This chapter contains a transcript of a conversation between Erich Korngold and an unidentified person. It opens with suspension points and is studded with them throughout, alternating with fragments of text that range in length from complete sentences to just four or five German words. Nowhere is the interviewer named or is the slightest hint at a location provided. Indeed, it is not even clear if the interview ever took place at all, or if the document records instead an imagined exchange between Korngold and an ideal interlocutor, perhaps in a kind of typed rehearsal for a conversation he anticipated upon his return to Austria. (Even his parenthetical notes indicating where recorded examples are to be played relay indecision, sometimes followed by one or even two question marks.) For all of its ambiguity, however, this document is invaluable, for it records what are probably Korngold's most extensive surviving statements on the concert and operatic music composed by his contemporaries, and of the sounds of avant-garde modernism, with which his own music was widely contrasted.
{"title":"Notes for an Interview","authors":"E. Korngold","doi":"10.2307/j.ctvdjrp0h.13","DOIUrl":"https://doi.org/10.2307/j.ctvdjrp0h.13","url":null,"abstract":"This chapter contains a transcript of a conversation between Erich Korngold and an unidentified person. It opens with suspension points and is studded with them throughout, alternating with fragments of text that range in length from complete sentences to just four or five German words. Nowhere is the interviewer named or is the slightest hint at a location provided. Indeed, it is not even clear if the interview ever took place at all, or if the document records instead an imagined exchange between Korngold and an ideal interlocutor, perhaps in a kind of typed rehearsal for a conversation he anticipated upon his return to Austria. (Even his parenthetical notes indicating where recorded examples are to be played relay indecision, sometimes followed by one or even two question marks.) For all of its ambiguity, however, this document is invaluable, for it records what are probably Korngold's most extensive surviving statements on the concert and operatic music composed by his contemporaries, and of the sounds of avant-garde modernism, with which his own music was widely contrasted.","PeriodicalId":186845,"journal":{"name":"Korngold and His World","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115698720","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-08-27DOI: 10.1515/9780691198736-004
Charles Youmans
This chapter discusses Erich Korngold's Das Wunder der Heliane (1927) with Ernst Krenek's Jonny spielt auf (1927). Korngold's Heliane, his intended magnum opus and the other major event of Vienna's 1927–1928 season, was, like Jonny, a high-profile document of an “opera crisis.” Reasonably enough, the two works have been read as antithetical: what could a “jazz opera” featuring a blackface bandleader and a slapstick death by train have to do with a “timeless” morality play culminating in not one but two resurrections? In Heliane, Korngold set out to eclipse the Gustav Mahler of the Second and Eighth symphonies. Jonny, conversely, offered music seemingly determined to leave the feelings cold.
本章讨论了埃里希·科恩戈尔德的《Heliane的奇迹》(1927)和恩斯特·克莱内克的《Jonny spielt auf》(1927)。科恩戈尔德的《Heliane》是他的代表作，也是维也纳1927-1928年演出季的另一件大事，和《Jonny》一样，它是“歌剧危机”的高调记录。相当合理的是，这两部作品被解读为对立的:一部以黑脸乐队指挥和闹剧式的火车死亡为特征的“爵士歌剧”与一部以两次而不是一次复活为高潮的“永恒”道德剧有什么关系?在Heliane, Korngold打算超越古斯塔夫·马勒的第二和第八交响曲。相反，乔尼提供的音乐似乎是决心要让这种感觉保持冷淡。
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This chapter contains Erich Korngold's last published statement on music. In it he made no mention of his own. Written in October 1955, less than half a year after what would turn out to be his final, dispirited return from Europe, “Faith in Music!” recapitulates a position he outlined in “Notes for an Interview.” However, he updates it for the postwar world, with its collective witness to what had recently been the unimaginable, technologized violence of the interceding years. Against the backdrop of his critical failures in Austria and West Germany, and recasting his apology for the untimeliness of all great works of music, he wrote: “The true creative artist does not wish to recreate for his fellow man the headlines screaming of atom bombs, murder, and sensationalism found in the daily paper.”
