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.
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This chapter contains some reflections by Luzi Korngold, wife to Erich Korngold. In her first published statement on her life with Erich, Luzi recounted the start of their relationship, concisely and directly and in the third person. “In the spring of 1917, Erich got to know his future wife, Luzi Sonnenthal, granddaughter of the court actor Adolf Ritter v. Sonnenthal. From the very first meeting, there developed between these two young people a friendship and sense of connectedness that was unbreakable and would endure throughout their lives.” More than anything else, Luzi's memoir of the journeys she shared with Erich in 1935–1938 testifies to her experience of that sense of friendship and connectedness, of the experience of a family whose destiny was altered by forces they could not control, but through which they endured.
{"title":"A Farewell to Vienna","authors":"L. Korngold","doi":"10.2307/j.ctvdjrp0h.14","DOIUrl":"https://doi.org/10.2307/j.ctvdjrp0h.14","url":null,"abstract":"This chapter contains some reflections by Luzi Korngold, wife to Erich Korngold. In her first published statement on her life with Erich, Luzi recounted the start of their relationship, concisely and directly and in the third person. “In the spring of 1917, Erich got to know his future wife, Luzi Sonnenthal, granddaughter of the court actor Adolf Ritter v. Sonnenthal. From the very first meeting, there developed between these two young people a friendship and sense of connectedness that was unbreakable and would endure throughout their lives.” More than anything else, Luzi's memoir of the journeys she shared with Erich in 1935–1938 testifies to her experience of that sense of friendship and connectedness, of the experience of a family whose destiny was altered by forces they could not control, but through which they endured.","PeriodicalId":186845,"journal":{"name":"Korngold and His World","volume":"1 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":"128938959","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 contains Erich Korngold's personal reflections on his former teacher, Alexander Zemlinsky. Zemlinksy was an Austrian composer and conductor who enjoyed an outstanding reputation as a private music teacher in late Habsburg Vienna. He is perhaps best remembered in this capacity for the counterpoint instruction he gave to his future brother-in-law Arnold Schoenberg. For a brief time, beginning in 1900, Zemlinsky taught Alma Schindler, with whom he had a love affair in the period before she began the relationship that would lead, in March 1902, to her marriage to Gustav Mahler. Among the last—and certainly the most precocious—of Zemlinsky's Viennese students was Erich Wolfgang Korngold, whose lessons were initiated in 1908 and continued for upward of two years until Zemlinsky departed Vienna to become the music director of Prague's New German Theater.
这一章包含了埃里希·科恩戈尔德对他以前的老师亚历山大·泽姆林斯基的个人反思。泽姆林斯基是奥地利作曲家和指挥家，在哈布斯堡王朝晚期的维也纳作为私人音乐教师享有盛誉。他以这种身份给他未来的姐夫阿诺德·勋伯格(Arnold Schoenberg)的对位法指导可能是最让人记住的。从1900年开始，泽姆林斯基曾短暂地教过阿尔玛·辛德勒(Alma Schindler)。在这段时间里，泽姆林斯基与她有过一段恋情，后来她在1902年3月嫁给了古斯塔夫·马勒(Gustav Mahler)。在泽姆林斯基的最后一批——当然也是最成熟的一批——维也纳学生中，埃里希·沃尔夫冈·科恩戈尔德(Erich Wolfgang Korngold)在1908年开始上课，并持续了两年多，直到泽姆林斯基离开维也纳，成为布拉格新德国剧院的音乐总监。
{"title":"Recollections of Zemlinsky from My Years of Study","authors":"E. Korngold, D. Brodbeck","doi":"10.2307/j.ctvdjrp0h.12","DOIUrl":"https://doi.org/10.2307/j.ctvdjrp0h.12","url":null,"abstract":"This chapter contains Erich Korngold's personal reflections on his former teacher, Alexander Zemlinsky. Zemlinksy was an Austrian composer and conductor who enjoyed an outstanding reputation as a private music teacher in late Habsburg Vienna. He is perhaps best remembered in this capacity for the counterpoint instruction he gave to his future brother-in-law Arnold Schoenberg. For a brief time, beginning in 1900, Zemlinsky taught Alma Schindler, with whom he had a love affair in the period before she began the relationship that would lead, in March 1902, to her marriage to Gustav Mahler. Among the last—and certainly the most precocious—of Zemlinsky's Viennese students was Erich Wolfgang Korngold, whose lessons were initiated in 1908 and continued for upward of two years until Zemlinsky departed Vienna to become the music director of Prague's New German Theater.","PeriodicalId":186845,"journal":{"name":"Korngold and His World","volume":"38 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":"129176704","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: 10.1515/9780691198736-017
L. Botstein
This chapter discusses Erich Korngold's changing status as a composer in the twentieth century. Since the early 1970s, spurred by popular modern recordings of Korngold's film music and the embrace of the Violin Concerto as a favored vehicle by a new generation of aspiring violinists, both Korngold's career as a composer and his output have gained in currency and respectability. Korngold's posthumous good fortune is the unanticipated consequence of the return to legitimacy, at the end of the twentieth century, of an aesthetic eclecticism regarding contemporary music. The belief in the exclusive legitimacy of an aesthetics of a radical modernism—justified by history, for the postwar world—has vanished. Minimalism, a new Romanticism, the integration with forms of popular music, and the blurring of genre distinctions all can be found in the music composed during the last forty years. These have turned Korngold from marginal figure into a prominent representative of the twentieth century, alongside other unjustly forgotten composers of a more “conservative” character.
