ABSTRACT
This chapter explores the concept of intermediality in the context of Franz Waxman's film music and its relationship to the concert hall. It examines how Waxman and his contemporaries, including Bernard Herrmann and Erich Wolfgang Korngold, navigated the boundaries between film music and concert traditions, employing strategies such as concert adaptations and media transfers to elevate the status of their compositions. The chapter uses examples from Waxman's oeuvre, including his Symphonic Fantasy “A Mighty Fortress is Our God,” derived from the film Edge of Darkness, and his Elegy for Strings, adapted from Old Acquaintance. These works illustrate how film music was recontextualized for live performance, often retaining narrative and programmatic elements from their cinematic origins.
