Label: Mousiki Akti Ltd. - 221842-207,Membran International GmbH - 221842-207 • Format: CD Album • Country: Germany • Genre: Stage & Screen • Style: Soundtrack
Erich Wolfgang Korngold May 29, — November 29, was an Austrian-born composer and conductor. A child prodigy, he became one of the most important and influential composers in Hollywood history. In he conducted the Hamburg Opera. By he was a professor of music at Vienna State Academy. At the request of director Max Reinhardtand due to the rise of the Nazi regimeKorngold moved to the U. He subsequently wrote scores for such films as Captain Bloodwhich helped boost the career of its starring newcomer, Errol Flynn.
Overall, he wrote the score for 16 Hollywood films, receiving two more nominations. Along with Max Steiner and Alfred Newmanhe is one of the founders of film music. Although his late classical Romantic compositions were no longer as popular when he died inhis music underwent a resurgence of interest in the s beginning with the release of the RCA Red Seal album The Sea Hawk: the Classic Film Scores of Erich Wolfgang Korngold This album was hugely popular and ignited interest in other film music of his and other composers like Steiner and in his concert music, which often incorporated popular themes from his film scores a good example being the Violin Concerto in D, Op.
A child prodigy living in ViennaErich Erich Wolfgang Korngold - The Private Lives of Elisabeth and Essex play four-hand piano arrangements alongside his father at age five.
He was also able to reproduce any melody he heard on the piano, along with playing complete and elaborate chords. By age seven, he was writing original music. Korngold played his cantata Gold for Gustav Mahler in ; Mahler called him a "musical genius" and recommended he study with composer Alexander von Zemlinsky. Richard Strauss also spoke highly of the youth, and along with Mahler told Korngold's father there was no benefit in having his son enroll in a music conservatory since his abilities were already years ahead of what he could learn there.
At age 11, he composed his ballet Der Schneemann The Snowmanwhich became a sensation when performed at the Vienna Court Opera inincluding a command performance for Emperor Franz Josef. His Piano Sonata No. His Sinfonietta appeared the following Slow Hand - Various - iNDEX03 (File), and his first two operas, Der Ring des Polykrates and Violantain Korngold was active in the theatre throughout Europe while in his 20s.
After the success of his opera, Die tote Stadtwhich he conducted in many opera houses, he developed a passion for the music of Johann Strauss II and managed to exhume a number of lost scores.
By this point Korngold had reached the zenith of his fame Crunk (Bounce Instrumental) - Euricka - Crunk (Bounce Remix) a composer of opera and concert music. How Can I Tell - Saint Etienne - Songs For The Dog & Duck such as Richard Strauss and Giacomo Puccini heaped praise upon him, and many famous conductors, soloists and Erich Wolfgang Korngold - The Private Lives of Elisabeth and Essex added his works to their repertoires.
He began collaborating with Reinhardt on many productions, including a collection of little-known Strauss pieces that they arranged, Waltzes From Vienna. Korngold conducted staged versions in Los Angeles in and He 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.
After Max Reinhardt's success in producing Shakespeare's A Midsummer Night's Dream for the stage, using incidental music by Felix Mendelssohnhe invited Korngold to Hollywood in to adapt Mendelssohn's score for his planned film version. The film, which was released inwas a first for Warner Brothers studio, by producing a film based on a year-old work of literary art.
The studio assigned almost every star or character actor under contract to take part in the film, with the filming taking over six months. Korngold returned to Austria to finish Die Kathrin. In Erich Wolfgang Korngold - The Private Lives of Elisabeth and Essex asked Korngold if he was interested in writing an original dramatic score for Captain Blood.
He at first declined, feeling that a story about pirates was outside his range of Ko Da Sutra Ne Postoji - Seka Aleksić - Balkan. However, after Erich Wolfgang Korngold - The Private Lives of Elisabeth and Essex the filming, with a dynamic new star, Errol Flynn in a heroic role, alongside Olivia de Havillandwho had her debut in A Midsummer Night's Dreamhe changed his mind.
After he accepted, however, he learned that he needed to compose over an hour of symphonic music in only three weeks. The short time frame forced him to use portions of symphonies by Franz Liszt in about ten percent of the score. And not willing to take credit for the entire film score, he insisted that his credit be only for "musical arrangement". Captain Blood became an immediate hit, with an Oscar nomination for the score.
Korngold scored six more films starring Flynn. He finally became convinced that dramatic scoring went well with certain types of films. In this film, the first half hour contains continuous scoring,  : 23 and proved to be a major step forward in the art of film scoring.
Korngold was awarded his first Academy Award. The film, based on Erich Wolfgang Korngold - The Private Lives of Elisabeth and Essex largely fictional English legend, is considered the finest of its kind, with a continuous series of romantic and adventurous sequences propelled by Korngold's dynamic score. MacDonald notes that there were many factors which made the film a success, including its cast, its Technicolor photography and fast-paced direction by Michael Curtizbut "most of all, there is Korngold's glorious music.
Korngold's score was a splendid added dimension. His style for the Flynn swashbucklers resembled that of the creators of late nineteenth-century and early twentieth-century German symphonic tone poems.
It incorporated chromatic harmonies, lush instrumental effects, passionate climaxes—all performed in a generally romantic manner.
