{"title":"Erich Wolfgang Korngold","description":"","products":[{"product_id":"korngold-tote-stadt-die","title":"Korngold: Tote Stadt (Die)","description":"Korngold: Tote Stadt (Die)","brand":"Naxos","offers":[{"title":"CD","offer_id":44711391101162,"sku":"730099606028","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/587347.jpg?v=1778343669"},{"product_id":"korngold-e-w-sinfonietta-op-5-violin-concerto-op-35","title":"Korngold, E.W.: Sinfonietta, Op. 5 \/ Violin Concerto, Op. 35","description":"Classical Music","brand":"Sono Luminus","offers":[{"title":"CD","offer_id":44722741313770,"sku":"053479021625","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/138650_a8ffad16-9d62-43c7-8cee-49a1b502f2eb.jpg?v=1778341489"},{"product_id":"hidden-legacies","title":"Hidden Legacies","description":"In the shadows of history, the works of Mieczyslaw Weinberg and Erich Korngold emerge as profound testaments to the resilience of the human spirit. Both composers, deeply affected by the tumultuous tides of the twentieth century, faced the harrowing realities of persecution. Their music, rich in emotion and complexity, serves not only as a reflection of their personal trials but as an enduring legacy of hope and beauty amid despair.    Driven by a passion for meaningful projects, cellist Kristina Reiko Cooper gave the New York premiere of Weinberg's Fantasia for Cello and Orchestra, Op. 52 and Korngold's Cello Concerto in C major in 2025. She is rejoined by her concert partner, conductor Constantine Orbelian, and the Kaunas City Symphony Orchestra to record these works, together with Weinberg's Concerto for Cello and Orchestra. Three extraordinary works for solo cello and orchestra by two leading composers of the twentieth century.","brand":"Delos","offers":[{"title":"CD","offer_id":46012452241642,"sku":"013491361628","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4484294-3505362.jpg?v=1778210001"},{"product_id":"fountain-of-youth","title":"Fountain of Youth","description":"Mithras Trio' second album for Linn showcases early works by Shostakovich, Korngold and Lisney, continuing the 'intriguing and eclectic' programming The Guardian praised on it's first album Eros. Fountain of Youth highlights the surprising number of piano trios written by composers at the very start of their careers and features the world premiere recording of Petrichor by cellist Joy Lisney. Commissioned by Mithras Trio and premiered at Wigmore Hall in January 2023, this evocatively titled work is named after the earthy scent produced when rain falls on dry soil. Two youthful works by Shostakovich and Korngold complete the album: in Shostakovich's First Piano Trio we find hints of the composer's mature style, where grotesque and late-Romantic moments mingle in a single-movement trio, and in Korngold's first published work, the Piano Trio, Op. 1, the influences of Mahler, Strauss and Puccini do not detract from the young composer's already unique voice and exceptional maturity.","brand":"Linn Records","offers":[{"title":"CD","offer_id":46012452733162,"sku":"691062078122","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4498152-3540824.jpg?v=1778222820"},{"product_id":"alma-mahler-lovers-friends-lieder-by-korngold-a-mahle","title":"Alma Mahler, lovers \u0026 friends - Lieder by Korngold, A. Mahle","description":"A refined Lieder recital focused on the fascinating figure of Alma Mahler. All main composers of Vienna at the outset of the 20th century are represented. An unprecedented flourishing of musical and artistic talents concentrated at that time in the Austro-Hungarian empire capital. Third recording on Challenge Classics by raising star baritone Raoul Steffani. Previous releases: CC 72865 with Magdalena Kozena. Classica (FR): Raoul Steffani demonstrates a style and a diction always impeccable. He vocally masters all these lieder which often seek the top of the register and bring a lot of colors. CC 72785, American Record Guide (USA): This is an exceptionally fine debut recording for an already well-developed singer.","brand":"Challenge Classics","offers":[{"title":"CD","offer_id":46012462334186,"sku":"608917200157","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4420752-3383051.jpg?v=1778194784"},{"product_id":"korngold-die-tote-stadt","title":"Korngold: Die tote Stadt \/ Nylund, Vogt, M. Franck, Finnish National Opera","description":"\u003cspan data-mce-fragment=\"1\"\u003eKorngold was just 23 when his most celebrated stage work was premiered in 1920 by no less than Otto Klemperer. The rich orchestration and brilliant \u003cem\u003ebel canto\u003c\/em\u003e vocal writing is here superbly realized by a cast led by Klaus Florian Vogt and Camilla