Erich Wolfgang Korngold | |
|---|---|
 Korngold (undated,c. 1912) | |
| Born | (1897-05-29)May 29, 1897 |
| Died | November 29, 1957(1957-11-29) (aged 60) Los Angeles, California |
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| Occupations |
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| Years active | 1909–1957 |
| Known for | Operas,film scores, symphonic and chamber music |
| Spouse | |
Erich Wolfgang Korngold (German:[ˈeːʁɪçˈvɔlfɡaŋˈkɔʁnɡɔlt]; May 29, 1897 – November 29, 1957) was anAustrian composer and conductor, who fled Europe in the mid-1930s and later adopted US nationality. Achild prodigy, he became one of the most important and influential composers inHollywood history.[1] He was a noted pianist and composer of classical music, along with music forHollywood films, and the first composer of international stature to write Hollywood scores.[1][2]
When he was 11, his balletDer Schneemann (The Snowman) became a sensation in Vienna; his Second Piano Sonata, which he wrote at age 13, was played throughout Europe byArtur Schnabel. His one-act operasViolanta andDer Ring des Polykrates were premiered in Munich in 1916, conducted byBruno Walter. At 23, his operaDie tote Stadt (The Dead City) premiered in Hamburg and Cologne. In 1921 he conducted the Hamburg Opera.[3] During the 1920s he re-orchestrated, re-arranged and nearly re-composed several operettas byJohann Strauss II. By 1931 he was a professor of music at theVienna State Academy.
At the request of motion picture directorMax Reinhardt, and due to the rise of theNazi regime, Korngold moved to Hollywood in 1934 to write music for films. His first was Reinhardt'sA Midsummer Night's Dream (1935). He subsequently wrote scores for such films asCaptain Blood (1935), which helped boost the career of its starring newcomer,Errol Flynn. His score forAnthony Adverse (1936) won an Oscar; two years later he won another Oscar forThe Adventures of Robin Hood (1938).
Korngold scored 16 Hollywood films in all, and received two more nominations for Oscars. Along withMax Steiner andAlfred Newman, he is one of the founders of Americanfilm music. Although his late-Romantic style of classical composition was no longer as popular when he died in 1957, his music underwent a resurgence of interest in the 1970s beginning with the release of the RCA Red Seal albumThe Sea Hawk: The Classic Film Scores of Erich Wolfgang Korngold (1972). This album, produced by his sonGeorge Korngold, was hugely popular and ignited interest in his other film music (and that of other classic film composers), as well as in his concert music, which often incorporates popular themes from his film scores (an example being theViolin Concerto in D, Op. 35, which incorporates themes from four of his motion picture scores and has become part of the standard repertoire).
Erich Wolfgang Korngold was born to a Jewish family in Brünn,Austria-Hungary (present-dayBrno,Czech Republic). Erich was the second son of eminent music critic(Leopold) Julius Korngold (1860–1945); his older brother,Hans Robert Korngold [de] (1892–1965), also became a musician. A child prodigy living inVienna, Erich could play four-hand piano arrangements alongside his father at age five. He was also able to reproduce any melody he heard on the piano, along with playing complete and elaborate chords. By age seven, he was writing original music.[4]: 11
Korngold played hiscantataGold forGustav Mahler in 1906; Mahler called him a "musical genius" and recommended he study with composerAlexander von Zemlinsky.Richard Strauss also spoke highly of the youth, and along with Mahler told Korngold's father there was no benefit in having his son enroll in a music conservatory since his abilities were already years ahead of what he could learn there.[4]: 11
At age 11, he composed his balletDer Schneemann (The Snowman), which became a sensation when performed at theVienna Court Opera in 1910, including a command performance for EmperorFranz Josef.[2] He continued composing with great success throughout his teens.[5] At age 12, he composed a piano trio. His Piano Sonata No. 2 in E major, which followed, was played throughout Europe byArtur Schnabel.[6] During these early years he also made live-recordingplayer piano music rolls for theHupfeld DEA and Phonola system and also the Aeolian Duo-Art system, which survive today and can be heard.[7]
