Expressionistic variety of sound and colorful gliding impressionistic harmonies, the melodic invention of a somnambulist and, at the same time, wakeful attention to detail come together in Korngold with a formal sense orientated on the classical models. Korngold writes in an individual and concentrated language. The Camerata Freden works out his often unusual, densely packed ideas with precision and verve.

Classical Music

• The camerata freden perform the Piano Quintet, Op. 15 and the better-known String Sextet, Op. 10 of Erich Wolfgang Korngold. • Korngold was a child prodigy at the turn of the 20thcentury, later winning the Academy Award for his score to The Adventures of Robin Hood in 1938. • The camerata freden launched as a festival ensemble almost simultaneously with the International Music Fredener twenty years ago. • Recordings captured during the annual Festival in Freden an der Leine.

Erich Wolfgang Korngold was a child prodigy whose early genius was recognized and admired by the likes of Gustav Mahler and Giacomo Puccini. His musical style, deeply affected by music for the theatre, possessed great lyrical breadth; he managed to develop his own voice by blending all the different influences he absorbed in Vienna during his studies. The advent of Nazism in 1934 forced him to seek refuge in the United States, where he became the first composer of film scores, winning two Oscars and marking a milestone in the Hollywood film industry. Teatro Regio di Torino has contributed to the rediscovery of this precious one-act opera by staging its Italian premiere. Violanta is Korngold's second opera, which the composer wrote in 1914 at the age of 17. It was premiered with great success at Munich’s Hoftheater on 28 March 1916, and a few days later in Vienna. The influence of the Austrian capital is key to understanding Korngold’s style. From the late 1800s to the early 1900s Vienna was a place of contrasts: nostalgia for the past and innovative trends; conservatism and creative energy. Korngold grew up in this environment, absorbing various influences which are all present in Violanta, making this opera a sort of 'small-scale Vienna'. Pier Luigi Pizzi, stage director, costume and lighting designer for this production, chose to set the action at the beginning of the 1920s in a decadent Venice, where distant echoes of a melancholic Carnival add a sense of gloom to the whole performance.

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Erich Wolfgang Korngold was a child prodigy whose early genius was recognized and admired by the likes of Gustav Mahler and Giacomo Puccini. His musical style, deeply affected by music for the theatre, possessed great lyrical breadth; he managed to develop his own voice by blending all the different influences he absorbed in Vienna during his studies. The advent of Nazism in 1934 forced him to seek refuge in the United States, where he became the first composer of film scores, winning two Oscars and marking a milestone in the Hollywood film industry. Teatro Regio di Torino has contributed to the rediscovery of this precious one-act opera by staging its Italian premiere. Violanta is Korngold's second opera, which the composer wrote in 1914 at the age of 17. It was premiered with great success at Munich’s Hoftheater on 28 March 1916, and a few days later in Vienna. The influence of the Austrian capital is key to understanding Korngold’s style. From the late 1800s to the early 1900s Vienna was a place of contrasts: nostalgia for the past and innovative trends; conservatism and creative energy. Korngold grew up in this environment, absorbing various influences which are all present in Violanta, making this opera a sort of 'small-scale Vienna'. Pier Luigi Pizzi, stage director, costume and lighting designer for this production, chose to set the action at the beginning of the 1920s in a decadent Venice, where distant echoes of a melancholic Carnival add a sense of gloom to the whole performance.

Classical Music

Classical Music

Classical Music

Classical Music

Erich Wolfgang Korngold was one of the most astonishing prodigies in the history of western music, admired by Mahler, Strauss, and Puccini. His compositions were regularly performed by renowned musicians from around the world. Korngold composed his Sextet for Strings between 1914 and 1916, at the same time as his opera Violanta, and for this reason perhaps, it takes on some of the theatrical elements of that work. The first movement presents some highly intricate counterpoint among the different voices. In the Adagio the mood shifts to one of intense sensuousness. The third movement brings relief to the highly charged atmosphere. Here Korngold plays - sometimes with an air of irony, sometimes jokingly, sometimes more straightforwardly - with that most Viennese of genres, the waltz. The finale, in typical Korngold fashion, is high-spirited and good-humoured. The highly successful premiere of the Quintet for Two Violins, Viola, Cello, and Piano took place in Hamburg in 1923 with the composer at the keyboard. The work is in three elaborate and complex movements, with a piano part of considerable difficulty, and string writing on a virtuosic scale. With good humour and charm aplenty, the quintet displays the composer's sunny disposition. In the work Korngold incorporated a musical code that he had developed to send secret, loving messages to his fiancée during concert performances. Described by the magazine Gramophone as 'one of the finest young string quartets', whose members are 'musicians with fascinating things to say', the Doric String Quartet has received rave responses from audiences and critics across the globe. The Quartet's recent recording of Korngold's string quartets was a 2010 Critics' Choice in Gramophone, and the group's most recent recording on Chandos (CHAN 10692), of Schumann's three string quartets, was 'Recording of the Month' in BBC Music. The Quartet is joined on this recording by Kathryn Stott on piano, Jennifer Stumm on viola, and Bartholomew LaFolette on cello.

