154:. 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.
179:, followed Muir into the musical profession and became a conductor and musical director in British films. 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. As a teenager Mathieson formed and conducted a youth orchestra in Stirling.
234:. 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,
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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. They had one son and three daughters, among them the actress Fiona Mathieson (1951–1987)
300:
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.
775:
His biographer S. J. Hetherington records that
Mathieson arranged, directed, conducted, and occasionally composed, the music for almost one thousand films during his career. In addition to his work in films he conducted in the concert hall, particularly with youth orchestras. He was appointed
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wrote, "If you wanted to write music for films at that time you had to be 'in' with Muir". 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
545:
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
208:, Mathieson "made the points of a witty score pointedly". 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
768:; it was to have been recorded in the US, but because of a musicians' strike there Mathieson conducted the recording in Vienna. In 1966 he wrote and directed a series of twenty-four short films, collectively entitled
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that he found the suite "rather tame" compared with the original film score. During the war
Mathieson conducted frequent public concerts, sometimes programming suites from other film scores that he had commissioned.
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conducting a choir. 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
673:. Sargent conducted the LSO as well as delivering the narration to camera. The music won a permanent place in the worldwide concert repertoire, and has become Britten's most widely played and popular piece.
340:. 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
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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".
459:, generally regarded as the most important living British composer. Vaughan Williams gladly agreed to help the war effort by writing film music – a genre wholly new to him – for
33:
477:(LSO) in the finished score, with the composer at the sessions, ready to "cut, enlarge, alter, adapt" as necessary. Vaughan Williams wrote a second score for Mathieson:
659:, 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
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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.
240:(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.
427:(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
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311:, "more than anyone else, he was responsible for the British practice of engaging independent composers for films, instead of maintaining (as did
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Mathieson worked with many other composers during the war; apart from those with
Vaughan Williams, his most conspicuous collaboration was with
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171:, 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
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While
Mathieson was in charge of music for Korda, a range of composers provided scores, including his old teacher, Arthur Benjamin, and
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American distributors insisted that Adler's name must be removed from the credits because of his continuing refusal to co-operate with
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579:. He supervised the music of most of the major films produced under the Rank banner, continuing to engage leading composers including
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469:(1941). Working with Mathieson, Vaughan Williams quickly grasped the split-hair timings of film music: "a second of music meant
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534:(both 1942). In 1944, with Olivier's backing, Mathieson asked Walton to provide the music for the spectacular
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film units. By now he had considerable experience of commissioning film scores, and he approached the veteran
127:, whose musical director he became in 1934. Mathieson made most of his career in the film industry. After the
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108:(24 January 1911 – 2 August 1975) was a British musician whose career was spent mainly as the
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Mathieson relaxed his insistence on newly commissioned music, and at Coward's behest arranged and conducted
315:) a localized core of 'film composers'". He was dubbed the "Tsar of music for British films"; the composer
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in London from
February 1929, winning a succession of scholarships. At the college he studied piano with
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singled him out, commenting that in his handling of a college production of Benjamin's musical farce
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In his later years Mathieson worked as a freelance music director. He commissioned the score of
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a second of music", and he enjoyed working with the studio team. Mathieson conducted the
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791:, Oxford, on 2 August 1975, aged 64, survived by his widow, who died in October 2010.
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Mathieson graduated from the college in 1933, and Sargent recommended him to
504:(1944). Mathieson and Walton had worked together on five films before then:
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Born in Scotland, to a musical family, Mathieson won a scholarship to the
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music. Walton conducted a recording of it in 1963, though he later told
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Davie (1884–1954), a violinist, pianist and teacher. The younger son,
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Among the composers from whom Mathieson commissioned film scores were
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717:. Among Mathieson's other 1950s commissions were Arnold's score for
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By the end of the war Mathieson had become musical director for the
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in June 1935. This was a revised version of the thus-far unstaged
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1324:"Britten, (Edward) Benjamin, Baron Britten (1913–1976), composer"
32:
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adaptation of Shakespeare's play. Youdell describes the film of
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Lloyd, Stephen (1999). "Film Music". In Craggs, Stewart (ed.).
1500:
James Bernard, Composer to Count Dracula: A Critical Biography
198:. As a student his talent for conducting attracted attention.