Korngold's original and distinctive style was influenced by the Wagnerian leitmotifthe orchestral virtuosity of Richard Strauss, the delicacy and broad melodic sweep of Pucciniand the long-line development of Gustav Mahler. Before Korngold began composing the score, Austria was invaded by Germany and annexed by the Nazis. His home in Vienna was confiscated by the Nazis. He later said, "We thought of ourselves as Viennese; Hitler made us Jewish. It also gave him his second Academy Award for Best Original Score and established the symphonic style that would later be used in action films during Hollywood's Golden Age.
Korngold was interested in Ive Grown Accustomed To Her Face - The New Westminster Orchestra - My Fair Lady / West Side Story a score for Juarezas it involved historical figures from Mexico and Austria.
It dealt with the Mexican politician Benito Juarezbut also involved the story of Archduke Maximilian von Habsburg and his wife, Carlotta. Korngold was moved by the true-life story of how Louis Napoleonseeing America engulfed by Civil Wartook advantage of that fact and attempted, into control Mexico. He appointed Maximilian as its emperor. Erich Korngold . After the United States demanded that France divest itself of its interests in Mexico, the Austrian aristocrat was left to his fate, and he was executed by the Juarez government.
The dramatic accent of the film leaned in favor of Maximilian and Carlotta, however, aided greatly by Korngold's poignant themes for them. Korngold researched the music popular in Mexico at the time and realized it was not Mexican, but "unmistakenly Viennese. The score is essentially operatic, with lush background music throughout, a rousing march theme for Essex Errol Flynnand one of his "most noble and heroic melodies" for Desire - Various - Club Essentials Vol 1 Bette Davis.
The loves and hates of the two main characters, the ideas expressed by the playwright generally, while taken from history, are symbolic. It is a play of eternally true principles and motives of love and ambition, as recurrent today as three hundred years ago. The score concentrates on the regal Main Title, the triumphal entry march of Essex into London, the Queen's theme, and the recapitulation of that theme in the End Titles.
It is widely regarded as one of Korngold's best. In the final duel between Thorpe and Wolfingham, MacDonald states that "Korngold's breathlessly fast-paced music helps to make this one of the most exciting swordfights in cinema history. In this film, the score reflects an evil atmosphere, dark images, and the tense emotions of its crew during an unfortunate voyage.
Edward G. Robinsonas Wolf Larsen, plays a tormented and brutal captain of a sealing schooner, which gets crippled by a rival ship. To support the complex atmosphere, with its scenes of the fog-shrouded voyage, Korngold created a score that was understated, which was very different from his swashbucklers. Music historian Thomas S. Hischak notes some aspects of the score:.
Korngold's score for The Sea Wolf is not only quieter but actually somber and, at times, dissonant. The opening theme captures the chaos of the wilderness in the North but soon the score seems to be enveloped in a fog as are the characters and everything becomes morose and haunting. The score for Kings Row has been compared to those of films like Gone with the Wind and Anthony Adversewhich also had powerful theme motifs. Those stories were based on recent best-selling novels, as was Kings Row.
This was Korngold's most Gothic film score, and a film which film historian Tony Thomas has called a "true American classic. The story is set in a Midwestern U. Combined with Korngold's score, which some [ who? The score contains a main theme which is varied throughout the film, depending on the how each scene develops. MacDonald states that the main theme is a "majestic and noble melody that immediately grabs the viewer's attention" when the film begins.
British composer Harold Truscottfor example, who saw the film when he was 28, wrote to Korngold admiring the score. He also saw the film more than thirty times just to hear the score, sometimes with his eyes completely closed. For Magic Firehe was asked to adapt the music of Richard Wagner for a film biography of the composer.
Korngold wrote some original music for the film and is seen during the final scenes in an unbilled cameo as the conductor Hans Richter. He spent the last ten years of his life composing concert pieces, including a Violin Concerto, a Symphonic Serenade for strings, a Cello Concerto and a Symphony.
The New Grove Dictionary of Opera . Korngold approached his scoring theatrically, and could only write by regarding film scenarios as opera libretti. During Captain Bloodfor instance, motifs were created for phases of Captain Blood's career as a pirate, using different instrumentation. Variations of some type of brass instrument were heard, such as when the ship readies for voyage, or to lend solemnity to someone's death.
A full reiteration of the motif is reserved for a climactic battle scene. The development of motifs in as powerful compositional device for the film composer, allowing him to Erich Wolfgang Korngold - The Private Lives of Elisabeth and Essex an overall sense of unity to his score and still leave room for variety. Korngold composed in the evenings while at the piano, as he watched scenes from the film that an assigned projectionist would run for him. He would run scenes repeatedly as he improvised the music.
He would collect his ideas and concepts and later commit them to paper. During his years scoring films, he still composed some non-film works, such as Passover PsalmOpus 30, for chorus and orchestra ; Tomorrow When You Have GoneOpus 33, for chorus and orchestra ; and PrayerOpus 32 for chorus and orchestra In the studio during the day, he worked with orchestrators, such as Hugo Friedhoferwith whom he would make elaborate sketches marking out exactly what he wanted.
He once told Friedhofer that he felt Tosca was the best film score ever written. Loving You Is Sweeter Than Ever - Rolling Stones* - Foxes In The Boxes biographer Brendan G.
Carrol describes Korngold's style and methods:.