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Erich Wolfgang Korngold (1897-1957)


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Author Topic: Erich Wolfgang Korngold (1897-1957)  (Read 117 times)
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Frederic Cowen (1852-1935)


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« on: July 02, 2022, 03:56:08 pm »

As I'm currently blasting my ear-drums with Das Wunder der Heliane, I just love Korngold more and more. A child prodigy who dazzled Richard Strauss and Gustav Mahler, he wrote some amazing orchestral scores and fantastic operas including Die Tote Stadt before fleeing the Nazi regime (only just in time) and supplying Hollywood with some of the finest film scores of the 1940s. Late works like the Violin Concerto and Symphony are superbly crafted late-Romanticism tinged with a very personal chromatic twist. Any other fans?

 ;)
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"A piece is worth your attention, and is itself for you praiseworthy, if it makes you feel you have not wasted your time over it." (Sydney Grew, 1922)

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Hetty Clapp
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« Reply #1 on: July 02, 2022, 04:02:51 pm »

As I'm currently blasting my ear-drums with Das Wunder der Heliane, I just love Korngold more and more. A child prodigy who dazzled Richard Strauss and Gustav Mahler, he wrote some amazing orchestral scores and fantastic operas including Die Tote Stadt before fleeing the Nazi regime (only just in time) and supplying Hollywood with some of the finest film scores of the 1940s. Late works like the Violin Concerto and Symphony are superbly crafted late-Romanticism tinged with a very personal chromatic twist. Any other fans?

 ;)

Oo, yes! Those wonderful Errol Flynn movies never fail to get me all of a tingle, especially when he's swash-buckling aboard ship or prancing around in tights in Sherwood Forest. I'll try and have a listen to more of Korngold now I come to think of it, where would you suggest I start?
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Frederic Cowen (1852-1935)


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« Reply #2 on: July 02, 2022, 04:10:59 pm »

As I'm currently blasting my ear-drums with Das Wunder der Heliane, I just love Korngold more and more. A child prodigy who dazzled Richard Strauss and Gustav Mahler, he wrote some amazing orchestral scores and fantastic operas including Die Tote Stadt before fleeing the Nazi regime (only just in time) and supplying Hollywood with some of the finest film scores of the 1940s. Late works like the Violin Concerto and Symphony are superbly crafted late-Romanticism tinged with a very personal chromatic twist. Any other fans?

 ;)

Oo, yes! Those wonderful Errol Flynn movies never fail to get me all of a tingle, especially when he's swash-buckling aboard ship or prancing around in tights in Sherwood Forest. I'll try and have a listen to more of Korngold now I come to think of it, where would you suggest I start?

Virtually everything has been recorded, and very successfully. There is (or was) a great series of discs on the ASV label recorded by the Bruckner Orchester Linz and Caspar Richter which covers a lot of material. Chandos have done well by Korngold, especially now that John Wilson has joined the conducting team. I'd jump in headfirst with Sursum Corda (1920), Die Tote Stadt (1920), the Violin Concerto (1945) and the Symphony (1947-52)...

 :D
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"A piece is worth your attention, and is itself for you praiseworthy, if it makes you feel you have not wasted your time over it." (Sydney Grew, 1922)
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« Reply #3 on: July 02, 2022, 04:22:42 pm »

As I'm currently blasting my ear-drums with Das Wunder der Heliane, I just love Korngold more and more. A child prodigy who dazzled Richard Strauss and Gustav Mahler, he wrote some amazing orchestral scores and fantastic operas including Die Tote Stadt before fleeing the Nazi regime (only just in time) and supplying Hollywood with some of the finest film scores of the 1940s. Late works like the Violin Concerto and Symphony are superbly crafted late-Romanticism tinged with a very personal chromatic twist. Any other fans?

 ;)

Very much so. I love the film scores, the Violin Concerto and the Symphony, although I have to admit that I don't know the operas. Also not to be missed is the chamber music: a remarkable Piano Quintet, the String Sextet in D major and three equally fine string quartets. So Korngold was not dependent on glamorous orchestration to make his mark..
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Albion
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Frederic Cowen (1852-1935)


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« Reply #4 on: July 02, 2022, 04:28:59 pm »

As I'm currently blasting my ear-drums with Das Wunder der Heliane, I just love Korngold more and more. A child prodigy who dazzled Richard Strauss and Gustav Mahler, he wrote some amazing orchestral scores and fantastic operas including Die Tote Stadt before fleeing the Nazi regime (only just in time) and supplying Hollywood with some of the finest film scores of the 1940s. Late works like the Violin Concerto and Symphony are superbly crafted late-Romanticism tinged with a very personal chromatic twist. Any other fans?

 ;)

Very much so. I love the film scores, the Violin Concerto and the Symphony, although I have to admit that I don't know the operas. Also not to be missed is the chamber music: a remarkable Piano Quintet, the String Sextet in D major and three equally fine string quartets. So Korngold was not dependent on glamorous orchestration to make his mark..

