Legacy
Despite his achievements and considerable popularity with the musical public, Korngold for years attracted almost no positive critical attention, but considerable critical disdain. Then, in 1972, RCA Victor released an LP titled The Sea Hawk, featuring excerpts from Korngold’s film scores performed by the National Philharmonic Orchestra, conducted by Charles Gerhardt and supervised by the composer’s son George. (This album and other classic film scores by Hollywood composers were later issued by RCA on CD in Dolby Surround Sound.) This was followed by recordings of Korngold’s operas and concert works, which led to performances of his symphony and concertos, as well as other compositions.[citation needed]
In 1973, Warner Brothers released special LPs featuring excerpts from the original soundtracks of films scored by Korngold, which had actually been conducted by Warner’s music director Leo Forbstein, as a well as a rare recording of Korngold playing the main theme from Kings Row on the piano. In addition, a KFWB radio broadcast from 1938 with Korngold conducting the studio orchestra in excerpts from The Adventures of Robin Hood, narrated by actor Basil Rathbone, was released on LP. In 1975 Die tote Stadt was revived to capacity houses in New York.
There have also been a number of new digital recordings of Korngold’s film scores, as well as some of his concert works, especially his violin concerto and his symphony. RCA Victor was the first to record a complete Korngold opera (in stereo), Die tote Stadt, conducted by Erich Leinsdorf in Germany. In 1980, CBS Masterworks recorded the opera Violanta under the baton of Marek Janowski; this recording has been re-released by Sony Classical in 2009. In 1993 Decca released a recording of Das Wunder der Heliane conducted by John Mauceri in their Entartete Musik series. Korngold’s two remaining operas, Der Ring des Polykrates and Die Kathrin have both been recorded (in 1996 and 1998 respectively) by the German record label CPO. This company also released four CDs with orchestral works with Werner Andreas Albert conducting the Nordwestdeutsche Philharmonie. The American conductor-pianist Alexander Frey has recorded a CD with piano works for Koch International Classics. The English pianist Martin Jones recorded the complete piano music on four CDs for Nimbus Records. In 2001 ArtHaus Musik released a documentary DVD Erich Wolfgang Korngold — The Adventures of a Wunderkind.
Further recognition came in the 1990s; two full-scale biographies of him appeared almost simultaneously. One is Jessica Duchen, Erich Wolfgang Korngold (Phaidon Press, 20th Century Composers series, 1996). The other is Brendan G. Carroll, Erich Korngold: The Last Prodigy (Amadeus Press, 1997). Carroll is President of the International Korngold Society.
БИОГРАФИЯ
Э́рих Во́льфганг Ко́рнгольд (нем. Erich Wolfgang Korngold; 29 мая 1897, Брно ― 29 ноября 1957, Лос-Анджелес) ― австрийский композитор.
Родился в еврейской семье музыкального критика Юлиуса Корнгольда (1860―1945), уже в раннем детстве проявил выдающиеся музыкальные способности, в том числе в композиции. В 1906 году Густав Малер по прослушивании сочинённой им кантаты предрёк ему славу гения, и посоветовал продолжить образование у Александра фон Цемлинского. Написанный Корнгольдом в возрасте 11 лет балет «Снеговик» был поставлен в Венской опере и произвёл настоящую сенсацию. Следующими его сочинениями были Фортепианное трио и Фортепианная соната ми мажор
Последняя привлекла внимание Артура Шнабеля, который играл её в своих концертах по всей Европе. О Корнгольде восторженно отзывались ведущие европейские музыканты ― Артур Никиш, Джакомо Пуччини, Рихард Штраус, Ян Сибелиус, Бруно Вальтер, Энгельберт Гумпердинк, Карл Гольдмарк
В возрасте 14 лет Корнгольд написал своё первое оркестровое сочинение (увертюру), а в 1914 ― две оперы: «Кольцо Поликрата» и «Виоланта». Пик популярности Корнгольда наступил после окончания Первой мировой войны ― в 1920-е годы он пишет свои крупнейшие сочинения ― Фортепианный концерт (предназначенный для левой руки и написанный по заказу Пауля Витгенштейна), оперы «Мёртвый город» и «Чудо Элианы». В это время он также занимается доработкой и оркестровкой классических оперетт (в том числе Иоганна Штрауса), преподаёт в Венской академии музыки теорию музыки и дирижирование.