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In 1946 Mathieson extended his activities to directing, with
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in September 1939 Mathieson became musical director to the
686:, Mathieson appeared as a cast member, in a cameo role as
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852:(1948), which he reworked as his seventh symphony – the
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Vaughan Williams later provided the score for the film
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for his services to music, and was a governor of the
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1000:, 10 September 1948, p. 8; and Hetherington, p. 33
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243:Away from the film studio, Mathieson conducted
261:. Despite good notices it was not a success.
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230:, musical director of Korda's new company,
123:, who recommended him to the film producer
1696:RVW: A Biography of Ralph Vaughan Williams
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1592:A Picture History of Gilbert and Sullivan
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666:The Young Person's Guide to the Orchestra
308:Grove's Dictionary of Music and Musicians
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483:(1942), made under the auspices of the
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947:"Mathieson, (James) Muir (1911–1975)"
403:(1936); Auric composed the score for
1774:Alumni of the Royal College of Music
1676:. New Haven: Yale University Press.
1652:
1568:(second ed.). London: Methuen.
1543:William Walton: Music and Literature
1477:Muir Mathieson: A Life in Film Music
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754:. In 1958 he was invited to conduct
1794:20th-century British male musicians
1698:. Oxford: Oxford University Press.
1526:. Oxford: Oxford University Press.
1458:. Oxford: Oxford University Press.
908:
434:
376:The Return of the Scarlet Pimpernel
13:
1330:, Oxford University Press, 2011.
829:Wagner had propounded a theory of
750:(1956) from the nineteen-year-old
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14:
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1799:British male film score composers
1713:
1607:Mathieson, Muir (December 1944).
1456:Letters of Ralph Vaughan Williams
953:, Oxford University Press, 2012.
890:. The score was nominated for an
862:as assistant musical director to
1564:The Encyclopedia of British Film
1372:, Oxford University Press, 2011
1163:, Oxford University Press, 2002
1116:, Oxford University Press, 2001
1075:, Oxford University Press, 2001
682:(1951), a film made to mark the
270:Hermione Louise Alys Darnborough
226:as a conductor and assistant to
1789:20th-century Scottish musicians
1769:British male conductors (music)
1674:Kurt Weill: An Illustrated Life
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131:he was musical director to the
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1560:McFarlane, Brian, ed. (2005).
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631:, 1948). For the 1945 film of
237:The Private Life of Henry VIII
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1437:Benjamin Britten: A Biography
1355:Mander and Mitchenson, p. 149
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795:Notes, references and sources
516:(1936), and three war films:
1655:Malcolm Sargent: A Biography
1473:Hetherington, S. J. (2006).
1376:UK public library membership
1334:UK public library membership
957:UK public library membership
657:Instruments of the Orchestra
379:(1937); Addinsell wrote for
367:. Benjamin wrote scores for
268:, London, Mathieson married
264:On 21 December 1935, at the
7:
1764:Scottish conductors (music)
1657:. London: Hamish Hamilton.
1638:. London: Haus Publishing.
1439:. London: Faber and Faber.
726:The Prince and the Showgirl
558:
10:
1820:
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1032:"Royal College of Music",
996:"Muir Mathieson's Visit",
112:for British film studios.
1672:Schebera, Jürgen (1995).
732:Carve Her Name With Pride
498:'s film of Shakespeare's
475:London Symphony Orchestra
439:With the outbreak of the
431:when released on record.
337:A Midsummer Night's Dream
272:, principal ballerina of
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1692:Vaughan Williams, Ursula
1504:. Jefferson: McFarland.
1496:Huckvale, David (2006).
1229:Kennedy, pp. 117 and 126
1193:Vaughan Williams, p. 250
1184:Vaughan Williams, p. 245
1023:Vaughan Williams, p. 239
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729:(1957), and Alwyn's for
723:(1954), Addinsell's for
217:
1626:(subscription required)
1609:"Aspects of Film Music"
1594:. London: Vista Books.
1165:(subscription required)
1118:(subscription required)
1077:(subscription required)
445:Ministry of Information
211:The Pirates of Penzance
1653:Reid, Charles (1968).
1545:. Aldershot: Ashgate.
1069:"Weill, Kurt (Julian)"
849:Scott of the Antarctic
831:
814:Ralph Vaughan Williams
787:Mathieson died at the
782:British Film Institute
752:Richard Rodney Bennett
625:, 1946) and Walton (
461:Powell and Pressburger
457:Ralph Vaughan Williams
421:(1940), and Bliss for
188:Royal College of Music
186:Mathieson went to the
167:Mathieson was born in
144:Ralph Vaughan Williams
117:Royal College of Music
1454:Cobbe, Hugh (2010) .