Absolutely, an all-round virtuoso. The operas are worth getting to know (the scoring of Heliane is stupendous), but opera ain't everyone's cup of tea (as you know I prefer 9% Karpackies to chamber music any day). My three favourite composers of the ilk are Franz Schreker, Alexander von Zemlinsky and Korngold...

 ;)
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"A piece is worth your attention, and is itself for you praiseworthy, if it makes you feel you have not wasted your time over it." (Sydney Grew, 1922)
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« Reply #5 on: July 02, 2022, 04:39:02 pm »

As I'm currently blasting my ear-drums with Das Wunder der Heliane, I just love Korngold more and more. A child prodigy who dazzled Richard Strauss and Gustav Mahler, he wrote some amazing orchestral scores and fantastic operas including Die Tote Stadt before fleeing the Nazi regime (only just in time) and supplying Hollywood with some of the finest film scores of the 1940s. Late works like the Violin Concerto and Symphony are superbly crafted late-Romanticism tinged with a very personal chromatic twist. Any other fans?

 ;)

Very much so. I love the film scores, the Violin Concerto and the Symphony, although I have to admit that I don't know the operas. Also not to be missed is the chamber music: a remarkable Piano Quintet, the String Sextet in D major and three equally fine string quartets. So Korngold was not dependent on glamorous orchestration to make his mark..

Absolutely, an all-round virtuoso. The operas are worth getting to know (the scoring of Heliane is stupendous), but opera ain't everyone's cup of tea (as you know I prefer 9% Karpackies to chamber music any day). My three favourite composers of the ilk are Franz Schreker, Alexander von Zemlinsky and Korngold...

 ;)


And I prefer Parma Violet gin to opera. In fact, I'd prefer Brasso strained through an old sock to opera, unless it's Mozart, Bizet, Saint-SaŽns or Sullivan. But at your encouragement I might be persuaded to try Korngold's.
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Hetty Clapp
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« Reply #6 on: July 02, 2022, 04:41:07 pm »

As I'm currently blasting my ear-drums with Das Wunder der Heliane, I just love Korngold more and more. A child prodigy who dazzled Richard Strauss and Gustav Mahler, he wrote some amazing orchestral scores and fantastic operas including Die Tote Stadt before fleeing the Nazi regime (only just in time) and supplying Hollywood with some of the finest film scores of the 1940s. Late works like the Violin Concerto and Symphony are superbly crafted late-Romanticism tinged with a very personal chromatic twist. Any other fans?

 ;)

Very much so. I love the film scores, the Violin Concerto and the Symphony, although I have to admit that I don't know the operas. Also not to be missed is the chamber music: a remarkable Piano Quintet, the String Sextet in D major and three equally fine string quartets. So Korngold was not dependent on glamorous orchestration to make his mark..

Absolutely, an all-round virtuoso. The operas are worth getting to know (the scoring of Heliane is stupendous), but opera ain't everyone's cup of tea (as you know I prefer 9% Karpackies to chamber music any day). My three favourite composers of the ilk are Franz Schreker, Alexander von Zemlinsky and Korngold...

 ;)

Now you're getting my juices flowing (musically, of course). I don't know anything about Schreker or Zemlinsky, but I'll certainly pop them on my to-do list, along with so much else!
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Albion
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Frederic Cowen (1852-1935)


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« Reply #7 on: July 02, 2022, 04:45:48 pm »

As I'm currently blasting my ear-drums with Das Wunder der Heliane, I just love Korngold more and more. A child prodigy who dazzled Richard Strauss and Gustav Mahler, he wrote some amazing orchestral scores and fantastic operas including Die Tote Stadt before fleeing the Nazi regime (only just in time) and supplying Hollywood with some of the finest film scores of the 1940s. Late works like the Violin Concerto and Symphony are superbly crafted late-Romanticism tinged with a very personal chromatic twist. Any other fans?

 ;)

Very much so. I love the film scores, the Violin Concerto and the Symphony, although I have to admit that I don't know the operas. Also not to be missed is the chamber music: a remarkable Piano Quintet, the String Sextet in D major and three equally fine string quartets. So Korngold was not dependent on glamorous orchestration to make his mark..

Absolutely, an all-round virtuoso. The operas are worth getting to know (the scoring of Heliane is stupendous), but opera ain't everyone's cup of tea (as you know I prefer 9% Karpackies to chamber music any day). My three favourite composers of the ilk are Franz Schreker, Alexander von Zemlinsky and Korngold...

 ;)


And I prefer Parma Violet gin to opera. In fact, I'd prefer Brasso strained through an old sock to opera, unless it's Mozart, Bizet, Saint-SaŽns or Sullivan. But at your encouragement I might be persuaded to try Korngold's.

I would try to get hold of Die Tote Stadt (Leinsdorf, RCA) and Das Wunder der Heliane (Mauceri, Decca)...

 :)
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"A piece is worth your attention, and is itself for you praiseworthy, if it makes you feel you have not wasted your time over it." (Sydney Grew, 1922)

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