Academic literature on the topic 'Korngold'

Abstract In his first film score, Erich Wolfgang Korngold adapted the works of Felix Mendelssohn so that the music seemed to interact and respond with the visual editing of the film, A Midsummer Night's Dream (Warner Bros., 1935). By detailing the facets of this unusual production, which range from Korngold's presence on the set to the publicity department's efforts to spotlight Mendelssohn's music and Korngold's arrangements, I argue that the score for Dream played an important role in elevating film music and film composers within the hierarchy of Hollywood production and publicity. Not only was the Mendelssohn-Korngold score given greater consideration during the film's making, but also audiences were reminded to listen to the film's music, a facet rarely acknowledged in other contemporaneous publicity drives. Importantly, these changes were effected and rationalized through the self-conscious foregrounding of the music, principles, and rhetoric of nineteenth-century Romanticism. Documents at the Warner Bros. Archive reveal how the confluence of these factors not only established the unusual tenor of Korngold's career within the Hollywood studio system but also helped construct the film composer's public image as an incongruously independent artist working within an otherwise collaborative medium.

AbstractResponses to Korngold's 1920 opera Die tote Stadt have long been filtered through the lens of his later Hollywood career. To do so, however, not only risks misunderstanding the relationship between these two different spheres of the composer's output, but also ignores the opera's complex positioning within the gender discourses of early twentieth-century Vienna. This article offers a corrective to the clichéd view of Korngold the ‘pre-filmic’ opera composer by arguing that, in its treatment of the characters Marie and Marietta, Die tote Stadt draws on a tradition of ‘strangling blonde’ imagery from the nineteenth century in order to critique the gender theories of Otto Weininger (1880–1903), which were still current in the 1920s. As such, in its concern with the nature of femininity, Die tote Stadt also draws our attention to the modern woman who had just entered the composer's life, Luise (Luzi) von Sonnenthal.

In 1978, Jonathan Sprent and Robert Korngold proved that graft-versus-host disease (GVHD) is caused by donor T cells that attack the host's non-MHC antigens. T cell depletion of donor grafts has since become a staple of transplantation strategies to combat leukemia and other inherited blood disorders.

The Masters thesis deal with songs of Erich Wolfgang Korngold who was born in Brno May 29,1897 and died in Los Angeles, November 29, 1957. At the beginning chapters I worked up E.W.Korngold´s biography and his musical production. Chapter 4th includes analysis of his songs and sonds´cycles with special focus on opus 27 the " Unvergänglichkeit" that I have interpreted several times. I also present several examles of texts of individual songs, pictures of E.W.Korngold, and various exclosures ,the most interesting is a complete list of E.W.Korngold´s works.

A pesquisa das contribuições dos arquitetos estrangeiros (Jacques Pilon, Franz Heep, Lucjan Korngold e Giancarlo Palanti) nos projetos de edifícios de escritórios na cidade de São Paulo, no período de 1930-1960, partiu de um procedimento metodológico que utilizou dois elementos principais: a revisão da historiografia recente e a identificação das obras através do cruzamento das informações de novas fontes primárias do Acervo de Projetos da Biblioteca da FAUUSP. O primeiro capítulo objetiva a compreensão das contribuições dos edifícios de escritórios na verticalização do centro de São Paulo, através da identificação das obras pioneiras e de seus paralelos com a arquitetura norte americana, das contribuições específicas daqueles arquitetos estrangeiros no contexto das grandes transformações urbanas ocorridas no período e dos desafios técnicos no desenvolvimento do concreto armado. O segundo capítulo apresenta a contribuição dos arquitetos estrangeiros diretamente nos projetos, identificando uma morfologia através da análise da implantação e volumetria, do pavimento térreo e dos acessos, da circulação e das instalações, do pavimento tipo, da estrutura e dos vedos: massa, caixilhos, grelhas, brises e pele de vidro. O terceiro capítulo esboça a prática e as relações profissionais desses arquitetos e de seus colaboradores, estrangeiros ou não, bem como o ensino de projeto dentro dos seus escritórios e o papel do detalhamento na produção e formação desses colaboradores.
ALMEIDA, Moracy Amaral e. Pilon, Heep, Korngold e Palanti: office buildings (1930-1960). Thesis, Faculty of Architecture and Urbanism, University of São Paulo, São Paulo, 2015. ABSTRACT The research on foreign architects (Jacques Pilon, Franz Heep, Lucjan Korngold and Giancarlo Palanti) contributions to the office buildings projects in the city of São Paulo, from 1930 to 1960, came from a methodological procedure. It used two main elements: the review of the recent historiography and the identification of works by crossing the information of new primary sources of FAUUSP Library Archives . The first chapter\'s objective is to understand the contribution of the office buildings to the verticalization center of São Paulo, through the identification of the pioneers architects and their works in comparison to the North American architecture, the specific contributions of those foreign architects during a large urban transformation and the technical challenges in the development process of reinforced concrete. The second chapter presents the contribution of foreign architects directly to the projects, identifying a morphology by analyzing the site plans and volumetry, the ground floor and access paths, circulation and installations, pavement type, structure and envelopment: mass, frames, grilles, louvers and curtain wall. The third chapter outlines the practice and professional relationships of these architects and their collaborators, foreigners or not, as well the design teaching at their offices and the relevance of the detail in the development and training of these team.