Korngold wrote his first orchestral score, theSchauspiel-Ouvertüre, when he was 14. HisSinfonietta appeared the following year, and his first two operas,Der Ring des Polykrates andViolanta, in 1914.[8] In 1916, he wrote songs, chamber works, and incidental music, including toMuch Ado About Nothing, which ran for some 80 performances in Vienna.[5]
Korngold was active in the theatre throughout Europe while in his 20s. After the success of his operaDie tote Stadt, which he conducted in many opera houses, he developed a passion for the music ofJohann Strauss II and managed to exhume a number of lost scores.[4]: 13 He orchestrated and staged them using new concepts.[4]: 13 BothA Night in Venice andCagliostro in Vienna are Korngold re-creations;[4]: 13 these were the works that first drew the attention ofMax Reinhardt to Korngold.[4]: 13
By this point Korngold had reached the zenith of his fame as a composer of opera and concert music. Composers such asRichard Strauss andGiacomo Puccini heaped praise upon him, and many famous conductors, soloists and singers added his works to their repertoires. He began collaborating with Reinhardt on many productions, including a collection of little-known Strauss pieces that they arranged,Waltzes From Vienna.[4]: 13 It was retitledThe Great Waltz and became the basis for a 1934 British film directed byAlfred Hitchcock[4]: 13 and a film by thesame name in the US, starringLuise Rainer. Korngold conducted staged versions in Los Angeles in 1949 and 1953.[4]: 13
He completed aConcerto for Piano Left Hand for pianistPaul Wittgenstein in 1923 and his fourth opera,Das Wunder der Heliane, four years later. He started arranging and conductingoperettas by Johann Strauss II and others while teaching opera and composition at the Vienna Staatsakademie. Korngold was awarded the title professorhonoris causa by thepresident of Austria.[6][when?]
After Max Reinhardt's success in producingShakespeare'sA Midsummer Night's Dream for the stage, usingincidental music byFelix Mendelssohn, he invited Korngold to Hollywood in 1934 to adapt Mendelssohn's score for his planned film version.[4]: 8 Korngold would also enlarge and conduct the score.
The film, which was released in 1935, was a first forWarner Brothers studio in producing a film based on a 400-year-old work of literary art. The studio assigned almost every star or character actor under contract to take part in the film, with the filming taking over six months.[4]: 8 The studio also allowed Korngold to devote more attention to the score than it had to any of its previous films; he could prerecord certain parts of the film for the benefit of actors, whom he then had act to the rhythm and tempo of the music.[4]: 8 As a result of the score's elaborate tailoring, the film and Korngold's music left a strong impression on the film industry.[4]: 8
Korngold returned to Austria to finishDie Kathrin. He came back to Hollywood to score the filmGive Us This Night, with lyricistOscar Hammerstein II, a film which introduced mezzo-sopranoGladys Swarthout and the Polish-born tenorJan Kiepura, who had starred in several Korngold operas in Europe.[4]: 9
In 1935 Warners asked Korngold if he was interested in writing an original dramatic score forCaptain Blood. He at first declined, feeling that a story about pirates was outside his range of interest. However, after watching the filming, with a dynamic new star, Errol Flynn, in a heroic role alongsideOlivia de Havilland, who had her debut inA Midsummer Night's Dream, he changed his mind.
Korngold not only had the background but also had the gift of melody, an innate sense of theater, and the skills to manipulate sentiment, emotion, humor, and excitement. In short, ifJack L. Warner had been praying for such a composer, then his prayers had been answered.
