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	Erich Wolfgang Korngold - Biography and Works list
		The elder Korngold was a controversial figure--Jewish, a conservative figure (who abhored atonalism and the whole Second Viennese School), and possessor of an acid-tipped pen in a city rife with intellectual and political ferment and rivalries and an undercurrent of anti-Semitism, Dr. Korngold made his share of enemies with his influence.
		Julius Korngold (1860-1945) was, himself, a frustrated composer who had studied part-time at the Vienna Conservatory even as he prepared for a legal career--his harmony teacher was Anton Bruckner and his fellow students included Hugo Wolf and Franz Schalk.
		A career in music was out of the question for Julius Korngold, whose family entertained intentions of a respectable livelihood for their son--in compensation for his thwarted desires, he began writing music criticism in Brunn, and managed to endear himself to Eduard Hanslick, then the most influential critic in Vienna.
	www.geocities.com /Athens/Academy/5490/Korngold.html (2582 words)

	Erich Korngold - Biography - AOL Music
		Korngold was the son of Julius Korngold, one of the most powerful music critics in Vienna during the late 19th and early 20th centuries.
		Korngold's work, with their big tunes, bold melodic statements, and outsized orchestrations that were not only easy on the ear but self-consciously beautiful, all of these attributes an affront to the supporters of the modernists.
		Korngold became one of the most respected and well remunerated musicians in Hollywood, and the financial security that he achieved was welcomed in a world as filled with uncertainty as that of the late '30s and early '40s.
	music.aol.com /artist/erich-korngold/3076/biography (2000 words)

	Immigrant Composers - NPRN Composer of the Month
		Erich Wolfgang Korngold was born in 1897 in present-day Brno (Czech Republic), but his father, Julius Korngold, soon moved his family to Vienna and promptly became one of the leading music critics of the early twentieth century.
		Korngold was a "progressive" composer when he first began writing as a child, but as he matured his style did not change in any fundamental way even though his mastery became ever more assured.
		Korngold was Jewish, but only nominally so in the practice of the faith, and felt aggrieved by these political developments because he felt he was thoroughly assimilated into Viennese culture.
	net.unl.edu /musicFeat/composer/cmemkorngold.html (1141 words)

	E.W. Korngold - Music Downloads - Online
		Korngold's fame was assured, and over the next few years Mahler's testimony to Korngold's prodigious talent was followed by others.
		Korngold was oblivious to the criticisms, and went on writing music his own way, supported by such renowned musicians as Bruno Walter, Arthur Nikisch, Felix Weingartner, and Arthur Schnabel, who eagerly performed his music.
		Korngold's Symphonic Serenade, the most important serious work he'd written in a decade, was premiered by Wilhelm Furtwangler and the Vienna Philharmonic in 1949 in a poorly prepared performance, and was badly received.
	musicstore.connect.com /artist/488/E-W-Korngold/1014147.html (1782 words)

	American Composers Orchestra - David Raksin Remembers His Colleagues
		He was born in 1897, the son of Julius Korngold, Vienna's leading music critic.
		Korngold père (who had bestowed the first name of one of his own idols upon his son, as a middle name) was no stranger to the guerrilla warfare typical in artistic milieus and knew exactly how to handle this wicked brouhaha.
		It would be, I think, remiss not to recall the wit of this extraordinary man. In 1981 his sons, Ernst and George entrusted their collection of his music manuscripts and memorabilia to the Library of Congress.
	www.americancomposers.org /raksin_korngold.htm (1049 words)

	Farewell, Vienna!
		Korngold is enchanted, and in the scene's climax--a moment of melancholy and reverie--Korngold begins to recite the German lyrics to Du bist mein Traum.
		Korngold continues his story where he had left off act, claiming that his love of operetta was partially due to its being a refuge for him.
		Korngold had intended his new opera to inspire audiences to a higher calling of sacrifice and love, and despite the controversy, he remained steadfast in his devotion to the work.
	www.korngold.com /synopsis.htm (3585 words)

	Erich Wolfgang Korngold The Snowman
		Erich Korngold is best remembered today for his Oscar-winning scores for the films Anthony Adverse and Robin Hood; however, during his early life he was regarded by most musical authorities as a musical genius and one of the greatest hopes for the future of German opera and symphonic music.
		Julius Korngold prohibited public distribution of his son's compositions because he was worried that his enemies would try to attack his son's music as a way to get back at his critical stances.
		Although Korngold was by this time an experienced and gifted composer, he had just begun the study of orchestration with Zemlinsky and was not experienced enough to undertake the scoring of the composition for full orchestra.
	www.musikmph.de /musical_scores/prefaces/F-L/korngold_snowman.html (1105 words)