В 1934 Корнгольд получает приглашение от Макса Рейнхардта в Голливуд для работы над фильмом «Сон в летнюю ночь». Не имея возможности вернуться в Австрию из-за аншлюса, он остаётся в США и в течение ближайших лет активно работает над киномузыкой. После войны Корнгольд вернулся к традиционным жанрам музыки, написав концерты для скрипки (премьеру которого дал Яша Хейфец) и виолончели, Симфоническую серенаду для струнных и Симфонию фа-диез мажор. Романтический стиль его сочинений не вписывался в картину стремительно развивающейся европейской музыки послевоенной поры, и к концу жизни Корнгольд был совершенно забыт. Лишь к концу XX века началось возрождение музыки композитора, многие его сочинения были исполнены в концертах и записаны.
В творческом наследии Корнгольда важное место занимает киномузыка. Среди фильмов, над которыми он работал ― «Одиссея капитана Блада», «Энтони несчастный», «Приключения Робина Гуда» и многие другие
Киномузыка Корнгольда отмечена богатым мелодизмом, лирикой и сложным полифоническим письмом. Композитор трактовал фильм как «оперу без пения» и не возражал против исполнения своей киномузыки в концертах. В 1936 и 1938 ему присуждалась премия «Оскар» за лучшую музыку к фильму.
Product details
- Is Discontinued By Manufacturer
:
No - Language
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English - Product Dimensions
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5.5 x 4.94 x 0.45 inches; 2.83 Ounces - Manufacturer
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Varese Sarabande - Date First Available
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December 10, 2006 - Label
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Varese Sarabande - ASIN
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B00000153H - Number of discs
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1
- Best Sellers Rank: #244,664 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
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Customer Reviews:
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4.3 out of 5 stars
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Bibliography
- The Last Prodigy. A Biography of Erich Wolfgang Korngold by Brendan G. Carroll. ISBN 9781574670295 (Hardcover — October 1997)
- Erich Wolfgang Korngold (20th-Century Composers) by Jessica Duchen. Phaidon Publication — ISBN 0-7148-3155-7 (Paperback — July 1996)
- Erich Wolfgang Korngold by Luzi Korngold (wife). Verlag Elisabeth Lafite, Vienna, 1967. In German. Hardcover, 112 pages.
- «Erich Wolfgang Korngold: early life and works». Doctoral thesis by David Ian Kram. Monash University, Melbourne, Australia (www.monash.edu.au)
- Stanley Sadie, ed. The New Grove Dictionary of Music and Musicians, (London: Macmilian, 1980), 20 vols. ISBN 0-333-23111-2. (Carroll, B.G., «Korngold, Erich Wolfgang.»)
- Stanley Sadie, ed. The New Grove Dictionary of Music and Musicians, Second Edition (London: Macmilian, 2001), 29 vols. ISBN 0-333-60800-3. (Carroll, Brendan G., «Korngold, Erich Wolfgang.»)
Biography
Born in a Jewish home in Brünn (Brno) (Austria–Hungary, now Czech Republic), Erich was the second son of eminent music critic Julius Korngold. A child prodigy, Erich played his cantata Gold to Gustav Mahler in 1906; Mahler called him a «musical genius» and recommended study with composer Alexander von Zemlinsky. Richard Strauss also spoke very highly of the youth. At the age of 11 he composed his ballet Der Schneemann (The Snowman), which became a sensation when performed at the Vienna Court Opera in 1910, including a command performance for Emperor Franz Josef. This work was followed first with a piano trio, then his Piano Sonata No. 2 in E major that Artur Schnabel played throughout Europe. During his early years Korngold also made live-recording player piano music rolls for the Aeolian Duo-Art system, all of which survive today and can be heard.[citation needed]
Max Reinhardt, who invited Korngold to Hollywood to collaborate on the film A Midsummer Night’s Dream
Korngold wrote his first orchestral score, the Schauspiel Ouverture when he was 14. His Sinfonietta appeared the following year, and his first two operas, Der Ring des Polykrates and Violanta, in 1914. He completed his opera Die tote Stadt, which became an international success, in 1920 at the age of 23. At this point Korngold had reached the zenith of his fame as a composer of opera and concert music. Composers such as Richard Strauss and Giacomo Puccini heaped praise on him, and many famous conductors, soloists and singers added his works to their repertoires. He completed a concerto for piano left hand for pianist Paul Wittgenstein in 1923 and his fourth opera, Das Wunder der Heliane four years later. He also started arranging and conducting operettas by Johann Strauss II and others while teaching opera and composition at the Vienna Staatsakademie. Korngold was awarded the title professor honoris causa by the president of Austria.