This study examines the Piano Concerto in C sharp, Op.17 (1923), by Erich Wolfgang Korngold (1897-1957), in light of developing variation, techniques that transform motivic ideas and create musical continuity in this work. The troublesome reception history of Korngold’s piano concerto derives from its complex musical features, which have created difficulties in understanding and evaluating this piece. Consequently, critics and scholars often label the highly sophisticated yet tonal musical language in this piece a residue of Romanticism from the nineteenth century. In this document, in contrast, examination of motivic development and connections in Korngold’s piano concerto reveals thematic and structural coherence in light of Korngold’s idea of modernity. This study provides a historical and technical survey of developing variation and discusses Korngold’s implementation of these techniques in his early compositions and the piano concerto. By doing so, this study recognizes the progressive aspect in Korngold’s music.

Erich W. Korngold's Second Sonata, op. 2 (1910), and Artur Schnabel's Piano Sonata (1923) are composed in completely different styles. Korngold's late-Romantic sonata has lush, poignant harmonies, while Schnabel's five-movement work is atonal with twelve-tone elements and unabashedly harsh. However, the two pieces share Expressionistic attributes like extreme contrasts, leitmotifs, and manic-depressive tendencies. Korngold's sonata has a façade of glory and splendor that conceals darker proceedings. This façade breaks down in the later movements. Schnabel's sonata, like his personality, is frank and unapologetic. Each movement has a unique agenda; the five movements as a whole have few musical elements in common among them. Despite these divergent effects, the sonatas are united by the personal link between the composers, namely, Schnabel's decision to widely perform Korngold's sonata. Schnabel, more famous for performing than for composing, was inordinately choosy regarding the composers whose music he performed. Schnabel "only [performed] music that is better than it can be played," and he was especially disdainful of modern music. Given these preferences, Schnabel's championing the young Korngold's unproven work is extraordinary. Forty years later, Schnabel described it as a "most amazing piece." Perhaps this fascination is the result of their common perspective toward Vienna. The present essay will interpret these two works using fin de siècle Vienna as a framework, especially typifying "the atmosphere of Vienna, of jesting defeatism and precious, playful morbidity in the [1890s], of her gradual decay." Accounts by Schnabel, author Stefan Zweig, and others describe the Viennese as "incorrigible optimists" fascinated by music and theatre but uninterested in world affairs. Korngold composed his sonata during the foreboding years preceding World War I, profiling the indifference to societal and political ills. Schnabel composed his sonata after the war, when the "Golden Age of Security," as Zweig phrased it, was corroded by Vienna's opulence and decadence. Accordingly, this essay will elucidate one possible interpretation for each of these pieces, movement by movement, with this dichotomy in mind. The interpretations will vividly illustrate the pretentious depravity and decadence from raucous revelry, as well as the profound pain and dire consequences that follow. Korngold's sonata is as a painting of realism, and his piece uses rich harmonies and soaring melodies to plainly depict the society. Schnabel's sonata, on the other hand, is a work of abstract art, using surrealism and exaggeration to warp images and environments, and portray society as suffering consequences that are unimaginably horrible, consequences that only a mind in the throes of a never-ending nightmare could envisage.

This dissertation aims to examine the motivic voice leading of the first two movements of Korngold's Violin Concerto, Op. 35 to illuminate the interwoven motives within the underlying structures of the movements. The analysis principally concentrates on two main motives: the motivic tritone and rising-third motives. Moreover, the analysis of Korngold's motivic writing further investigates the semantics that are evoked by the technical aspects. With his exceptional ability to interconnect music to narratives both in operas and films, Korngold never ceased to express the recurring themes of love and revival also in his instrumental music. It is noteworthy that he borrowed only the "love themes" from his film scores for the first two movements of the violin concerto. The violin concerto was the first work written after Korngold returned to absolute music after a decade of composing for films to ensure his and his family's survival during the war. After the Anschluss, during his exile in California as a Jewish refugee, Korngold's love for his homeland Austria, his philanthropic concern for humanity, and longing for peace became his primary focus; these concerns are reflected in his Violin Concerto through his use of specific motives. By researching the historical and biographical materials, as well as employing linear analysis, this study seeks to explore the meanings of the linear motives in Korngold's music; more specifically, it attempts to show how particular motivic figures and tonal structures express the composer's ideas of transcendental "love." It argues that an in-depth understanding of both the technical and semantic aspects is also the first and foremost requirement for performing this piece.

