Maxwell J. Terr[1][2] (November 16, 1889 – August 2, 1951[3]) was a Russian-born American pianist, arranger, bandleader, and film composer, best known for his Oscar-nominated score for the 1942 version of Charlie Chaplin's The Gold Rush and for the march theme of MGM's Metro News.[4][1]
Early life and career
Born in Odessa, Terr was the child of Boruch Lozar Terr and Celia Pollach.[5] In the summer of 1890, having not yet reached his first birthday, Terr and his family emigrated to the United States,[6] arriving in New York City on August 15.[7]
Commenting in August 1931 on what he perceived as the recent dumbing down of American dance music, bandleader Harry Horlick—Terr's fellow A&P Gypsies staffer—maintained that "[f]ar more effective dance music can be played by resorting to subtle harmonies and subtle syncopations. Schumann himself proved that syncopated rhythms could be beautiful to listen to. The dance music we will play will be specially arranged by Max Terr and will sparkle and scintillate, and flow along smoothly, melodiously, brilliantly."[15]
Personal life and death
Terr was wed at least three times, each of the first two marriages ending via divorce in five years or less. From 1916 until 1920, he was married to Jennie A. Itzkowitz[16][7] and, from 1925 to 1930, to Lena Snitz.[17][18] On June 6, 1934, he married Eva Pollack Altschuler,[19] and, as of April 1950, Terr's U.S. Census entry listed him as "divorced."[20]
On August 2, 1951, Terr died of lung cancer at age 61 in Santa Monica, California. On August 6, his cremated remains were interred at Rosedale Cemetery in Los Angeles.[21] Not quite three months later, at the request of his only surviving relative, half-sister Serafrina Harmon, Terr's remains were removed and re-interred at Mount Carmel Cemetery in Bell Gardens, California.[22][23]
Legacy
On May 7, 1952, composer Meredith Willson—on whose radio programs Terr had served as choir director for roughly two decades—appeared on the new Ed Murrow-hosted radio series This I Believe to pay tribute to his late friend and colleague, focusing especially on Terr's extraordinary dedication to finding or devising ergonomic improvements, as well as his exceeding generosity in sharing the fruits of his research. Shortly thereafter, Willson's statement was published in the Des Moines Register and—in slightly edited form—in the Los Angeles Times;[24][25][26] later that year it appeared—as "Maxie's Recipe for Happiness"—in a book-length compilation of TIB transcripts published by Murrow.
Many men feel a fervent need to leave a son to carry on their name; noncreative people envy the Shakespeares and the Beethovens [...] Maybe it's this kind of frustration that caused Henry Thoreau to remark, "The mass of men live lives of quiet desperation." Well, I had a friend by the name of Max Terr. and Max taught me that genius is by no means an essential for escape from this "quiet desperation." Max had been associated with me as choral director for the past 20 years or so. Max was interested in almost everything and, considering that he was also a perfectionist, his interest was always a very intense one ... even if it was only in a pencil. [...] Since Max has gone not a day passes that isn't a pleasanter day because of the things he left behind. [...] In every room of our apartment there are memories of Max Terr. And lots of our friends swear by his patiently discovered items ... passing them along to their friends ... praising "Maxie's cookies ... "Maxie's music paper" ... "Maxie's pencils...and piano light" without ever having known Max Terr. So I guess I believe pretty firmly that you don't have to be a Beethoven or a Rembrandt, or even a father to leave a heritage to the mortal world [...] Anyhow, I think if I leave behind me the kind of things that keep Max Terr alive in the hearts of his fellows, I will have justified my brief hour of strutting and fretting upon the stage.[27]
^ abMcNamara, Daniel I., ed. (1952). The ASCAP Biographical Dictionary of Composers, Authors and Publishers. New York: Crowell. p. 497. LCCN52-7038. "Terr, Max, composer; b. Odessa, Russia, Nov. 16, 1890; d. Los Angeles, Calif., Aug. 2, 1951. ASGAP 1947. U.S. citizen. Has scored motion pictures in Hollywood since 1943. Songs: 'The Lord Is My Shepherd'; 'Forever Free'; 'Joyful Hour'; also march theme of Metro News."
^ ab"New York, U.S. District and Circuit Court Naturalization Records, 1824-1991", FamilySearch (https://www.familysearch.org/ark:/61903/1:1:7VMB-KGMM : Sat Mar 09 07:30 :13 UTC 2024), Entry for Max Terr and Jennie, 1921.
^"Radio Chatter: East". Variety. July 26, 1932. p. 42. ProQuest1529357067. Max Terr, arranger for the A & P Gypsies, picked a trip to Hollywood as a vacash.
^"LEE MORSE". Variety. June 8, 1927. p. 26. ProQuest1529412547. Many Thanks to Mr. Stanley Jones, Managing Director, Picadilly Hotel, Mr. Alexander Pantages, Eddie Milne, Abe Lastvogel and the William Morris Office, Harold Gumm, and my dear friend Max Terr (Arranger and Leader of my Orchestra), who has helped make my own songs a success.
