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Journal articles on the topic 'Korngold'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 January 2023

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1

Platte, Nathan. "Dream Analysis: Korngold, Mendelssohn, and Musical Adaptations in Warner Bros.' A Midsummer Night's Dream (1935)." 19th-Century Music 34, no. 3 (2011): 211–36. http://dx.doi.org/10.1525/ncm.2011.34.3.211.

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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.

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2

Clairet, Jean-Luc. "Korngold à Musiques interdites." Témoigner. Entre histoire et mémoire, no. 119 (December 31, 2014): 37–40. http://dx.doi.org/10.4000/temoigner.1606.

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3

Winters, Ben. "Strangling blondes: nineteenth-century femininity and Korngold's Die tote Stadt." Cambridge Opera Journal 23, no. 1-2 (July 2011): 51–82. http://dx.doi.org/10.1017/s095458671200002x.

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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.

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4

McKee, D. "Die tote Stadt. Erich Wolfgang Korngold." Opera Quarterly 16, no. 1 (January 1, 2000): 149–53. http://dx.doi.org/10.1093/oq/16.1.149.

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5

Ashbrook, William. "Die tote Stadt. Erich Wolfgang Korngold." Opera Quarterly 7, no. 4 (1990): 188–89. http://dx.doi.org/10.1093/oq/7.4.188.

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6

McKee, D. "Die tote Stadt. Erich Wolfgang Korngold." Opera Quarterly 20, no. 2 (April 1, 2004): 313–17. http://dx.doi.org/10.1093/oq/kbh041.

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7

Wiseman, Nigel. "A brief answer to Beinfield and Korngold." Clinical Acupuncture and Oriental Medicine 2, no. 3 (September 2001): 156–57. http://dx.doi.org/10.1054/caom.2001.0093.

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8

Anderson, David E. "Das Wunder der Heliane. Erich Wolfgang Korngold." Opera Quarterly 12, no. 2 (1995): 148–49. http://dx.doi.org/10.1093/oq/12.2.148.

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9

Graeme, R. "Der Ring des Polykrates. Erich Wolfgang Korngold." Opera Quarterly 14, no. 2 (January 1, 1997): 169–71. http://dx.doi.org/10.1093/oq/14.2.169.

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10

Bashyam, Hema. "Crossing barriers in transplantation." Journal of Experimental Medicine 204, no. 3 (March 19, 2007): 459. http://dx.doi.org/10.1084/jem.2043fta.

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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.

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11

Poole, Marian. "Erich Wolfgang Korngold ou L'intinéraire d'un enfant prodige." Musicology Australia 34, no. 1 (July 2012): 155–56. http://dx.doi.org/10.1080/08145857.2012.681761.

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12

Benser, Caroline Cepin, and Brendan G. Carroll. "The Last Prodigy: A Biography of Erich Wolfgang Korngold." Notes 55, no. 2 (December 1998): 366. http://dx.doi.org/10.2307/900178.

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13

Blackburn, Robert. ""A Superabundance of Music": Reflections on Vienna, Italy and German Opera, 1912-1918." Revista Música 5, no. 1 (May 1, 1994): 05. http://dx.doi.org/10.11606/rm.v5i1.55069.

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In the decade 1912-22, the rising stars of Gernan opera were both Austrians: Franz Schreker, born in 1878, and the very young Erich Korngold, born in 1897. It is Christopher Hailey's new biographical study of Schreker which prompts this essay. I shall be looking here at a group of works that belong to the dying years of the "Italian Renaissance" or "Renaissanceism" boom on the German stage, a fashion dating back to the 1870s.

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14

Cooper, Catherine Anne, Hugh Wolff, Barrie Gavin, and Erich Wolfgang Korngold. "Erich Wolfgang Korngold: The Adventures of a Wunderkind, a Portrait and Concert." American Music 23, no. 1 (2005): 129. http://dx.doi.org/10.2307/4153051.