	[No title]
		Moritz und Julius Wallach haben sich mit ihrem „Haus für Volkskunst und Tracht“ (1900-2004) weit über die Stadtgrenze Münchens hinaus einen Namen gemacht.
		In seinen Versuchen, dies zu tun, beschädigte Julius nicht nur seinen Ruf als Kritiker, sondern verhinderte auch eine wertfreie Rezeption der Werke von Erich Wolfgang.
		Die Ausstellung stellt vor dem Hintergrund der Vater-Sohnbeziehung die wichtigsten Schaffensperioden von E. Korngold dar, seine Erfolge als Wunderkind, seine Triumphe als Komponist, aber auch als Arrangeur, seine Zusammenarbeit mit Max Reinhardt, seine Erfolge in Hollywood, ebenso wie der gescheiterte Versuch, nach dem Krieg in Wien wieder Fuß zu fassen.
	sti1.uni-duisburg.de /aktuell/termine/index.xml (1190 words)

	Biography - Erich Wolfgang Korngold (Bio 2071) (Site not responding. Last check: 2007-11-05)
		Erich Wolfgang Korngold's career bridged astonishing gaps in history and music — from the final years of Imperial Austria, when he was hailed as "a new Mozart," to Hollywood in the heyday of the studio system, to the darkened era of postwar Europe.
		Korngold was beating time with a spoon by the age of three, playing basic melodies at age five, and composing at age six.
		Reinhardt was pleased with the results and impressed with Korngold's work; three years later, when Warner Bros. studios engaged Reinhardt to adapt his stage version of A Midsummer Night's Dream into a film, he engaged Korngold to arrange Felix Mendelssohn's music for the movie.
	musicbase.h1.ru /PPB/ppb20/Bio_2071.htm (632 words)

	ERICH WOLFGANG KORNGOLD: THE LAST PRODIGY BY BRENDAN G. CARROLL
		Carroll pinpoints three factors that contributed to Korngold's fall into obscurity: controversies generated by his father, the critic Julius Korngold; suppression of performances by the Nazis; and the hostility of the serious musical establishment.
		Clearly the dominant factor in the suppression of Korngold's music was the disdain of the art crowd for a composer who wrote movie (gawd!) music, and who wouldn't kiss the book and declare serialism as his personal savior.
		Luckily for Korngold and his fans, as the century nears its end, composition has finally broken the dogmatic bonds of the "music of the future." No better sign exists of this than the renaissance in Korngold recordings in the 1990s, and the respectful if belated rehabilitation of his reputation betokened by a book like Carroll's.
	www.rodoni.ch /korngold/lastprodigy.html (490 words)

	Korngold Interview (Etude - Jan 1937)
		Korngold is comparatively new to the film world, though he has underscored many major films since the signing of his contract.
		Even Korngold, while he worked on the film, “Anthony Adverse," developing his new idea of pitching the music just underneath the pitch of the voices and rushing it into pauses in the dialogue, had to work with stop watch in hand; for in such cases accurate and precise timing is of paramount importance.
		The impression is given that Korngold (like the baby of the Mexican legend, who was born, spoke and died) came too early to the flowering of his genius, that he said what he had to say and never grew.
	thompsonian.info /korngold-etude-Jan-1937.html (2123 words)

	Erich Wolfgang Korngold Collection - Performing Arts Encyclopedia (Library of Congress)
		Composer Erich Wolfgang Korngold (1897-1957), a remarkable child prodigy, gained considerable fame at age 13 with the premiere of a ballet-pantomime in 1910.
		Korngold’s music for the movie “Anthony Adverse” received an Oscar for the best film score in 1936.
		Material deposited in 1980s by Korngold’s sons Ernst and George; since donated over a period of many years by various members of the Korngold family.
	www.loc.gov /performingarts/encyclopedia/collections/korngold.html (180 words)

	Stadt
		Korngold was extremely excited about the work and immediately made plans to set it to music.
		Although Korngold followed this recommendation, Müller terminated the collaboration early, with the result that Korngold's scholary father stepped into the breach and produced the libretto in collaboration with the composer.
		It is entirely conceivable that Julius Korngold championed this happy ending, since in his opinion the opera genre should "revitalize people during trying times", and a fatal ending in this case would have been contrary to this belief.
	www.wiener-staatsoper.at /Content.Node2/en/10769.php (842 words)