^"Whats on the Air?: President Roosevelt". Daily Boston Globe. October 10, 1936. p. 22. ProQuest763096977. [T]he Chateau will present regularly a special production number by Victor Young, the Golden Shell Girls' Trio, the Max Terr motion picture chorus of 16 voices, and Tudor Williams, tenor.
^Ackerman (September 10, 1938). "Radio-Reviews: Good News of 1939". Te Billboard. p. 8. ProQuest1032176477. Good News ushered in its fall season with the program's strong regular cast enhanced by a line-up of Hollywood names. Backbone of Hollywood names. Backbone of show is the same, with Robert Young emceeing; talent including Frank Morgan, Fannie Brice, Hanley Stafford, Meredith Willson's Orchestra and Max Terr's chorus.
^Shaffer, George (December 16, 1936). "Here's Closeup of Scene on Sailing Ship: Huge Jacks Give 'Vessel' Its Sea Roll". Chicago Daily Tribune. p. 24. ProQuest181903236. Virginia Weidler, as accomplished a 9 year old as there is in movies, was taking time off from playing a steerage passenger to get a singing lesson out of camera range. Max Terr of the Paramount music department was coaching her in singing 'Polka Time,' which she is to give with accordion accompaniment in a coming sequence.
^"Horlich Challenges Radio 'Jazz' Bands; New A & P Feature". Vineland Times. August 29, 1931. p. 6. ProQuest2381924353. Horlich is convinced that the loud criticism of present-day dance music is due to the inability of many radio orchestras to play it well. Horlich blames the tiresome tom-tom type of dance rendition. 'The "hot stuff," "cha-cha" style in dance music was a temporary fad,' he says. 'There is too much of it on the air now. Far more effective dance music can be played by resorting to subtle harmonies and subtle syncopations. Schumann himself proved that syncopated rhythms could be beautiful to listen to. The dance music we will play will be especially arranged by Max Terr and will sparkle and scintillate, and flow along smoothly, melodiously, brilliantly.'
^"California, Los Angeles, Angelus-Rosedale Cemetery/Crematory Records, 1884-2002", FamilySearch (https://www.familysearch.org/ark:/61903/1:1:DY12-K32M : Sat Mar 09 12:30:40 UTC 2024), Entry for Max Terr, 6 Aug 1951.
^"California, Los Angeles, Angelus-Rosedale Cemetery/Crematory Records, 1884-2002", FamilySearch (https://www.familysearch.org/ark:/61903/1:1:DBWJ-WYT2 : Thu Mar 07 23:43:22 UTC 2024), Entry for Max Terr, 30 Oct 1951.
^"Authorizaton and Receipt for Delivery of Cremated Remains". FamilySearch. "This is to certify that I, Serafrina Harmon, am the half-sister of Max Terr, Deceased, and I do hereby request you to deliver the said remains to Mt. Carmel Cemetery, for the purpose of interment in Mt. Carmel Cemetery and I hereby promise and agree to hold Rosedale Cemetery harmless, and to indemnify it or its assigns from any and all claims, demands or damages which may be made or declared against said company ot its assigns, by reason of delivery of said remains as above requested, and further declare that I am the only surviving half-sister of the above-named Deceased."
^"Chatter: Broadway". Variety. August 29, 1973. p. 45. ProQuest963289463. Bonnie Golub has joined Helen Harvey Assoc., and will be in charge of developing a commercials dept. as well as repping commercial and industrial film performers.
^"Terr 'Dwarfs' Super". The Hollywood Reporter. September 1, 1937. p. 16. ProQuest2297294623. Max Terr has been engaged by Walt Disney to supervise the singing and chorus work for 'Snow White and the Seven Dwarfs.'
^Flin. (November 10, 1937). "Film Reviews: Thrill of a Lifetime". Variety. p. 18. ProQuest1505785949. vocal direction, Max Terr and Al Siegel;
^"Terr Batons Calls". The Hollywood Reporter. October 14, 1937. p. 2. ProQuest2298596827. Max Terr goes to Principal to direct choral sequences for 'Hawaii Calls,' Bobby Breen feature.
^"'Sing' Surefire Boxoffice; 'Rich Man, Poor Girl' OK". The Hollywood Reporter. August 6, 1938. p. 3. ProQuest2297248073. Vocal arrangements by Max Terr are unvaryingly good.
^"'Idiot's Delight' Smash; 'Fisherman's Wharf' Charms". The Hollywood Reporter. January 24, 1939. p. 3. ProQuest2297923874. Max Terr's handling of chorus work is good.
^"Terr Waxes 'Life'". The Hollywood Reporter. May 6, 1939. p. 2. ProQuest2297934714. Max Terr has begun recording ensemble vocal numbers for Paramount's 'What a Life,' Jackie Cooper picture.
^"Hollywood Personnelities: Cleffers". Boxoffice. February 17, 1940. p. 18-B. ProQuest1505904417. Louis Lipstone completes scoring of background music for 'Those Were the Days.' Victor Young conducted recording orchestra and Max Terr directed 26-voice ensemble.