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15

Rickards, Guy. "Berlin: Hindemith's ‘Klaviermusik mit orchester’." Tempo 59, no. 233 (June 21, 2005): 55–56. http://dx.doi.org/10.1017/s0040298205260230.

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Paul Wittgenstein's commissioning of concertos for piano left-hand is as enviable a legacy as any performer could wish to have, centred as it is on concertos by Korngold, Franz Schmidt (who also penned for Wittgenstein a set of Concertante Variations on a theme of Beethoven with orchestra and three piano quintets), Richard Strauss, Prokofiev, Britten (his op. 21 Diversions) and Ravel. Yet the maimed pianist's quixotic attitude to the works he received is almost as remarkable. Ravel he offended by the liberties he took with the solo part, while Prokofiev's Concerto No. 4 languished unplayed for a quarter of a century, until three years after the composer's death. Yet these cases pale into insignificance compared to the treatment meted out to the concerto that Paul Hindemith wrote for Wittgensein in 1923.

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16

Gentry, Jonathan. "Critical Formalism: Max Graf, Julius Korngold, and the Language of “Modern Music” in Vienna around 1900." German Quarterly 91, no. 4 (October 2018): 425–35. http://dx.doi.org/10.1111/gequ.12085.

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17

Payette, Jessica. "Post-WagnerianKlangempfindungen: The Premieres of Maeterlinck Operas in Vienna." Nineteenth-Century Music Review 12, no. 2 (September 10, 2015): 285–317. http://dx.doi.org/10.1017/s1479409815000336.

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The Viennese premieres of Dukas’sAriane et Barbe-bleueand Debussy’sPelléas et Mélisandein 1908 and 1911 occurred over a decade after Maeterlinck’s literary style and Fernand Khnopff’s paintings were praised by Secessionist critics, including Hermann Bahr and Ludwig Hevesi. In Vienna, fin-de-siècle discourse treats impressionism and symbolism as aesthetic outgrowths of Ernst Mach’s notion of ‘antimetaphysical’ modes of existence. This article explores the broader Viennese reception of symbolism and its influence on music criticism, which predominantly contends that Debussy and Dukas divert from Wagnerian techniques by cultivatingKlangempfindungen(acoustical sensations) and anti-thematic symphonic approaches to generate musical equivalents to the poetic and painterly incitation of psychophysical stimuli. Julius Korngold and other prominent music critics, some of whom were Debussy’s and Dukas’s exact contemporaries, describe how symbolist compositional syntax emerges as a musical terrain that produces a stark contrast between the suspension of latency and frenetic episodes. Symbolist composers accentuate this contrast to increase sensitivity to a literary device at the core of Maeterlinck’s art: the protagonists’ fixation on environmental conditions and changes, descriptive imagery that apprises audiences of their emotional state.

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18

Uh, Hye Eun. "Music and Society of Vienna in the early 20th Century: Focused on Korngold’s Opera Die tote Stadt." Journal of the Science and Practice of Music 38 (October 31, 2017): 109–47. http://dx.doi.org/10.36944/jspm.2017.10.38.109.

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19

Pfau, Thomas. "Editor's Introduction: Medium and Message in German Modernism." Modernist Cultures 1, no. 2 (October 2005): 69–71. http://dx.doi.org/10.3366/e2041102209000069.

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Even a cursory glance at the artistic projects and aesthetic conceptions that take shape in the German-speaking parts of Central Europe between 1890 and 1930 and that have since come to be viewed as indispensable to an understanding of German Modernism will yield an enormous variety of projects. From the early expressionist projects of the Brücke and the Viennese Sezession to the brutally satiric and anti-aestheticist indictments of a bankrupt bourgeois culture in Georg Grosz, Otto Dix, or Max Beckmann in the visual arts; from the second Viennese School of Schoenberg, Berg, Webern to the unique amalgamation of seemingly disparate and often brilliantly adaptive styles in late-or avowedly post-Romantic composers such as Mahler, Berg, Zemlinski, Korngold, or Kurt Weill; and from the post-Humanism of such dissimilar figures as the post-Nietzschean pessimist Oswald Spengler and the only slightly more upbeat projects of Max Weber and Georg Simmel to the epigrammatic concision of Karl Kraus and Ludwig Wittgenstein, German Modernism, characterized by a propensity for manifesto-style self-authorization, claims programmatic status for itself even is it comprises enormously diverse and distinctive figures.