After he accepted, however, he learned that he needed to compose over an hour of symphonic music in only three weeks. The short time frame forced him to use bits of symphonic poems byFranz Liszt, and a couple of engaging cues were written by Korngold orchestrator Milan Roder. In the end, Korngold insisted he be credited only with musical adaptations, even though he scored nearly the entire film with original music.[9][10][4]: 8
Captain Blood became an immediate hit, with an Oscar nomination for the score.[11] As Korngold's first fully symphonic film score, it marked a milestone in his career, as he became the first composer of international stature to sign a contract with a film studio.[4]: 10 [12] It also launched the career of Flynn and gave a major boost to that of de Havilland, who did another seven movies with Flynn. Korngold scored six more films starring Flynn.[4]: 21 In addition,Captain Blood opened the way for other costumed romantic adventures, which hadn't been seen since the silent era.[4]: 9
After scoringAnthony Adverse, another Warners picture, this one starringFredric March and Olivia de Havilland, Korngold's career in Hollywood developed quickly. He finally became convinced that dramatic scoring went well with certain types of films.[4]: 23 The film, which is set in mid-18th century Italy, the Alps, and France, received an expensive treatment from Warners, which pleased him greatly.[4]: 23
Korngold was awarded his first Academy Award for theAnthony Adverse score. In this film, the first half hour contains continuous scoring[4]: 23 and proved to be a major step forward in the art of film scoring. Korngold conceived his film scores as "operas without singing."[13]
In 1938, Korngold was conducting opera in Austria when he was asked byWarner Brothers to return to Hollywood and compose a score forThe Adventures of Robin Hood (1938), starring Errol Flynn and Olivia de Havilland. The film, based on a largely fictional English legend, is considered the finest of its kind, with a continuous series of romantic and adventurous sequences propelled by Korngold's dynamic score.[4]: 27 Music historian Laurence E. MacDonald notes that there were many factors which made the film a success, including its cast, its Technicolor photography and fast-paced direction byMichael Curtiz, but "most of all, there is Korngold's glorious music."[14]: 49 And film historianRudy Behlmer describes Korngold's contribution to this and his other films:
Korngold's score was a splendid added dimension. His style for the Flynn swashbucklers resembled that of the creators of late nineteenth-century and early twentieth-century German symphonic tone poems. It incorporated chromatic harmonies, lush instrumental effects, passionate climaxes—all performed in a generally romantic manner. Korngold's original and distinctive style was influenced by the Wagnerianleitmotif, the orchestral virtuosity of Richard Strauss, the delicacy and broad melodic sweep ofPuccini, and the long-line development of Gustav Mahler.[15]: 38
Before Korngold began composing the score, Austria was invaded by Germany andannexed by the Nazis. His home in Vienna was confiscated by the Nazis.[15]: 35 Because all Jews in Austria were now at risk, Korngold stayed in America until the end ofWorld War II. He later said, "We thought of ourselves as Viennese;Hitler made us Jewish."[16]
Korngold noted that the opportunity to compose the score forRobin Hood saved his life. It also gave him his secondAcademy Award for Best Original Score and established the symphonic style that would later be used in action films during Hollywood's Golden Age.[14]: 50 Modern day epics such as theStar Wars andIndiana Jones trilogies similarly included original symphonic scores.[14]: 50 ComposerJohn Williams has cited Korngold as his inspiration in scoring theStar Wars series.[17]: 717
Korngold was interested in writing a score forJuarez, as it involved historical figures from Mexico and Austria. It dealt with the Mexican politicianBenito Juarez but also involved the story of ArchdukeMaximilian von Habsburg and his wife,Carlotta. Korngold was moved by the true-life story of howLouis Napoleon, seeing America engulfed byCivil War, took advantage of that fact and attempted, in 1864, to control Mexico. He appointed Maximilian as its emperor.[4]: 29
All of the music written at that time was strictly Viennese. The European influence was so strong in Mexico during that time that native composers, either consciously or in an unconscious effort to court the favor of the rulers, abandoned their native style and copied that of[Johann] Strauss.
After the United States demanded that France divest itself of its interests in Mexico, the Austrian aristocrat was left to his fate, and he was executed by the Juarez government. The dramatic accent of the film leaned in favor of Maximilian and Carlotta, however, aided greatly by Korngold's poignant themes for them.[4]: 29
Korngold researched the music popular in Mexico at the time and realized it was not Mexican but "unmistakenlyViennese." He composed 3,000 bars of music for the score, at times emulating the rhythms ofFrédéric Chopin andFranz Schubert, and the second theme of the first movement of hisViolin Concerto was drawn from his work for the film.[19] Maximilian and Carlotta loved the Mexican song "La Paloma," and Korngold used it effectively during the score.[4]: 29
Korngold was again nominated for his score ofThe Private Lives of Elizabeth and Essex. The score is essentially operatic, with lush background music throughout, a rousing march theme for Essex (Errol Flynn), and one of his "most noble and heroic melodies" for the theme "Elizabeth, The Queen", Elizabeth (Bette Davis)[14]: 59 An hour of the hour and half long film is supported by the score, composed of rich dramatic and romantic themes.