1295:Hetherington, p. 118
1058:, 29 June 1935, p. 12
646:Second Piano Concerto
370:The Scarlet Pimpernel
274:Sadler's Wells Ballet
1749:People from Stirling
1409:Hetherington, p. 128
1400:Hetherington, p. 266
1277:Hetherington, p. 120
1265:Hetherington, p. 121
1202:Hetherington, p. 114
812:In her biography of
531:The First of the Few
418:The Thief of Baghdad
194:and conducting with
184:Stirling High School
102:James Muir Mathieson
86:Hermione Darnborough
44:James Muir Mathieson
1433:Carpenter, Humphrey
1418:Hetherington, p. 41
1304:Hetherington, p. 96
1286:Hetherington, p. 57
1256:Hetherington, p. 95
1211:Kennedy, p. 125–126
1155:Millington, Barry.
1045:Hetherington, p. 34
1036:, 5 June 1933, p. 8
1009:Hetherington, p. 32
987:Hetherington, p. 20
978:Hetherington, p. 16
789:Radcliffe Infirmary
738:A Night to Remember
688:Sir Arthur Sullivan
684:Festival of Britain
463:'s propaganda film
249:A Kingdom for a Cow
1759:Scottish composers
1524:Portrait of Walton
1322:Mitchell, Donald.
1161:Grove Music Online
1114:Grove Music Online
1073:Grove Music Online
855:Sinfonia antartica
622:Great Expectations
525:Went the Day Well?
409:(1936), Rozsa for
348:never dreamt of."
206:The Devil Take Her
1705:978-0-19-315411-7
1683:978-0-30-006055-3
1664:978-0-24-191316-1
1645:978-1-908323-38-5
1575:978-0-413-77526-9
1552:978-1-85-928190-1
1533:978-0-19-816705-1
1511:978-0-78-642302-6
1488:978-1-89-821811-1
1465:978-0-19-958764-3
1446:978-0-571-14324-5
1374:(subscription or
1332:(subscription or
1313:Carpenter, p. 231
1110:"Mathieson, Muir"
1054:"Savoy Theatre",
969:McFarlane, p. 465
955:(subscription or
945:Youdell, Andrew.
698:The Sound Barrier
612:Men of Two Worlds
581:Richard Addinsell
565:Rank Organisation
412:The Four Feathers
400:Fire Over England
353:Richard Addinsell
284:Royal Albert Hall
133:Rank Organisation
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609:, 1948), Bliss (
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449:Royal Air Force
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158:Life and career
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693:Malcolm Arnold
643:Rachmaninoff's
560:
557:
513:As You Like It
492:William Walton
466:49th Parallel
436:
433:
424:Things to Come
388:Farewell Again
219:
216:
164:
161:
159:
156:
148:William Walton
97:
96:
93:
89:
88:
83:
79:
78:
75:
73:(aged 64)
67:
63:
62:
56:
43:
41:
37:
36:
28:
27:
25:Muir Mathieson
24:
15:
9:
6:
4:
3:
2:
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1199:
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1181:
1175:Cobbe, p. 175
1172:
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1125:
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922:
920:
918:
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907:
893:
889:
885:
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876:
869:
865:
864:Ernest Irving
861:
857:
856:
851:
850:
843:
835:
834:
826:
819:
815:
809:
805:
792:
790:
785:
783:
779:
773:
771:
770:We Make Music
767:
766:
761:
758:'s score for
757:
753:
749:
748:
742:
741:(both 1958).