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20

Blackburn, Robert. "Zemlinsky's The Chalk Circle: Artifice, Fairy-tale and Humanity." Revista Música 9-10 (December 6, 1999): 93. http://dx.doi.org/10.11606/rm.v10i0.61755.

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This study is primarily concerned with the background to "DerKreidekreis", Zemlinsky's setting of a Chinese drama by Alfred Henschke (pen name 'Klabund', 1890-1928). This was the last of Zemlinsky's stage works to be performed during his lifetime. Indeed, it was the last to be performed anywhere (apart from a solitary production at Nuremberg in 1955) until the slow revival of interest in his music. In terms of scholarship, Horst Weber's monograph, published in 1974, was the first landmark in this process, as well as the first-ever biography and academic study of Zemlinsky in any language. Unlike Schreker, who benefitedfrom three biographies by the time he was 43, Zemlinsky was given only a special issue of the Prague music journal Auftakt for his fiftieth birthday in 1921. A year later the Universal Edition house journal Ausbruch published three short tributes to Zemlinsky as composer (by Franz Werfel) as conductor (by Heinrich Jalowetz) and as teacher (by Erich Korngold) - certainly a distinguished trio. But the general accounts of contemporary music of the time, such as those by Rudolf Louis, Oscar Bie, H. J. Moser and Adolf Weissmann either refer fleetingly to Zemlinsky or ignore him altogether.

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21

NEUMANN, Y. "Between heaven and earth: A guide to Chinese medicine By Harriet Beinfield and Efrem Korngold. New York: Ballantine, 1991. 432 pages. $20.00, hardcover." Journal of Nurse-Midwifery 36, no. 6 (November 1991): 380. http://dx.doi.org/10.1016/0091-2182(91)90114-5.

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22

Riethmüller, Albrecht. "Korngolds Mendelssohn." Archiv für Musikwissenschaft 67, no. 3 (2010): 187–211. http://dx.doi.org/10.25162/afmw-2010-0011.

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23

Roberge, Marc-André. "Brendan G. Carroll. The Last Prodigy: A Biography of Erich Wolfgang Korngold. Portland, Oreg.: Amadeus Press (an imprint of Timber Press), 1997. 464 pp. ISBN 1-57467-029-8 (hardcover)." Canadian University Music Review 18, no. 2 (1998): 100. http://dx.doi.org/10.7202/1014659ar.

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24

Goose, Benjamin. "Opera for Sale: Folksong, Sentimentality and the Market." Journal of the Royal Musical Association 133, no. 2 (2008): 189–219. http://dx.doi.org/10.1080/02690400809480702.

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The Lautenlied from Korngold's Die tote Stadt and the Schlummerlied from Schreker's Die Schatzgräber flaunt their ‘folksong’ style in ways that are clearly similar. Contemporary criticism reveals the significance of this stylization. Folksong symbolized genuineness, but also, in its supposedly degenerate form, emotional manipulation of the masses. Both topics informed critics' reaction to diese two arias. Alongside analysis of the many recordings of Korngold's aria up to 1933, the article suggests how folksong characterization contributed to the opera's plot.

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25

Shlomchik, Warren D., Catherine Matte, Jinli Liu, Dhanpat Jain, and Jennifer McNiff. "CD8+ but Not CD4+ T Cells Require Cognate Interactions with Target Tissues To Mediate GVHD across Only Minor H Antigens but CD4+ and CD8+ T Cells Both Require Direct Leukemic Contact for GVL." Blood 106, no. 11 (November 16, 2005): 580. http://dx.doi.org/10.1182/blood.v106.11.580.580.