He chose not to use any period music or to approximate 16th-century musical sounds, explaining:
The loves and hates of the two main characters, the ideas expressed by the playwright generally, while taken from history, are symbolic. It is a play of eternally true principles and motives of love and ambition, as recurrent today as three hundred years ago.[4]: 30
The score concentrates on the regal Main Title, the triumphal entry march of Essex into London, the Queen's theme, and the recapitulation of that theme in the End Titles.[4]: 30
The Sea Hawk was Korngold's last score for swashbuckler films, all of which had starred Errol Flynn. It is widely regarded as one of Korngold's best.[15]: 39 The film ran two hours and six minutes and was one of the longest films he ever worked on.[14]: 67 It includes symphonic score in all but twenty minutes.[14]: 67 It was also his tenth original score in less than six years.[14]: 67
Of the final duel between Thorpe (Errol Flynn) and Wolfingham (Henry Daniell), MacDonald states that "Korngold's breathlessly fast-paced music helps to make this one of the most exciting swordfights in cinema history",[14]: 68 while Behlmer describes the duel scene as a "tour de force of rhythmic energy and exactitude."[15]: 39
In scoringThe Sea Wolf, based on a novel byJack London, Korngold's film career went in a different direction. 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.
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.[20] He often used sharp brass chords with swirling configurations, along with a love theme voiced by a harmonica. Music historian Thomas S. Hischak notes some aspects of the score:
Korngold's score forThe 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.[17]: 410
The score forKings Row (1942) has been compared to those of films likeGone with the Wind andAnthony Adverse, which also had powerful theme motifs. Those stories were based on recent best-selling novels, as wasKings Row.[21] In this score, Korngold moved even further away from his previous romantic and swashbuckler styles. This was Korngold's most Gothic film score, and a film which film historian Tony Thomas has called a "true American classic."[4]: 36 He adds that the score "might well have been the basis for an opera or a grandly scaled symphonic poem."[4]: 36
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?] claim is among his finest, the film drew an unusually high level of public interest and acclaim.[21] Its costar, future PresidentRonald Reagan, considered his performance the best of his career.[22]
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.[14]: 80 By using this motif, the theme connects the entire score, which often left a strong impact on viewers.
British composerHarold 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.[21] LikeGone with the Wind,Kings Row concludes with the main theme hymned operatically by an unseen chorus.
Kings Row was followed by seven film scores in four years –The Constant Nymph (1943),Between Two Worlds (1944),Devotion (1946),Of Human Bondage (1946),Deception (1946),Escape Me Never (1947), andAdventures of Don Juan (1948) (unused score).
World War II prevented Korngold from returning to Europe. He became an American citizen in 1943 and remained in the US after retiring from film composing in 1947.
He spent the last ten years of his life composing concert pieces, including aViolin Concerto, a Symphonic Serenade for strings, a Cello Concerto and aSymphony. The Violin Concerto has become particularly successful, with many recordings and performances followingJascha Heifetz's initial version.
He returned to film scoring one more time, shortly before his death, forMagic Fire (1955), a film biography of the composerRichard 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 conductorHans Richter.