This thesis explores the life and works of the Catalan architect Xavier Busquets Sindreu (1917-1990), focusing on his earlier professional stages, the exceptional training he acquired in São Paulo between 1951 and 1955, and how he adapted this knowledge to the Catalan reality of the time when he returned to Barcelona. The research has been mainly based on the study of the documentary collection kept by the Historical Archive of the Chamber of Architects of Catalonia, a valuable material containing many of the works built by Busquets. The complex reality of São Paulo during the 1950s has been approached through secondary sources. In order to contextualize other aspects of his biography, we have also researched in other institutions, such as the Barcelona School of Architecture, the Royal Catalan Academy of Fine Arts of Sant Jordi, the Monastery of Montserrat and the Ministry of the Army. As Busquets had no direct descendants and his most personal documentation was destroyed, we finally have sought the testimony of people who knew him professionally or were part of his family circle. As a first son of the well-known architect Guillem Busquets Vautravers and Maria Sindreu i Oliva, members of the Barcelona bourgeoisie at the beginning of the twentieth century, young Busquets grew up in a Germanophile family environment characterized by language proficiency and intellectual and artistic inquisitiveness. But his academic career lacked perseverance and was interrupted on several occasions by a controversial participation in the Spanish Civil War and World War II. After the war, and already a qualified architect, Busquets arrived in Brazil, where he came to work with two renowned international professionals in architecture: the Polish Lucjan Korngold and the German Adolf Franz Heep, both coming from a solid branch of the European architectural modernity as disciples of undisputed masters such as Adolf Meyer or Le Corbusier. After experiencing the throbbing momentum of São Paulo and participating in projects such as the Lausanne, Lucerne and Araraúnas buildings, Busquets had to reconsider the lessons of this training when returning to Catalonia, modulating this exceptional basis and starting a process of adaptation and consolidation in search of a professional practice of his own. This would lead to significant works, such as the Bellvitge housing estate, the residential units on Escoles Pies, Dalmases or Carulla streets in Barcelona and a series of corporate buildings such as the seat of the Chamber of Architects of Catalonia in Plaça Nova or the company headquarters for Caixa d’Estalvis i Mont de Pietat and Mutua General de Seguros on Diagonal Avenue, Sandoz on Gran Via de les Corts Catalanes, the Société Générale de Banque in Plaça Catalunya, or Hispano Olivetti in Madrid. These works came along with other remarkable events, such as Busquets’ involvement in one of the first meetings of Team X, the III Hispano-American Biennial of Art and the founding of the early Museum of Contemporary Art in Barcelona, alongside his collection of pieces of art, designed to bedeck the unique spaces of his home. A man of the world and cultured architect, always attentive to international current affairs, Busquets practiced a sometimes hybrid and heterodox architecture that raises issues such as the modernization of the architectural office, the role of arts in architecture, the legacy of European rationalism, the efforts to rationalize and industrialize construction or the technological references to the American-shifted International Style, among others. Therefore, Busquets has not always been easy to fit into the local narrative of modern Catalan architecture during the second half of the twentieth century. But for these and other reasons that the thesis tries to show, we advocate that Busquets’ work, which was extensive and profound, may be of an interest greater than what it may have risen so far.
La tesi explora la figura i l’obra de l’arquitecte català Xavier Busquets Sindreu (1917-1990), tot centrant-se en les seves primeres etapes professionals, l’excepcional experiència laboral i formativa que visqué a São Paulo entre 1951 i 1955, i com adaptà aquest coneixement a la realitat catalana de l’època quan tornà a Barcelona. La recerca s’ha recolzat principalment en l’estudi del fons documental dipositat a l’Arxiu Històric del Col·legi d’Arquitectes de Catalunya, un valuós material amb bona part de les obres que Busquets bastí. L’apropament a la complexa realitat paulista dels anys 1950s s’ha efectuat a partir de fonts secundàries. Per tal de contextualitzar altres aspectes de la seva biografia, s’ha investigat en altres institucions, com ara l’Escola d’Arquitectura de Barcelona, la Reial Acadèmia Catalana de Belles Arts de Sant Jordi, el Monestir de Montserrat o el Ministeri de l’Exèrcit. En no tenir Busquets descendents directes i haver-se destruït la seva documentació més personal, també s’ha buscat el testimoni de persones que el van conèixer professionalment o formaren part del seu cercle familiar. Fill del conegut arquitecte Guillem Busquets Vautravers i de Maria Sindreu i Oliva, integrants de la burgesia barcelonina de principi del s. XX, Busquets creixé en un ambient familiar germanòfil caracteritzat pel domini d’idiomes i les inquietuds intel·lectuals i artístiques. Però la seva trajectòria acadèmica fou inconstant i es veié interrompuda en diverses ocasions per una controvertida participació a la guerra civil espanyola i la segona guerra mundial. Acabada la guerra, assolit el títol d’arquitecte i arribat al Brasil, Busquets pogué treballar amb dos reconeguts professionals de l’arquitectura internacional: el polonès Lucjan Korngold i l’alemany Adolf Franz Heep, procedents d’una sòlida branca de la modernitat arquitectònica europea com a deixebles de mestres incontestables com Adolf Meyer o Le Corbusier. Havent viscut l’impuls vibrant de São Paulo i participat en projectes com els dels edificis Lausanne, Lucerna i Araraúnas, Busquets va haver de traslladar posteriorment a Catalunya les lliçons d’aquesta experiència formativa, modulant aquest singular bagatge de partença i encetant un procés d’adaptació i consolidació a la cerca d’una praxi professional pròpia. Això propiciaria obres significatives, com ara el polígon d’habitatge de Bellvitge, les cases residencials dels carrer Escoles Pies, Dalmases o Carulla a Barcelona i també una col·lecció d’edificis corporatius, entre ells les seus del Col·legi d’Arquitectes de Catalunya a la Plaça Nova, de la Caixa d’Estalvis i Mont de Pietat i de Mutua General de Seguros a la Diagonal, la farmacèutica Sandoz a la Gran Via de les Corts Catalanes, la Société Générale de Banque a la Plaça Catalunya, o d’Hispano Olivetti a Madrid. Aquestes obres anirien acompanyades d’altres fets notables, com ara la participació de Busquets en un dels primers meetings del Team X, la III Bienal Hispanoamericana de Arte i la fundació del primer Museo de Arte Contemporáneo de Barcelona, o la seva col·lecció de peces d’art, pensada per a vestir els singulars espais de la seva pròpia llar. Arquitecte culte, cosmopolita i atent a l’actualitat internacional, Busquets practicà una arquitectura de vegades mestissa i heterodoxa que planteja temes com la modernització del despatx d`arquitectura, el paper de les arts a l’arquitectura, el bagatge del racionalisme europeu, els esforços de racionalització i industrialització de la construcció o la referència tecnològica a l’International Style d’arrel nord-americana, entre d’altres, i que no sempre ha estat fàcil d’encaixar en el relat local de l’arquitectura moderna catalana de la segona meitat del segle XX. Però per aquestes i altres raons que la tesi prova de mostrar, es defensa que l’obra de Busquets,
Teoria i història de l'arquitectura