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Abstract There has been debate as to whether CD4+ or CD8+ T cells require direct cognate interactions with their tissue targets to mediate GVHD. In one report, GVHD mediated by CD4 or CD8 cells did not require target tissue MHCI or MHCII expression in MHC-disparate models (Teshima, et al 2002). However, GVHD lethality may have been due to cytokines produced by high-frequency alloreactive T cells primed by MHC-disparate host APCs. In contrast, MHC-matched, multiple minor H antigen (miHA) disparate GVHD mediated by CD4 or CD8 cells has been reported to be reduced or absent in host → donor chimeric recipients of a second transplant with donor BM and T cells. In this case, host antigen was restricted to hematopoietic cells and the authors concluded that tissue miHA expression must be required (Korngold and Sprent, 1982; Jones et al, 2003). However these experiments did not address whether T cells directly interacted with MHC on target tissues. Rather they demonstrated that a continuing source of host antigen was essential. To resolve this we created bone marrow chimeras in which hematopoiesis was wild type (wt) while the parenchyma was either MHC I- (B6→B6 beta-2-microglobulin−/− (β2M−/−)) or MHC II− (B6→B6 IAb−/−) and used these chimeras as recipients in GVHD-inducing second transplants. We found that B6→B6β2M−/− chimeras were completely resistant clinically and pathologically to CD8-mediated GVHD induced by a second transplant with C3H.SW (H-2b) BM and CD8+ T cells whereas control B6→B6 chimeras developed severe disease. Thus, CD8 cells require direct cognate interactions with target host tissues to induce MHC-matched, miHA disparate GVHD. In contrast, B6→B6 IAb−/− chimeras developed similar clinical and histologic GVHD (liver, ear, skin and bowel) as did control B6→B6 chimeras when retransplanted with 129/J (H-2b) bone marrow and purified CD4+ T cells. Notably we observed lymphocytic infiltrates in involved organs. Therefore, CD4 cells can mediate tissue damage without directly recognizing alloantigen presented by MHCII on target epithelial cells. This suggests an indirect mechanism, perhaps mediated by T cell release of factors after stimulation in tissues by donor-derived APCs presenting host antigens. Alternatively, donor CD4 cells may activate miHA-bearing macrophages to release inflammatory mediators. To investigate the requirement for cognate recognition in GVL, we created murine CML via retroviral-mediated bcr-abl (p210) transduction of bone marrow from wt B6, B6 IAb−/− and B6 β2M−/− mice. Using the C3H.SW→B6 and 129→B6 GVHD models we found that both CD8-and CD4-mediated GVL requires leukemic expression of MHCI and MHCII, respectively. Thus both CD8-mediated GVHD and GVL required cognate T cell:target interactions. However, for CD4 cells only GVL, but not GVHD required target cell MHCII expression. This indicates that CD4-mediated GVL and GVHD have distinct mechanisms of action. Further understanding of these may provide insight in how to deliver GVL with less GVHD.

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26

Clairet, Jean-Luc. "Korngold’s Kathrin by Forbidden Music." Témoigner. Entre histoire et mémoire, no. 119 (December 31, 2014): 37–40. http://dx.doi.org/10.4000/temoigner.1620.

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27

Steinberg, Michael P. "The Politics and Aesthetics of Operatic Modernism." Journal of Interdisciplinary History 36, no. 4 (April 2006): 629–48. http://dx.doi.org/10.1162/jinh.2006.36.4.629.

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A survey of European trends and works suggests that the extent to which operatic modernism resists the pull of ideology may well depend on two factors: the post-Wagnerian recuperation of the primacy of voice and the proclivity of modernist operatic texts and music to engage (rather than repress) nostalgia. One work not usually included in modernist canons, Erich Korngold's Die Tote Stadt, presents an interesting model.

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28

Winters, Ben. "Catching Dreams: Editing Film Scores for Publication." Journal of the Royal Musical Association 132, no. 1 (2007): 115–40. http://dx.doi.org/10.1093/jrma/fkm001.