这一章包含了埃里希·科恩戈尔德最后发表的关于音乐的声明。他在信中只字未提自己的身份。1955年10月，在他最后一次沮丧地从欧洲回国后不到半年的时间里，他写了一首《信仰音乐!他在《采访笔记》(Notes for a Interview)中概述了自己的观点。然而，他将其更新为战后世界，以集体见证最近难以想象的科技暴力。以他在奥地利和西德的批评失败为背景，并重新为所有伟大的音乐作品的不合时宜而道歉，他写道:“真正有创造力的艺术家不希望为他的同胞再现日报上那些尖叫着原子弹、谋杀和耸人听闻的头条新闻。”
{"title":"Faith in Music!","authors":"E. Korngold, Kevin C. Karnes","doi":"10.2307/j.ctvdjrp0h.18","DOIUrl":"https://doi.org/10.2307/j.ctvdjrp0h.18","url":null,"abstract":"This chapter contains Erich Korngold's last published statement on music. In it he made no mention of his own. Written in October 1955, less than half a year after what would turn out to be his final, dispirited return from Europe, “Faith in Music!” recapitulates a position he outlined in “Notes for an Interview.” However, he updates it for the postwar world, with its collective witness to what had recently been the unimaginable, technologized violence of the interceding years. Against the backdrop of his critical failures in Austria and West Germany, and recasting his apology for the untimeliness of all great works of music, he wrote: “The true creative artist does not wish to recreate for his fellow man the headlines screaming of atom bombs, murder, and sensationalism found in the daily paper.”","PeriodicalId":186845,"journal":{"name":"Korngold and His World","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132340260","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“You must return to life”:","authors":"C. Youmans","doi":"10.2307/j.ctvdjrp0h.6","DOIUrl":"https://doi.org/10.2307/j.ctvdjrp0h.6","url":null,"abstract":"","PeriodicalId":186845,"journal":{"name":"Korngold and His World","volume":"75 3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134100572","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This chapter describes the early life of Erich Korngold. As a child, Korngold was a prodigy the likes of which had rarely been encountered before. He was not only an accomplished pianist but also a composer of preternaturally mature and astonishingly modern-sounding music. He was even called “the little Mozart.” In 1907, at the age of ten, Korngold began contrapuntal studies with Robert Fuchs, a venerable teacher at the Vienna Conservatory, and Alexander Zemlinsky (1871–1942). From there, Korngold embarked on his early musical career. The chapter also describes the reviews and criticisms of Korngold's work, as well as the controversies surrounding the boy and his growing fame, during this period.
{"title":"Korngold Father and Son in Vienna’s Prewar Public Eye","authors":"D. Brodbeck","doi":"10.2307/j.ctvdjrp0h.5","DOIUrl":"https://doi.org/10.2307/j.ctvdjrp0h.5","url":null,"abstract":"This chapter describes the early life of Erich Korngold. As a child, Korngold was a prodigy the likes of which had rarely been encountered before. He was not only an accomplished pianist but also a composer of preternaturally mature and astonishingly modern-sounding music. He was even called “the little Mozart.” In 1907, at the age of ten, Korngold began contrapuntal studies with Robert Fuchs, a venerable teacher at the Vienna Conservatory, and Alexander Zemlinsky (1871–1942). From there, Korngold embarked on his early musical career. The chapter also describes the reviews and criticisms of Korngold's work, as well as the controversies surrounding the boy and his growing fame, during this period.","PeriodicalId":186845,"journal":{"name":"Korngold and His World","volume":"136 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114159383","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Before and After Auschwitz:","authors":"L. Botstein","doi":"10.2307/j.ctvdjrp0h.19","DOIUrl":"https://doi.org/10.2307/j.ctvdjrp0h.19","url":null,"abstract":"","PeriodicalId":186845,"journal":{"name":"Korngold and His World","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121198627","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This chapter provides some insight into the steep learning curve Erich Korngold faced when he first arrived in Hollywood. Korngold points out that, though no one questioned his abilities as a composer for the stage and concert hall, he essentially knew nothing about the integration of music into film from a technical standpoint. He quickly mentions the composer's “most hated rival,” the film's dialogue, as being distracting to the creation of the score, not to mention the sound effects, both of which typically end up dominating the music in traditional Hollywood soundtracks. As a composer of opera and operetta, Korngold had much experience in writing music that would express and articulate drama that was not yet realized. Not so with cinema, in which Korngold received a largely completed record of a performance—the film itself—for which he would have to create a musical illustration of what he saw. No surprise, then, that he extols the virtues of writing music without needing to be tethered constantly to the restrictions of a click track or even the finished film.