Scored for large forces - the rare Symphony in F Sharp major is a work of real imaginative power and ranks alongside the major symphonic works of Mahler and Bruckner; with a powerful and deeply felt slow movement of grandiose character. Coupled with the exquisite yet, rarely performed 'Lieder des Abshieds' a cycle of four orchestral songs are much earlier and completed in 1920; clearly influenced by Strauss, Mahler and Zemlinsky and performed here with the persuasive soloist, Linda Finnie. Conducted by Edward Downes, the BBC Philharmonic performs with enthusiasm and sensitivity. 'Korngold's lush orchestration needs sound with a full bloom, and the Chandos engineers provided that in spades.' - The Times

There's very little competition for this music, which is a shame because these are excellent quartets. It's really very remarkable how Korngold uses timbre to keep the busy textures clear and prevent his often chromatic harmony from turning into sludge. The main competition comes from the Flesch Quartet on ASV, so-so performances spread over two discs because they include the string Sextet as well. In general, the Doric Quartet offers livelier, more colorful, more accurate performances. To give just one example: the score of the Second quartet lists the work's duration at an optimistically fast 18 minutes. Flesch takes 25, while the Doric clocks in at an ideal 21 minutes.

These quartets are quite difficult to play, the first especially, which features frequent changes of tempo, often within a few bars. The Doric players handle all of these with astonishing ease and naturalness. There are a couple of points, as at figure 3 in the Second quartet's first movement, where the group slows down a bit in anticipation of Korngold's marking (his "Un poco più tranquillo" doesn't arrive until seven bars later), but if this is a fault, it's a vanishingly minor one.

Otherwise, you can only applaud the group's tonal richness, immaculate intonation, and a stylishness that never turns tacky (excellent application of portamento). First violinist Alex Redington deserves particular mention for handling his vibrato-less "ohne Ausdruck" moments (figure 7 in the First quartet's first movement, for example) with the right expressive point while never letting his tone turn just plain ugly ("period" performers take note). Violist Simon Tandree also features a particularly attractive timbre in his many solo licks. Korngold asks for many "special effects", including harmonics, col legno, open strings, muting, and lots of pizzicato; all of these are rendered with consistent musicality and are beautifully integrated into the ensemble texture.

Excellent sonics complement this obvious first choice for this music. If you don't know these pieces, you should. There's much more to Korngold than you might think--check out the wonderfully spiky scherzo in the Third quartet for a particularly bracing "fact check" on his theoretically unabashedly late-Romantic style. One final note for score collectors: all three works are available from Schott, the first two quartets in convenient study format, the Third only as a score and parts. An important release for chamber music devotees, and a terrific example of first-rate quartet playing.

--David Hurwitz, ClassicsToday.com

This disc offers four works, from several of Korngold's periods, including the 'Cello Concerto', an adaptation of a short piece Korngold composed in 1946 for the film 'Deception' and here performed by Peter Dixon. Dixon plays with elegance and a lyric understatement needed for this work. 'First-rate playing and opulent, well-balanced recording. Well worth exploring.' - The Penguin Guide, 3 stars

Classical Music

John Wilson and his Sinfonia of London shine in an all-Korngold programme full of wit, romanticism, sensitivity, and virtuosity – an orchestral tour de force! Conductor John Wilson has earned a reputation for his interpretations of British and American repertoire in particular. He is a favourite of many of the UK’s orchestras and festivals including the BBC Proms and Aldeburgh Festival and is currently Associate Guest Conductor of the BBC Scottish Symphony Orchestra. John is also in demand across the world at the very highest level, conducting the major orchestras of Sydney, Berlin, Budapest, Amsterdam, Oslo amongst many others, and has a large and growing discography, covering a wide range of repertoire.

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REVIEW:

Wilson's performance of the symphony is one of the most athletic on record. Rhythms are springy and purposeful; the great Adagio really strives, as well as sings, and I’ve rarely heard it probe deeper. Every phrase speaks; textures are translucent and detailed (even at the dizzying speed of the Scherzo), and the string sound glows from within, with portamento very much at the service of expression. Wilson clearly sees Korngold’s Symphony (rightly) as part of the Viennese classical tradition. The result is both gripping and sincerely moving.

– Gramophone