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There is a need for published film-score editions in film musicology, both to preserve the contents of manuscripts and to aid critical readings of films. How to accomplish this, without re-inscribing the Romantic conceptions of authorship commonly associated with edition creation, is the subject of this article. After considering the relevant editorial problems and models, a postmodern ‘anti-edition’ is proposed, using examples drawn from Korngold's score for The Adventures of Robin Hood (1938).

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29

Giger, Andreas. "A Matter of Principle: The Consequences for Korngold's Career." Journal of Musicology 16, no. 4 (1998): 545–64. http://dx.doi.org/10.2307/763982.

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30

Giger, Andreas. "A Matter of Principle: The Consequences for Korngold's Career." Journal of Musicology 16, no. 4 (October 1998): 545–64. http://dx.doi.org/10.1525/jm.1998.16.4.03a00050.

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31

Lee, Seong-Liul. "Character and Significant of Erich Wolfgang Korngold's Film Music." Journal of the Musicological Society of Korea 19, no. 2 (May 30, 2016): 59–85. http://dx.doi.org/10.16939/jmsk.2016.19.2.59.

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32

van der Lek, Robbert, and Mick Swithinbank. "Concert Music as Reused Film Music: E.-W. Korngold's Self-Arrangements." Acta Musicologica 66, no. 2 (July 1994): 78. http://dx.doi.org/10.2307/932765.

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33

Cheng, William. "Operaen abyme: The prodigious ritual of Korngold'sDie tote Stadt." Cambridge Opera Journal 22, no. 2 (July 2010): 115–46. http://dx.doi.org/10.1017/s0954586711000152.

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AbstractThis essay frames Erich Wolfgang Korngold'sDie tote Stadt(1920) as amise-en-abymenarrative containing four nested realms of diegesis: (1) the opera's ‘real’ world, (2) a prolonged dream sequence, (3) a dance troupe's rehearsal of an opera within that dream, and (4) an expressly requested baritone song performed by a ‘Pierrot’ character in the midst of that dreamt rehearsal. I conceptualise the opera's dense meta-theatrics as a reflexive celebration (and also a didactic warning against the escapist pleasures) of sung spectacle. Excerpts from my interviews with Inga Levant – director of the 2001 Strasbourg production ofDie tote Stadt– are used to supplement my broader examination of the ways in which Korngold's reputation as a ‘problemless’ and ‘apolitical’ child prodigy has impacted critical, dramaturgical and hermeneutical orientations towards this opera since its earliest post-war performances.

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34

Satorius, Margarethe. "»Schau und erkenne!« Freudian Dream Analysis in Erich Wolfgang Korngold’s Die tote Stadt." Maske und Kothurn 62, no. 1 (June 1, 2016): 89–100. http://dx.doi.org/10.7767/muk-2016-0109.

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35

Diederichs-Lafite, Marion. "Korngold „Tote Stadt“." Österreichische Musikzeitschrift 60, no. 3 (January 2005). http://dx.doi.org/10.7767/omz.2005.60.3.62a.

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36

Kogler, Susanne. "Erich Wolfgang Korngold." Österreichische Musikzeitschrift 60, no. 8 (January 2005). http://dx.doi.org/10.7767/omz.2005.60.8.6.

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37

Pachl, Peter P. "Korngold „Die Tote Stadt“." Österreichische Musikzeitschrift 59, no. 3-4 (January 2004). http://dx.doi.org/10.7767/omz.2004.59.34.71.

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38

"‚Alles Korngold‘ in 2007." Österreichische Musikzeitschrift 62, no. 7 (January 2007). http://dx.doi.org/10.7767/omz.2007.62.7.26.

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39

Vysloužil, Jiří. "Internationale Korngold-Musiktage in Brno." Österreichische Musikzeitschrift 57, no. 7 (January 2002). http://dx.doi.org/10.7767/omz.2002.57.7.77.