{"title":"Some Experiences in Film Music","authors":"E. Korngold","doi":"10.2307/j.ctvdjrp0h.17","DOIUrl":"https://doi.org/10.2307/j.ctvdjrp0h.17","url":null,"abstract":"This chapter provides some insight into the steep learning curve Erich Korngold faced when he first arrived in Hollywood. Korngold points out that, though no one questioned his abilities as a composer for the stage and concert hall, he essentially knew nothing about the integration of music into film from a technical standpoint. He quickly mentions the composer's “most hated rival,” the film's dialogue, as being distracting to the creation of the score, not to mention the sound effects, both of which typically end up dominating the music in traditional Hollywood soundtracks. As a composer of opera and operetta, Korngold had much experience in writing music that would express and articulate drama that was not yet realized. Not so with cinema, in which Korngold received a largely completed record of a performance—the film itself—for which he would have to create a musical illustration of what he saw. No surprise, then, that he extols the virtues of writing music without needing to be tethered constantly to the restrictions of a click track or even the finished film.","PeriodicalId":186845,"journal":{"name":"Korngold and His World","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131925534","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This chapter navigates Erich Korngold's connections to Jewishness. It also examines the role played by external factors in the political context of his career and the impact of both on his music and musical activities. It highlights in particular a little-known correspondence with musicologist Anneliese Landau, who, in 1942, asked him directly: “How is your approach to the question of a Jewish style in music?” In so doing, the chapter seeks to convey an understanding of Korngold's relationship to Jewish music and his Jewish identity with the nuance that this complex and sometimes contentious issue deserves. It is guided by four pertinent questions, on the matter of Judaism and Jewish culture, on how others regard Korngold's work as Jewish, on how Korngold regards his work as Jewish, and finally, on how the investigator regards his work as Jewish.
{"title":"Korngold and Jewish Identity in Concert","authors":"L. Hirsch","doi":"10.2307/j.ctvdjrp0h.8","DOIUrl":"https://doi.org/10.2307/j.ctvdjrp0h.8","url":null,"abstract":"This chapter navigates Erich Korngold's connections to Jewishness. It also examines the role played by external factors in the political context of his career and the impact of both on his music and musical activities. It highlights in particular a little-known correspondence with musicologist Anneliese Landau, who, in 1942, asked him directly: “How is your approach to the question of a Jewish style in music?” In so doing, the chapter seeks to convey an understanding of Korngold's relationship to Jewish music and his Jewish identity with the nuance that this complex and sometimes contentious issue deserves. It is guided by four pertinent questions, on the matter of Judaism and Jewish culture, on how others regard Korngold's work as Jewish, on how Korngold regards his work as Jewish, and finally, on how the investigator regards his work as Jewish.","PeriodicalId":186845,"journal":{"name":"Korngold and His World","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128951112","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Composing for the Pictures:","authors":"E. Korngold, Verna Arvey","doi":"10.2307/j.ctvdjrp0h.15","DOIUrl":"https://doi.org/10.2307/j.ctvdjrp0h.15","url":null,"abstract":"","PeriodicalId":186845,"journal":{"name":"Korngold and His World","volume":"57 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115922695","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-08-27DOI: 10.1515/9780691198736-013
D. Goldmark
This chapter provides an interview conducted by noted composer and librettist Verna Arvey for The Etude Music Magazine. Arvey's identifying Korngold from the start as “the Viennese composer” shows that he had not yet become as closely associated with film as he would by decade's end. Indeed, much of the article focuses on the shifting place of music in the contemporary world (this being 1936), including the incredible suggestion—for the age—that film music was developing as a genre unto itself. Even with Korngold as one of its most visible and acclaimed practitioners, film music was still roundly disdained or ignored by music critics, who denied its status as a legitimate compositional form. Indeed, Korngold's eventual turn to composing film music full-time during the war years led many critics to accuse him of having “sold out.” And while Arvey and others still looked at his work in film as a lark or even a whim, Korngold took it quite seriously.
{"title":"Composing for the Pictures: An Interview","authors":"D. Goldmark","doi":"10.1515/9780691198736-013","DOIUrl":"https://doi.org/10.1515/9780691198736-013","url":null,"abstract":"This chapter provides an interview conducted by noted composer and librettist Verna Arvey for The Etude Music Magazine. Arvey's identifying Korngold from the start as “the Viennese composer” shows that he had not yet become as closely associated with film as he would by decade's end. Indeed, much of the article focuses on the shifting place of music in the contemporary world (this being 1936), including the incredible suggestion—for the age—that film music was developing as a genre unto itself. Even with Korngold as one of its most visible and acclaimed practitioners, film music was still roundly disdained or ignored by music critics, who denied its status as a legitimate compositional form. Indeed, Korngold's eventual turn to composing film music full-time during the war years led many critics to accuse him of having “sold out.” And while Arvey and others still looked at his work in film as a lark or even a whim, Korngold took it quite seriously.","PeriodicalId":186845,"journal":{"name":"Korngold and His World","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121282071","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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