740:
739:
734:
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710:
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689:
685:
681:
680:
679:The Magic Box
674:
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640:
639:
634:
630:
629:
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623:
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614:
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608:
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598:
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591:William Alwyn
588:
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586:Blithe Spirit
582:
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566:
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541:
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401:
396:
395:
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366:
362:
358:
357:Georges Auric
354:
349:
347:
343:
339:
338:
333:
329:
328:
323:
318:
317:James Bernard
314:
310:
309:
304:
303:Arthur Jacobs
298:
296:
295:
291:radio serial
290:
285:
281:
280:
275:
271:
267:
262:
260:
259:
258:Der Kuhhandel
254:
253:Savoy Theatre
250:
246:
241:
239:
238:
233:
229:
228:Kurt Schröder
225:
215:
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207:
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155:
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136:
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107:
103:
94:
90:
87:
84:
80:
69:2 August 1975
68:
64:
59:
42:
38:
34:
29:
22:
19:
1695:
1673:
1654:
1635:
1612:
1591:
1563:
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1523:
1499:
1476:
1455:
1436:
1414:
1405:
1384:
1369:
1360:
1351:
1342:
1327:
1318:
1309:
1300:
1291:
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1261:
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1243:
1234:
1225:
1216:
1207:
1198:
1189:
1180:
1171:
1160:
1151:
1142:
1133:
1124:
1113:
1096:Reid, p. 206
1092:
1083:
1072:
1063:
1055:
1050:
1041:
1033:
1028:
1005:
997:
992:
983:
974:
965:
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879:
875:
853:
847:
842:
825:
808:
786:
774:
769:
763:
745:
743:
736:
730:
724:
718:
712:
706:
701:, 1952) and
696:
677:
675:
671:Eric Crozier
664:
656:
654:
652:as soloist.
650:Eileen Joyce
636:
626:
620:
617:Walter Goehr
610:
606:Oliver Twist
604:
594:
584:
562:
552:André Previn
547:
544:
539:
529:
523:
517:
511:
505:
499:
489:
478:
470:
464:
438:
422:
416:
410:
404:
398:
397:(1937), and
394:South Riding
392:
386:
382:Dark Journey
380:
374:
368:
365:Arthur Bliss
361:Miklos Rozsa
350:
335:
325:
306:
305:comments in
299:
292:
277:
263:
256:
248:
242:
235:
232:London Films
221:
209:
205:
199:
181:
172:
166:
140:Arthur Bliss
137:
114:
101:
100:
71:(1975-08-02)
18:
1744:1975 deaths
1739:1911 births
880:Genevieve's
714:Richard III
703:Larry Adler
633:Noël Coward
596:Odd Man Out
573:The Archers
536:Technicolor
415:(1939) and
373:(1934) and
332:Mendelssohn
294:The Archers
163:Early years
1733:Categories
1615:(9): 7–9.
902:References
816:his widow
601:Arnold Bax
569:Two Cities
245:Kurt Weill
60:, Scotland
50:1911-01-24
1600:469979595
1378:required)
1336:required)
1056:The Times
1034:The Times
959:required)
708:Genevieve
615:, 1946),
599:, 1946),
577:Cineguild
327:Peer Gynt
313:Hollywood
201:The Times
1694:(1964).
1634:(2013).
1590:(1962).
1522:(1989).
1435:(1992).
886:and the
762:'s film
747:Interpol
559:Post-war
522:(1941),
510:(1935),
391:(1937),
385:(1937),
279:Hiawatha
169:Stirling
92:Children
58:Stirling
1636:Britten
1426:Sources
765:Vertigo
589:1945),
548:Henry V
540:Henry V
501:Henry V
471:exactly
282:at the
251:at the
1702:
1680:
1661:
1642:
1621:943648
1619:
1598:
1572:
1549:
1530:
1508:
1485:
1462:
1443:
818:Ursula
628:Hamlet
575:, and
451:, and
447:, the
363:, and
346:Wagner
82:Spouse
76:Oxford
1617:JSTOR
1613:Tempo
892:Oscar
800:Notes
648:with
429:Decca
322:Grieg
218:Korda
1724:IMDb
1700:ISBN
1678:ISBN
1659:ISBN
1640:ISBN
1596:OCLC
1570:ISBN
1547:ISBN
1528:ISBN
1506:ISBN
1483:ISBN
1460:ISBN
1441:ISBN
860:Dock
735:and
528:and
453:army
334:for
330:and
324:for
177:Dock
150:and
66:Died
40:Born
1722:at
866:at
778:OBE
676:In
635:'s
494:on
289:BBC
247:'s
173:née
135:.
106:OBE
1735::
1611:.
1586:;
1393:^
1368:,
1326:,
1270:^
1159:,
1112:,
1101:^
1071:,
1014:^
949:,
910:^
784:.
772:.
663::
571:,
487:.
359:,
355:,
297:.
214:.
146:,
142:,
104:,
1708:.
1686:.
1667:.
1648:.
1623:.
1602:.
1578:.
1555:.
1536:.
1514:.
1491:.
1468:.
1449:.
870:.
705:(
695:(
619:(
603:(
593:(
583:(
95:4
52:)
48:(
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