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40

Gayda, Thomas. "Korngold „Tote Stadt“ in London." Österreichische Musikzeitschrift 64, no. 5 (January 2009). http://dx.doi.org/10.7767/omz.2009.64.5.73.

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41

Baier, Christian. "Der Filmkomponist Erich Wolfgang Korngold." Österreichische Musikzeitschrift 52, no. 4 (January 1997). http://dx.doi.org/10.7767/omz.1997.52.4.4.

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42

Mika, Anna. "Korngold „Die tote Stadt“, Zürcher Oper." Österreichische Musikzeitschrift 58, no. 6 (January 2003). http://dx.doi.org/10.7767/omz.2003.58.6.60.

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43

Keller, Edith. "Korngold ‚Wunderkind der Moderne oder letzter Romantiker?‘." Österreichische Musikzeitschrift 63, no. 1 (January 2008). http://dx.doi.org/10.7767/omz.2008.63.1.36.

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44

"The last prodigy: a biography of Erich Wolfgang Korngold." Choice Reviews Online 35, no. 10 (June 1, 1998): 35–5567. http://dx.doi.org/10.5860/choice.35-5567.

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45

Gayda, Thomas. "Korngold „Stumme Serenade“ / W. Braunfels „Don Gil von den grünen Hosen“, München." Österreichische Musikzeitschrift 62, no. 7 (January 2007). http://dx.doi.org/10.7767/omz.2007.62.7.54.

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46

Korngold, Gerald. "Preface: Gerald Korngold and Paul Goldstein, Real Estate Transactions: Cases and Materials on Land Transfer, Development and Finance (7th Ed. 2021)." SSRN Electronic Journal, 2021. http://dx.doi.org/10.2139/ssrn.3933174.

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47

Stephan, Rudolf. "Die Korngolds in Wien." Österreichische Musikzeitschrift 48, no. 3-4 (January 1993). http://dx.doi.org/10.7767/omz.1993.48.34.212b.

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48

"50 Jahre danach: Robert Breuer, Otto Erich Deutsch, Hans Gài, Karl Geiringer, Hans Heinsheimer, Erich Wolfgang Korngold, Ernst Krenek, Ferdinand Piesen, Paul Amadeus Pisk, Marcel Rubin, Alfred Schlee, Arnold Schönberg, Peter Stadien, Karl Weigl, Egon Wellesz." Österreichische Musikzeitschrift 43, no. 4 (January 1988). http://dx.doi.org/10.7767/omz.1988.43.4.171.

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49

Krebs, Wolfgang. "Dramaturgie der Entgrenzung – Erich Wolfgang Korngolds Operneinakter Violanta." European Journal of Musicology 1 (June 30, 1998). http://dx.doi.org/10.5450/ejm.1998.1.6090.

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50

Hsieh, Amanda. "Jewish Difference and Recovering ‘Commedia’: Erich W. Korngold’s ‘Die tote Stadt’ in Post-First World War Austria." Music and Letters, July 7, 2022. http://dx.doi.org/10.1093/ml/gcac043.

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ABSTRACT Commedia dell’arte re-emerged in the early twentieth century to become a means for Europe’s assimilated Jews to process the conditions of modernity by non-serious means. Yet, existing scholarship on Erich W. Korngold’s Die tote Stadt tends to focus on the protagonist Paul with respect to the doppelgängers Marie/Marietta, spotlighting the psychodrama of Acts I and III but overlooking the overtly theatrical episodes of Act II’s extended commedia dell’arte sequence. The opera’s ‘Schlager’ (hit songs) offered old-world comfort to its post-First World War Viennese audience. Nevertheless, the commedia dell’arte scenes were significant in terms of advancing an affirmative politics for war-torn Vienna’s assimilated Jews, precisely because of how deliberately noisy they appeared in opposition to the world of Catholic harmony. Placing side by side Wagnerian symbolism and commedia dell’arte—that is, ingredients from Christianity and contemporary popular Jewish theatre—Korngold’s opera asked timely questions of the Jewish citizenry in Austria’s First Republic.

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