s master students. During World War I, Hollander served in the military as musical director, entertaining troops on the front lines in France. Soon after the war, he began his theatrical career writing stage music for Max Reinhardt’s productions and was a house composer for such avant-garde literary cabarets as “Sound and Smoke” (”Schall und Rauch”), “Wild Stage” (”Wilde Bühne”) and “Megalomania” (”Größenwahn”). In addition to writing his own popular music and lyrics, Hollander collaborated with many famous authors including Kurt Tucholsky, Klabund and Walter Mehring. It was during this prolific period that Hollander garnered fame and recognition for his series of “Songs of a Poor Girl” (”Lieder eines armen Mädchens”), written for his first wife, singer Blandine Ebinger. In the following years he went on to write numerous hit songs and over a dozen popular revues (often in conjunction with Rudolf Nelson and Marcellus Schiffer), including “Laterna Magica,” “Das bist Du!,” “Bei uns um die Gedächtniskirche rum” and “Der rote Faden.” Hollander also worked with the sensational jazz band, Weintraub Syncopators.

Hollander’s long and successful film career began auspiciously in 1929, when he was hired to compose the music for Joseph Von Sternberg’s landmark film “The Blue Angel” (”Der blaue Engel”). Marlene Dietrich’s sultry rendition of “Falling In Love Again” (”Ich bin von Kopf bis Fuss auf Liebe eingestellt”) propelled both the actress and the song to international success and legendary status. “Falling In Love Again” remains Hollander’s signature piece and has been interpreted by recording artists as diverse as Brian Ferry, Billie Holiday, Count Basie, Dionne Warwick, Petula Clark, Greta Keller, Linda Ronstadt, Jean Sablon, Udo Lindenberg, Nana Mouskouri, Leontyne Price, Ute Lemper, Sammy Davis Jr. and the Beatles. The unprecedented success of “The Blue Angel” ensured Hollander a place as featured film composer with UFA, Germany’s premier film studio. Prior to his emigration to the U.S., Hollander’s work with UFA produced a succession of classic hit films, such as: “Einbrecher,” “Der Mann, der seinen Mörder sucht,” “Stürme der Leidenschaft” and “Ich und die Kaiserin,” which was also his directorial debut. Hollander shot three different versions of the film simultaneously, in French, German and in English, each using three separate sets of actors.

Caught up in the cultural and artistic maelstrom of Weimar Germany, in 1931 Hollander opened his own highly successful cabaret-style theater, “Tingel Tangel,” ensconced beneath Berlin’s “Theater des Westens.” His shows were among the top attractions of the day, hailed for their jazzy music, witty lyrics, and daring political satire. Hollander’s courageous and openly anti-Hitler revues, such as “Spuk in der Villa Stern,” made him an early Nazi target and nearly cost him his life. Within two years, Hitler’s unrelenting rise to power would force Hollander and his second wife, Hedi Schoop, to flee Germany for the United States.

[Frederick Hollander working with Marlene Dietrich in Hollywood] In 1933, Hollander arrived in Hollywood to discover that his “Blue Angel” reputation had preceded him – as did Marlene Dietrich – and he continued writing songs for the actress, including “Boys In The Back Room,” “You’ve Got That Look,” “Illusions,” “Black Market” and “I’ve Been In Love Before.” Hollander’s Hollywood career spanned twenty-three years and included songs and musical scores for hundreds of films, among them “Sabrina,” “Destry Rides Again,” “Here Comes Mr. Jordan,” “A Foreign Affair” (in which Hollander also appears as Dietrich’s night club piano player), “Desire,” and the cult musical “The Five Thousand Fingers Of Dr. T.” He garnered four Academy Award nominations: 1937 for Best Song “Whispers In The Dark” (from “Artists And Models”); 1942 for Best Score (from “Talk Of The Town”); 1948 for Best Song “This Is The Moment,” (from “That Lady In Ermine”) and in 1953 for Best Musical Score (from “The Five Thousand Fingers Of Dr. T”).

Hollander returned to Germany in 1956, where his music enjoyed a revival, presented in sprightly cabaret revues in Munich and Berlin. He continued to compose for musicals and wrote the score to the 1959 film, “Das Spukschloss im Spessart.” Although best known for his musical work, Hollander also wrote several books: his autobiography “Von Kopf bis Fuss: mein Leben mit Text und Music” (1965); “Ich starb an einem Dienstag” (1972); “Ärger mit dem Echo” (1972); and “Die Witzbombe und wie man sie legt” (1972). Notably, his first novel, “Those Torn From Earth” (1941, written in English) was posthumously translated and published in Germany (by the Weidle Verlag) in 1995 as “Menchliches Treibgut.”

For Hollander’s lasting contributions to German Culture, he was awarded the Schwabinger Kunstpreis and in 1959 the Bundesverdienstkreuz (Order of Merit of the Federal Republic of Germany).

Art imitated life for Hollander once again when director Billy Wilder (for whom Hollander had scored the 1948 classic “A Foreign Affair”) nostalgically cast his longtime friend as the singer/bandleader in an East German night club in the 1961 film “One, Two, Three.” Later in life he remarried two more times. Hollander passed away in Munich, Germany on January 18th, 1976, just short of his 80th birthday. His timeless music continues to be performed and recorded around the world.