Erich wolfgang korngold wikipedia

In this film, the score reflects an evil atmosphere, dark images, and the tense emotions of its crew during an unfortunate voyage. Edward G. Robinson , as Wolf Larsen, plays a tormented and brutal captain of a sealing schooner, which gets crippled by a rival ship.

Erich wolfgang korngold wikipedia

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 Adverse , which 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 US town Kings Row , where the characters portray a wide range of psychological emotions, from loves and hates, bitterness, tenderness and torment.

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 Truscott , for 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. He became an American citizen in and remained in the US after retiring from film composing in 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 Violin Concerto has become particularly successful, with many recordings and performances following Jascha Heifetz 's initial version. He returned to film scoring one more time, shortly before his death, for Magic Fire , a film biography of the composer Richard Wagner. He was asked to adapt the music of Wagner for most of the film, but Korngold also wrote some original music for it.

He is seen during the final scenes in an unbilled cameo as the conductor Hans Richter. At the time of his death at age 60, he was working on his sixth opera. His strong points are lyrical melody, rich textures and virtuoso orchestration; the music has a strong sense of the theatre and of theatrical effectiveness, but is deficient in contrapuntal vitality.

His emotional directness and lack of inhibition, his unashamedly grand manner and the sheer exuberance of his invention breathed new life into a moribund tradition and have ensured the renewed and growing interest in his work which the last few years have witnessed. Korngold approached his scoring theatrically, and could only write by regarding film scenarios as opera libretti.

During Captain Blood , for 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 is a powerful compositional device for the film composer, allowing him to bring 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 Psalm , Opus 30, for chorus and orchestra ; Prayer , Opus 32 for chorus and orchestra ; and Tomorrow When You Have Gone , Opus 33, for chorus and orchestra In the studio during the day, he worked with orchestrators, such as Hugo Friedhofer , with 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. Korngold biographer Brendan G. Carrol describes Korngold's style and methods:. Treating each film as an 'opera without singing' each character has his or her own leitmotif [Korngold] created intensely romantic, richly melodic and contrapuntally intricate scores, the best of which are a cinematic paradigm for the tone poems of Richard Strauss and Franz Liszt.

He intended that, when divorced from the moving image, these scores could stand alone in the concert hall. His style exerted a profound influence on modern film music. In , Korngold married Luzi von Sonnenthal — , granddaughter of actor Adolf von Sonnenthal , an actress, writer, singer and pianist, with whom he had fallen in love at age They had two children, Ern[e]st Werner and Georg[e] Wolfgang.

In , Korngold became a naturalized citizen of the United States. The year became an important turning point in his life. His father, who had never been entirely comfortable in Los Angeles, and who had never approved of Erich's decision to work exclusively on film composition, died after a lengthy illness. At this stage in his career Korngold 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 was a master film composer. His wonderful melodies, orchestrated in the most gorgeous Richard Strauss-oriented manner, are a joy to hear, even when the films are forgettable. Robin Hood , The Sea Hawk , and Elizabeth and Essex all display Korngold's musical extravertism, and for some reason, his unmistakable Viennese kind of sentiment helped Errol Flynn be a convincing English hero.

Despite his achievements, Korngold for years attracted little positive critical attention. This was followed by recordings of Korngold's operas and concert works, which led to performances of his Symphony in F-sharp major and concertos, as well as other compositions. These records have been credited with inspiring the revival of symphonic music in films, most prominently in the Star Wars series, which features prominent allusions to Korngold's style.

His scores for the following films were also nominated for the list: [ citation needed ]. Further recognition came in the s; two full-scale biographies of him appeared almost simultaneously. In addition, Bard sponsored the first US production of Das Wunder der Heliane — more than ninety years after its premiere. In Gary Noland wrote a string trio Korngoldaroonie in tribute to Korngold.

There have also been a number of new digital recordings of Korngold's film scores, as well as some of his concert works:. Contents move to sidebar hide. References [ edit ]. Schott Music. November 29, Retrieved August 14, OCLC Naxos Catalogue No. Naxos Catalog No. Vancouver Recital Society. Erich Wolfgang Korngold: String Quartet no. Retrieved October 19, Hollywood [ Bearbeiten Quelltext bearbeiten ].

Werk [ Bearbeiten Quelltext bearbeiten ]. Klavierwerke [ Bearbeiten Quelltext bearbeiten ]. Kammermusik [ Bearbeiten Quelltext bearbeiten ]. Lieder Auswahl [ Bearbeiten Quelltext bearbeiten ]. Chorwerke [ Bearbeiten Quelltext bearbeiten ]. Orchesterwerke [ Bearbeiten Quelltext bearbeiten ]. Oper [ Bearbeiten Quelltext bearbeiten ].

Operette [ Bearbeiten Quelltext bearbeiten ]. Ballett [ Bearbeiten Quelltext bearbeiten ]. Filmmusiken [ Bearbeiten Quelltext bearbeiten ]. Louis Symphony Orchestra in Het Celloconcert is in ontstaan uit zijn muziek voor de film Deception Korngold heeft ook kamermuziek , liederen en diverse pianowerken op zijn naam staan. Het vroegere label Decca had in zijn catalogus een opname van de opera Das Wunder der Heliane.

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