	Erich Wolfgang Korngold
		Erich Wolfgang Korngold was born in the Moravian town of Brünn (then part of the Austro-Hungarian empire, now Brno, Czech Republic) on the 29th of May 1897, the son of Julius Korngold, Vienna's leading music critic and an influential member of the central European Jewish community.
		What I find amazing is that Korngold had begun to tackle such operatic subjects before he was out of his teens, and he was actually a late developer puberty-wise.
		Both Mendelssohn and Korngold were wunderkinder born to influential Jewish families, both were precocious in their early compositions, both travelled widely and benefitted from popular appeal and both really failed to placate their worst critics.
	mysite.wanadoo-members.co.uk /Donal_Hurley/korngold.html (2079 words)

	Go to:
		Korngold’s Snowman was the season’s rage in Vienna when it was performed there in 1910 when he was 13.
		Korngold was still in his teens when he composed his first opera, Der Ring des Polykrates.
		Korngold was 37 and at the peak of his career in Europe when in 1934 the film director, Max Reinhardt, invited him to come to Hollywood to adapt Felix Mendelssohn’s A Midsummer Night’s Dream for a film version he was directing.
	courseweb.stthomas.edu /paschons/language_http/essays/korngold.html (891 words)

	Korngold Die Tote Stadt [KS]: Classical DVD Reviews- Apr 2003 MusicWeb(UK) (Site not responding. Last check: 2007-11-05)
		Erich Wolfgang Korngold was one of the most prodigious talents of his generation.
		With a penchant for lush harmonic textures (he highly favored sharp keys, frequently going as far afield as f-sharp and c-sharp major) and for colorful orchestration, he was a natural for the big epic movies that he scored.
		Angela Denoke is also possessed of a rich lyric sound with ample heft to keep up with both her stage mates and the huge Korngold orchestra.
	www.musicweb.uk.net /classRev/2003/Apr03/Korngold_DieToteStadt_DVD.htm (833 words)

	PlaybillArts: Features: Lights, Camera ... Die tote Stadt
		Korngold's first important composition, a two-act ballet entitled Der Schneemann, composed when he was but 11 years of age and premiered at the Vienna Hofoper in 1910, already demonstrated his innate skill at character delineation and his remarkable acuity at underscoring dramatic action with colorful music.
		Korngold was one of the very last to compose in the grand German Romantic manner, which is why his exuberant, highly emotional, and sweeping style was so perfect for romantic films — and why it continues to influence this genre to this day.
		Korngold once described his film scores as "operas without singing", underlining how important operatic form was to him in every medium in which he worked.
	www.playbillarts.com /features/article/5173.html (1878 words)

	Amazon.ca: Korngold: Books: Jessica Duchen (Site not responding. Last check: 2007-11-05)
		Julius Korngold was a musical archconservative and he carefully guided the genius of his second son into respectable forms of musical expression, even while others began experimenting with serialism and jazz.
		When their native Austria was incorporated into the Third Reich, the Korngolds wisely took up residence in America, where Erich earned a comfortable living scoring music for Hollywood blockbusters.
		Korngold was a perfectionist with an almost operatic approach to his film work, but his tonal proclivities and work in popular music ruined his status as a serious musician--at least in the eyes of the musical establishment.
	www.amazon.ca /Korngold-Jessica-Duchen/dp/0714831557 (346 words)

	iClassics (Site not responding. Last check: 2007-11-05)
		The basic story goes like this: Erich Wolfgang Korngold (born in Austria in 1897), a child prodigy and son of the influential Viennese music critic Julius Korngold, was compared frequently with other wunderkinds such as Mozart and Mendelssohn.
		Korngold was invited to California in 1934 by famed producer/director Max Reinhardt to provide a score for Reinhardt's now-legendary film of Shakespeare's A Midsummer Night's Dream.
		Korngold was heading back to Europe after finishing a project, and Forbstein asked him the day before he was scheduled to leave if he would stay for Robin Hood.
	www.iclassics.com /featureArticle?contentId=506 (1274 words)

	Chamber Music Society: Program Notes: November 5 and 7
		Erich Wolfgang Korngold (his middle name honored Mozart), born on May 29, 1897 in Brünn, Austria (now Brno, Czech Republic), was the younger son of Julius Korngold, a protege of Eduard Hanslick and one of Vienna’s most influential music critics at the turn of the century.
		Korngold’s achievement, for both the screen and the concert hall, was sadly undervalued at the time of his death.
		Korngold spoke forth last night with a richness of melody and a luxuriance of harmony that marked him for survival.
	www.chambermusicsociety.org /calendar/70/notes-115-7 (4269 words)

