Korngold The Piano Music

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Korngold The Piano Music

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dc.contributor.other Erich Wolfgang Korngold es
dc.coverage.spatial Montmouth - England es
dc.date.accessioned 2014-06-12T23:09:24Z
dc.date.available 2003
dc.date.available 2014-06-12T23:09:24Z
dc.date.copyright 2003
dc.date.issued 2014-06-12
dc.identifier.uri http://hdl.handle.net/123456789/4551
dc.description.abstract Erich Wolfgang Korngold's career bridged astonishing gaps in history and music—from the final years of Imperial Austria, when he was hailed as "a new Mozart," to Hollywood in the heyday of the studio system, to the darkened era of postwar Europe. In Vienna of the 1920s, his name evoked the best that engagingly melodic, tonal music had to offer in the concert hall or the opera house; in Hollywood he was synonymous with the swashbucklers of Errol Flynn. Born in Brünn, in Moravia (now Brno, Czechoslovakia) he was the son of Julius Korngold, one of the most influential music critics in Vienna. Korngold was beating time with a spoon by the age of three, playing basic melodies at age 5, and composing at age 6. He was encouraged by Gustav Mahler to pursue his musical studies, and his teachers included Alexander Von Zemlinsky. He'd written a Piano Sonata in D minor and a ballet entitled The Snowman before he was 10, and at 13, he saw his second piano sonata premiered by Artur Schnabel. He wrote his first two operas, Der Ring des Polykrates and Violanta, in his teens, and in 1920, at 23, Korngold completed his most celebrated operatic work, Die tote Stadt; it was an immediate hit in Austria and Germany, and quickly entered the repertory of opera companies around the world. The 1920s saw Korngold add theatrical music to his activities—his adaptation of Johann Strauss' Eine Nacht in Venedig was a worldwide success, as was his Strauss pastiche, Waltzes in Vienna. In 1929, Korngold was commissioned by the producer Max Reinhardt to work on a new stage production of Die Fledermaus. Reinhardt was pleased with the results and impressed with Korngold's work; three years later, when Warner Bros. studios engaged Reinhardt to adapt his stage version of A Midsummer Night's Dream into a film, he engaged Korngold to arrange Felix Mendelssohn's music for the movie. The resulting film was a financial failure, but the studio was impressed with what Korngold had done with the music. He was offered a contract, which he accepted after some slight hesitation. His first film score, for Captain Blood (1935), delighted both the studio's executives and millions of filmgoers—Korngold's music added a richness to the sweeping tale of heroism and triumph over injustice that startled viewers with its inventiveness, adding an extra dimension to the drama, and excitement and beauty of the movie. Over the next two years, Korngold turned in dazzling musical scores for Anthony Adverse (1936), Green Pastures (1936), and The Prince and the Pauper (1937). In late 1937, he returned to Vienna in hope of premiering a new operatic work, but the growing Nazi influence over politics and art made it impossible for Korngold and his family (all of whom were Jewish) to remain. In early 1938, he accepted a new contract offer from Warner Bros. and got himself and his family to America just before Germany annexed Austria. Korngold spent the next nine years in Hollywood among the movie colony's artistic elite, able to pick and choose his films and always doing superb work. Korngold turned in a dozen memorable scores that defined elegance in film music—from costumed adventures like The Sea Hawk (1940) to serious drama such as Kings Row (1942). Following the end of World War II, he returned to Austria and got a harsh reception from a populace resentful of his years in Hollywood, and derision from critics over his melodic, tonal music. Korngold lived his final years comfortably in California, in near complete artistic eclipse. © Bruce Eder, All Music Guide es
dc.description.tableofcontents CD 4-- Sonata No. 3 in C major Op. 25 ; I. Allegro molto e deciso, II. Andante religioso, III. Tempo di menuetto molto comodo (Trio : Fließender), IV. Rondo : Allegro giocoso-- The snowman four easy pieces ; I. Walzer, II. Entr’acte, III. Serenade, IV. Pierrot und colombine : Valse lente-- Schauspiel overture Op. 4-- Grosse Fantasie aus der oper ‘‘Die tote stadt’’ Op. 12-- es
dc.format.extent 73:39min es
dc.format.medium 1 CD Rom (73 min., 39 seg) : Stereo 4 3/4 plg es
dc.language.iso en_US es
dc.rights Uninorte F.M Estéreo es
dc.subject.lcsh Sonatas (Piano), Waltzes, Operas es
dc.title Korngold The Piano Music es
dc.title.alternative Korngold Sonata No. 3 Schauspiel Overture Fantasie "Die tote Stadt" es
dc.language.rfc3066 eng es
dc.rights.holder Wyastone Estate Ltd. es
dc.identifier.classification 0710357570520 es
dc.subject.cdu Kor.02 es


Files in this item

Files Length Size Format View Description
1. I. Sonata No ... Allegro molto e deciso.mp3 8:18 11.38Mb MPEG Audio mp3
2. II. Sonata N ... 25 - Andante religioso.mp3 6:42 9.199Mb MPEG Audio mp3
3. III. Sonata ... modo (Trio Fließender).mp3 6:14 8.562Mb MPEG Audio mp3
4. IV. Sonata N ... ondo (Allegro giocoso).mp3 5:15 7.197Mb MPEG Audio mp3
5 al 8. The sno ... easy pieces - Completo.wav 14:36 147.4Mb WAV audio wav
9. Schauspiel overture Op. 4 - Completo.wav 13:06 132.1Mb WAV audio wav
10. Grosse Fant ... dt’’ Op. 12 - Completo.wav 18:18 184.6Mb WAV audio wav
Sonata No. 3 in C major Op. 25 - Completo.wav 26:17 265.3Mb WAV audio wav

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