At the time of his death at age 60, he was working on his sixth opera.[5]
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 operalibretti.[4]: 13 This made him prefer to write leitmotifs for each of the main characters in a film, and vary them based on the emotional level of a scene.[23] He felt that by having "musical identifications for characters, places, and even abstract ideas in a film," it would help keep characters straight in the minds of the audience.[24] Music motifs were commonly used by other film composers during that period, including Max Steiner.[24]
DuringCaptain 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.[23] The impact of the score forCaptain Blood ledGene Roddenberry, creator ofStar Trek, to tell his composer to use that film as an archetypal example of the kind of sound he wanted for his series.[23] According to Karlin and Wright inOn the Track:
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.[24]
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.[4]: 13
During his years scoring films, he still composed some non-film works, such asPassover Psalm, Opus 30, for chorus and orchestra (1941);Prayer, Opus 32 for chorus and orchestra (1942); andTomorrow When You Have Gone, Opus 33, for chorus and orchestra (1942).[25] In 1946 he composed an opera,Die stumme Serenade, which he recorded privately hoping to attract interest in making a full production.[25] On the never-released private recording, he can be heard humming as he played the piano.[1]
In the studio during the day, he worked with orchestrators, such asHugo Friedhofer, with whom he would make elaborate sketches marking out exactly what he wanted. He once told Friedhofer that he feltTosca was the best film score ever written.[4]: 13 With the orchestra in session, Korngold would conduct.
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 andcontrapuntally intricate scores, the best of which are a cinematic paradigm for thetone 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.[26]
In 1924, Korngold married Luzi von Sonnenthal (1900–1962), granddaughter of actorAdolf von Sonnenthal, an actress, writer, singer and pianist, with whom he had fallen in love at age 19. They had two children, Ern[e]st Werner andGeorg[e] Wolfgang.[27][28] Luzi's biography of her husband was published in 1967.[29]
In 1943, Korngold became anaturalized citizen of the United States. The year 1945 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.[30]
Around the same time, World War II in Europe drew to an end. 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.[30]
Korngold lived at 9936 Toluca Lake Avenue,Toluca Lake, Los Angeles, a few blocks from Warner Brothers Studio, where he worked.[31] In October 1956 he suffered a severe stroke and although he partially recovered, he "endured many physical and emotional difficulties" before his death at the age of 60, on November 29 the following year.[32] He was survived by his wife, Luzi (Luise), two sons,George Korngold and Ernst Korngold; his mother, Josephine Korngold; a brother, Hans Robert Korngold, and three grandchildren.[33] He was interred atHollywood Forever Cemetery.[7]
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, andElizabeth 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. In 1972,RCA Victor released an LP titledThe Sea Hawk: The Classic Film Scores of Erich Wolfgang Korngold, featuring excerpts performed by theNational Philharmonic Orchestra. This was followed by recordings of Korngold's operas and concert works, which led to performances of hisSymphony in F-sharp major and concertos, as well as other compositions.[2] Following the success of the Korngold album, the Classic Film Scores series was extended through thirteen additional discs, including a second Korngold collection. These records have been credited with inspiring the revival of symphonic music in films, most prominently in theStar Wars series, which features prominent allusions to Korngold's style.
Productions ofDie tote Stadt were mounted at theVienna Volksoper in 1967[citation needed] and theNew York City Opera in 1975.[35]
TheAmerican Film Institute ranked Korngold's score forThe Adventures of Robin Hood as number 11 ontheir list of the greatest film scores. His scores for the following films were also nominated for the list:[citation needed]
Further recognition came in the 1990s; two full-scale biographies of him appeared almost simultaneously. One isJessica Duchen'sErich Wolfgang Korngold.[36] The other is Brendan G. Carroll'sErich Korngold: The Last Prodigy.[37] Carroll is President of the International Korngold Society.[38] Carroll released excerpts of acetates with Korngold conducting the Warner Bros. studio orchestra in music from his film scores, some possibly taken from KFWB radio broadcasts.
In 2019 theBard Music Festival (at Bard College, New York) celebrated Korngold with an extensive series of performances and lectures and the publication ofKorngold and His World, edited by Daniel Goldmark and Kevin C. Karnes. In addition, Bard sponsored the first US production ofDas Wunder der Heliane — more than ninety years after its premiere.
In 2008 Gary Noland wrote a string trioKorngoldaroonie in tribute to Korngold.[39][40]
There have also been a number of new digital recordings of Korngold's film scores, as well as some of his concert works:
... a splendid record of the life and music of Erich Wolfgang Korngold.
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