	Erich Wolfgang Korngold - Wikipedia, the free encyclopedia
		Although Korngold quit writing original film scores after 1946, he was later asked by Republic Pictures to adapt the music of Richard Wagner for a film biography of Wagner, released in color as Magic Fire.
		Then, in 1972, RCA Victor released an LP titled The Sea Wolf, featuring excerpts from Korngold's film scores performed by the National Philharmonic Orchestra, conducted by Charles Gerhardt and supervised by the composer's son George.
		This was followed by recordings of Korngold's operas and concert works, which led to performances of his symphony and concertos, as well as other compositions.
	en.wikipedia.org /wiki/Erich_Wolfgang_Korngold (533 words)

	Amazon.com: Korngold: Symphony in F Sharp, Opus 40: Music: Erich Wolfgang Korngold,Franz Welser-Möst,Philadelphia ... (Site not responding. Last check: 2007-11-05)
		So it was Mahler to whom Julius Korngold turned, when Erich Wolfgang was ten years old, for guidance as to his son's musical education, and it was Mahler who directed him to Alexander von Zemlinsky for that education.
		The major work on this CD, Korngold's Symphony in F sharp, was a "late in life" composition written in the early '50's and dedicated to the memory of FDR.
		Korngold's Symphony was written after the end of the Second World War, and after he had decided not to renew his Warner Brothers contract.
	www.amazon.com /Korngold-Symphony-Sharp-Opus-40/dp/B000002RWV (1594 words)

	korngold.html
		The second son of the eminent music critic Julius Korngold (1860--1945), he was a remarkable child prodigy composer.
		Korngold was 14 when he wrote his first orchestral work, the Schauspiel Ouverture; his Sinfonietta appeared the following year.
		After the war Korngold returned to absolute music, composing, among other works, a Violin Concerto (1937, rev. 1945) first performed by Heifetz, a Cello Concerto (1946), a Symphonic Serenade for string orchestra (1947) given its premiere by Furtwangler, and the Symphony in F (1947--52).
	www.schoenberglaw.com /exiles/korngold.html (863 words)

	Summary of Contents A-M (Site not responding. Last check: 2007-11-05)
		Julius Rietz is known as the editor of this Breitkopf and Härtel edition.
		As the leading musical critic of the main daily newspaper in Vienna, the “Neue Freie Presse”, Julius Korngold was an extremely influential key person who could easily arrange performances of works by his seventeen-year-old son in Vienna, Prague and other German cities.
		Julius Korngold also represented his son’s interests after his emigration such as in the agreements drawn up with Schott publishers in Mainz.
	www.musikerbriefe.at /content_e2.htm (10165 words)

	The Database of Recorded American Music (Site not responding. Last check: 2007-11-05)
		Erich Wolfgang Korngold (1897-1957) was one of the most gifted prodigies in musical history.
		Korngold is most closely associated with large-scale works - operas and film scores in particular - but throughout his career, he produced equally fine works on a smaller scale.
		The Don Quixote suite was privately published by Korngold's father, the formidable music critic Dr. Julius Korngold (together with the young Korngold's first piano sonata and the ballet Der Schneemann).
	dlib.nyu.edu /dram/note.cgi?id=32168 (2330 words)

	Freunde der Salzburger Festspiele
		At the beginning of the 20th century Erich Wolfgang Korngold (1897–1957) already attracted attention because he was a child prodigy.
		While he was still a young boy, the son of the famous music critic Julius Korngold became a pupil of Alexander Zemlinsky and Gustav Mahler also recognised Korngold’s talent at a very early age.
		What was perhaps the greatest success in the life of the Viennese musician Korngold, who later became established as a professor, was obliterated only after the Nazis forced him into exile.
	www.festspielfreunde.at /english/frames/200312/ef_200312_34.htm (435 words)

	Untitled Document
		The son of eminent Austrian music critic Julius Korngold, he was a child prodigy who stunned the Viennese music world with his precocity as a composer.
		The teenaged Korngold followed this with a Piano Trio and a Piano Sonata in E that Artur Schnabel championed.
		Korngold composed the work for which he is now best known, the opera DIE TOTE STADT, when he was 20; its dual premiere in Hamburg and Cologne in 1920 secured his reputation throughout Europe.
	www.stormworld.com /music/catalog/erich.html (566 words)

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