Max Reinhardt, with whom Korngold had collaborated on the operas Die Fledermaus and La belle Helene, asked the composer to come to Hollywood in 1934 to adapt Felix Mendelssohn‘s incidental music for A Midsummer Night’s Dream to his film version of the play. Over the next four years, he became a pioneer in composing film scores that have been recognized ever since as classics of their kind. In 1938, Korngold was conducting opera in Austria when he was asked by Warner Brothers to come back to Hollywood and compose a score for their new (and very expensive) film The Adventures of Robin Hood (1938), starring Errol Flynn. He agreed and returned by ship. Shortly after he arrived in California, the Anschluss took place and the condition of Jews in Austria became very perilous so that he stayed in America. Korngold later would say the film score of The Adventures of Robin Hood saved his life. He won the Academy Award for Best Original Score for the film, and was later nominated for The Private Lives of Elizabeth and Essex (1939) and The Sea Hawk (1940). A Korngold authority wrote:
In 1943, Korngold became a naturalized citizen of the United States. The year 1945 became an important turning point in Korngold’s life. His father, who had never been entirely comfortable in Los Angeles, and who had never approved of Erich’s decision to focus exclusively on film composition, died after a lengthy illness. Roughly around the same time, the war in Europe drew to an end. Korngold himself had grown increasingly disillusioned with Hollywood and with the kinds of pictures he was being given, and he was eager to return to writing music for the concert hall and the stage. Korngold stopped writing original film scores after 1946. His final score at Warner Bros. was Deception starring Bette Davis, Paul Henreid, and Claude Rains. However, he was asked by Republic Pictures to adapt the music of Richard Wagner for a film biography of the composer, released in Trucolor, as Magic Fire (1955), directed by William Dieterle from a script by Ewald Andre Dupont. Korngold also wrote some original music for the film and had an unbilled cameo as the conductor Hans Richter.
After World War II Korngold continued to write concert music in a rich, chromatic late Romantic style, with the Violin Concerto among his notable later works. Korngold died in North Hollywood on November 29, 1957 and was buried at Hollywood Forever Cemetery.
Произведения артистов
Vilde Frang,
Frankfurt Radio Symphony Orchestra
Klaus Florian Vogt,
Orchestra of Deutshen Oper Berlin
Klaus Florian Vogt — Helden
The Creators — R. Strauss, Humperdinck, d’Albert, Korngold
Jascha Heifetz ‘The Master Violinist’ CD5
James Ehnes,
Vancouver Symphony Orchestra
Anne-Sophie Mutter,
Wiener Philharmoniker,
London Symphony Orchestra
Oliver Widmer,
Hungarian State Symphony Orchestra
Gil Shaham,
London Symphony Orchestra
Перлман, Ицхак,
Pittsburgh Symphony Orchestra
The Heifetz Collection, Volume 21
The Heifetz Collection, Volume 2
The Heifetz Collection, Volume 6
Editorial Reviews
Amazon.com
Michael Curtiz’s 1938 Technicolor swashbuckler, with Errol Flynn embodying the title character’s mythic heroism and grinning charm, makes good the movies’ tradition of action-driven spectacle, and Erich Wolfgang Korngold has magnified that irresistable force as well as become the template for generations of filmmakers emulating its stirring, virtuosic sweep. Like other transplanted European classicists creating the musical backdrop for Hollywood’s swiftly evolving screen artistry, Korngold brought meticulous craftsmanship and a deep grounding in centuries of compelling, programmatic symphonic music. Soundtrack buffs know that Korngold, working under tight schedules, raided his own oeuvre to pluck the title hero’s vivid main theme, and freely employs anachronistic Viennese waltzes, bombastic marches, and brilliantly scored, intricate orchestrations to animate this medieval legend. Anyone who’s ever been thrilled by the irresistible film, or its glorious music, should care less: This is the mother lode for decades of exciting symphonic scores, still felt in John Williams’s epochal Star Wars trilogy and Indiana Jones, among dozens of other indelible soundtracks. —Sam Sutherland
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