ABSTRACT
This chapter explores Franz Waxman's career navigating the dual realms of film music and concert hall composition, a dynamic often framed as a “double life” in contemporary press coverage. It examines how Waxman strategically positioned himself as both a Hollywood composer and a conductor rooted in the European art music tradition. The chapter delves into recurring themes such as the aesthetic dichotomy between functional and “serious” music, the pedagogical potential of film music to introduce contemporary styles to broader audiences, and the technological and media-specific aspects of film composition. Waxman's public relations efforts, including his use of emigration narratives and references to canonical European composers, are analysed as tools to elevate the status of film music and align himself with the concert music tradition. The chapter also highlights the contrasting perceptions of Waxman's career in the USA and Europe, revealing how local contexts shaped the reception of his work. Ultimately, it underscores Waxman's ability to navigate and challenge the boundaries between commercial and art music, while addressing the persistent stigma associated with Hollywood film composition.