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This chapter considers Erich Korngold's multifaceted creative engagement with the delineation of distinctive acoustic spaces. It describes an “Age of Noise” in Vienna, within a modernizing environment which would influence a young Korngold. Indeed, Korngold lived his whole life in modern urban environments. His aesthetic output, and indeed, the listening experience of his audiences who lived and heard within those same spaces, have been shaped in many ways by the conditions of twentieth-century metropolitan life in all its acoustic complexity. This facet of Korngold's world, the inevitable resonance of sonic modernity within the spaces of modern identity, compounds the critical challenge to both the composer's own ostensible naïveté and his music's apparent political neutrality.
{"title":"Acoustic Space, Modern Interiority, and Korngold’s Cities","authors":"Sherry Lee, Sadie Menicanin","doi":"10.2307/j.ctvdjrp0h.7","DOIUrl":"https://doi.org/10.2307/j.ctvdjrp0h.7","url":null,"abstract":"This chapter considers Erich Korngold's multifaceted creative engagement with the delineation of distinctive acoustic spaces. It describes an “Age of Noise” in Vienna, within a modernizing environment which would influence a young Korngold. Indeed, Korngold lived his whole life in modern urban environments. His aesthetic output, and indeed, the listening experience of his audiences who lived and heard within those same spaces, have been shaped in many ways by the conditions of twentieth-century metropolitan life in all its acoustic complexity. This facet of Korngold's world, the inevitable resonance of sonic modernity within the spaces of modern identity, compounds the critical challenge to both the composer's own ostensible naïveté and his music's apparent political neutrality.","PeriodicalId":186845,"journal":{"name":"Korngold and His World","volume":"79 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":"130891987","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 shows that Erich Korngold's compositional process and materials reflected a particular traumatic mode of modernism—the ruin. Here, recognizable fragments from the past recall an uncomfortable or contested history of decay and destruction. Ruinous art forms betrayed the “temporal and spatial doubts that modernity always harbored about itself.” While some manifest as a material fascination with destruction and demise, others constitute an aesthetic that enables the audience to think about the historicity of our condition and even experience hope. Korngold noted that his preference lay with the latter. But Korngold's Symphony in F-sharp, Op. 40 (1947–52), in its quiet references to earlier repertories whose musical lives were deeply entangled in the modern historical moment, signaled its own disturbing relevance to the ruins of the time—whether the crumbling facades of Korngold's beloved Vienna or his experience in America as an exile in a state of fracture and suspension.
{"title":"American and Austrian Ruins in Korngold’s Symphony in F-sharp","authors":"Amy Lynn Wlodarski","doi":"10.2307/j.ctvdjrp0h.11","DOIUrl":"https://doi.org/10.2307/j.ctvdjrp0h.11","url":null,"abstract":"This chapter shows that Erich Korngold's compositional process and materials reflected a particular traumatic mode of modernism—the ruin. Here, recognizable fragments from the past recall an uncomfortable or contested history of decay and destruction. Ruinous art forms betrayed the “temporal and spatial doubts that modernity always harbored about itself.” While some manifest as a material fascination with destruction and demise, others constitute an aesthetic that enables the audience to think about the historicity of our condition and even experience hope. Korngold noted that his preference lay with the latter. But Korngold's Symphony in F-sharp, Op. 40 (1947–52), in its quiet references to earlier repertories whose musical lives were deeply entangled in the modern historical moment, signaled its own disturbing relevance to the ruins of the time—whether the crumbling facades of Korngold's beloved Vienna or his experience in America as an exile in a state of fracture and suspension.","PeriodicalId":186845,"journal":{"name":"Korngold and His World","volume":"30 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":"121963330","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":"Index","authors":"","doi":"10.2307/j.ctvdjrp0h.20","DOIUrl":"https://doi.org/10.2307/j.ctvdjrp0h.20","url":null,"abstract":"","PeriodicalId":186845,"journal":{"name":"Korngold and His World","volume":"1 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":"127665063","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":"“Give up your plans of coming home”:","authors":"J. Korngold","doi":"10.2307/j.ctvdjrp0h.16","DOIUrl":"https://doi.org/10.2307/j.ctvdjrp0h.16","url":null,"abstract":"","PeriodicalId":186845,"journal":{"name":"Korngold and His World","volume":"11 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":"127381543","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 : 2011-01-31DOI: 10.1515/9781400832101.XI
Byron Adams
{"title":"Permissions and Credits","authors":"Byron Adams","doi":"10.1515/9781400832101.XI","DOIUrl":"https://doi.org/10.1515/9781400832101.XI","url":null,"abstract":"","PeriodicalId":186845,"journal":{"name":"Korngold and His World","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2011-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130382952","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 : 2009-01-31DOI: 10.1515/9781400833627.xiii
W. Frisch, Kevin C. Karnes
{"title":"Permissions and Credits","authors":"W. Frisch, Kevin C. Karnes","doi":"10.1515/9781400833627.xiii","DOIUrl":"https://doi.org/10.1515/9781400833627.xiii","url":null,"abstract":"","PeriodicalId":186845,"journal":{"name":"Korngold and His World","volume":"633 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2009-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131651992","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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