Thesis (M.M.)--Boston University
Using the 1920 opera Die tote Stadt as its primary case in point, this thesis interrogates the pervasive notion that the Austrian-born composer Erich Wolfgang Korngold (1897-1957) refused to acknowledge Modernist trends, dialogues and aesthetics in his works for the stage, and instead held fast to late-Romantic aesthetics and philosophies at the expense of engaging directly with contemporary culture and politics. I show evidence to the contrary, that Komgold was in fact actively involved with the intellectual, artistic and socio-political discourse of his time, and that this engagement is manifest in his opera, which draws parallels between the city of Bruges, setting of Die tote Stadt's source material, Georges Rodenbach's 1892 novel Bruges-la-morte, and Vienna, the composer's hometown, as it was at the close of the First World War. In substantiating this claim, I first of all seek to place the composer in his proper context as a child offin-de-siecle Vienna, and the son of that city's leading conservative music critic, the influential and much-feared Julius Komgold, successor to Eduard Hanslick at the Neue Freie Presse. I also interrogate lingering assumptions about the composer's lack of socio-political engagement owing to his status as a former child prodigy, famous across Europe for his preternatural musical gifts. I also explore the specific, alterations, additions and excisions made by the composer to his source material in translating it to the musical stage, and discuss how those changes reflect his compositional and socio-political ethos. Finally, I analyze portions of Die tote Stadt and discuss how a composer's late-Romantic compositional language can in fact indicate Modernist sympathies, albeit in their own specific strain, before sketching a brief reception history of this opera in particular, the composer's works in general, as well as discussing how this work might be reassessed and rehabilitated into the "art music" canon.

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.