1896 - 1976
The filmcomposer Alois Melichar grew up in a musical environment. His father was a bandmaster and therefore the young Alois Melichar already got violin lessons as a child. He had his first performances as a violinist in his father's band in 1908.
Later he studied counterpoint at the music academy in Vienna, afterwards he went to Berlin in 1920 where he studied composition at the music academy.
After his education he combined his passion for travelling with his job and he worked in countries like the Georgian Republic, Azerbaijan and Armenia.
Finally he returned to Germany and he first got a job as a music editor for the Deutsche Allgemeine Zeitung, afterwards he became a conductor for the Deutsche Grammphon-Gesellschaft and later for the Berlin Philharmonica Orchestra.
He was able to enter the film business as a filmcomposer too and he wrote the music for numerous movies of the 30s.
To these works belong "Walzerkrieg" (33), "Der junge Baron Neuhaus" (34), "Liselotte von der Pfalz" (35), "Das Mädchen Irene" (36), "Capriccio" (38) and "Nanon" (38).
His career also flourished during World War II and he continued to write the music for movies, among them "Maria Ilona" (39), "Falstaff in Wien" (40), "Das Mädchen von Fanö" (41), "...reitet für Deutschland" (41), "Rembrandt" (42) and "Die Zaubergeige" (44).
He continued his career seamlessly after the war and he became the conductor of the Vienna Philharmonic Orchestra.
His abilities as a filmcomposer were still demanded as well and he wrote the music to numerous movies again till 1956.
To his popular filmcompositions of those years belong "Die Fledermaus" (46), "Das unsterbliche Antlitz" (47), "Der Prozess" (48), "Eroica" (49), "Das doppelte Lottchen" (50), "Maria Theresia" (51), "1. April 2000" (52), "Tagebuch einer Verliebten" (52), "Dunja" (55) and "Fuhrmann Henschel" (56).
Besides his activity as a filmcomposer he also wrote operas, chamber music, piano pieces and songs.