Nylund, with “conducting to die for” (\u003cem\u003eThe Guardian\u003c\/em\u003e) from Mikko Franck. “I regard Die tote Stadt as one of the greatest operas of the first quarter of the 20th century and the Finnish National Opera’s production makes it stand out as a true masterpiece, scenically and musically.” -\u003cem\u003eSeen and Heard International\u003c\/em\u003e\u003c\/span\u003e","brand":"Opus Arte","offers":[{"title":"CD","offer_id":46012467675370,"sku":"809478090502","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4063808-2806086.jpg?v=1778268138"},{"product_id":"mendelssohn-string-symphony-no-10-widmann-ikarische-klag","title":"Mendelssohn: String Symphony No. 10; Widmann: Ikarische Klag","description":"Conductor and composer Jorg Widmann leads the Stuttgarter Kammerochester in this album of masterpieces for string orchestra. The precocious Mendelssohn is represented with his String Symphony No.10 in B minor. It consists of a single movement, in which a sweeping slow introduction is followed by an allegro and coda. Widmann's own Ikarische Klage takes it's subject matter from a poem by Baudelaire: \"Burnt by the love of beauty \/ I will not have the sublime honour \/ of giving my name to the abyss \/ that will serve as my grave\". On Korngold's Symphonic Serenade, Widmann says \"What a piece, full of glittering magic!\". In this work we hear dreams of a real or imaginary Vienna in the time of Mahler or Berg: a vision that looks to the future, is heart-rending but never sentimental.","brand":"Channel Classics","offers":[{"title":"CD","offer_id":46012486484202,"sku":"723385492252","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4445230-3422656.jpg?v=1778194453"},{"product_id":"korngold-string-quartet-no-1-piano-quintet-eckardstein-alma-quartet","title":"Korngold: String Quartet No. 1; Piano Quintet \/ Eckardstein, Alma Quartet","description":"\u003cp\u003eSecond and last volume of Krongold’s complete String Quartets survey by the Alma Quartets. The disc contains the First Quartet (composed in 1923) and the Piano Quintet (1921). Music from Vienna raging Twenties in flawless performances by one of today leading string quartets. Ideal match between Alma Quartet and a specialist pianist as Severin von Eckardstein. Ritmo (SP) on first volume (CC 72869): The recording offered by Alma Quartet is the best available of these works for its understanding of the expressive world of Korngold; is perfect intonation and reading of these difficult works.\u003c\/p\u003e","brand":"Challenge Classics","offers":[{"title":"CD","offer_id":46012527182058,"sku":"608917293227","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4237895-3142264_b4c6eb3f-efb7-4d96-936d-d655c2c9df26.jpg?v=1778238481"},{"product_id":"strauss-korngold-schrecker-metamorphosen","title":"Strauss, Korngold \u0026 Schreker: Metamorphosen \/ Wilson, Sinfonia of London","description":"\u003cp\u003e\u003cem\u003e\u003cstrong\u003eOne of the New York Times' \u003ca href=\"https:\/\/www.nytimes.com\/2022\/04\/28\/arts\/music\/new-classical-music-albums.html\" title=\"New York Times 5 Classical Albums You Can Hear Now\"\u003e5 Classical Albums to Hear Now\u003c\/a\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eShortlisted for the Gramophone Awards\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePerhaps nobody since John Barbirolli has been able to make strings sing like the brilliantly talented John Wilson.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eFollowing their critically acclaimed album of English Music for Strings, Sinfonia of London and John Wilson turn to Germany and three outstanding works for string orchestra. Franz Schreker’s \u003cem\u003eIntermezzo\u003c\/em\u003e, the oldest piece here, was composed in 1900, before Schreker’s rise to fame in the opera houses of Germany and Austria, but shows strong indications of what was to follow. Korngold composed the \u003cem\u003eSymphonische Serenade\u003c\/em\u003e following his return to Vienna from Hollywood after the Second World War, and shortly before he wrote his \u003cem\u003eSymphony\u003c\/em\u003e in F sharp. Korngold effortlessly conjures a vivid range of colors and textures from his large forces (32 violins, 12 violas, 12 cellos, and 8 basses) in a work that explores the virtuosity of the players to the full. Composed in 1945, as a reaction to the horrors of the war, and the desecration of German culture, Richard Strauss’s \u003cem\u003eMetamorphosen\u003c\/em\u003e for 23 solo strings seems to look backwards to the German Romantic tradition (a trait even more evident in his \u003cem\u003eFour Last Songs\u003c\/em\u003e, of 1948). The moving final passage, marked ‘In Memoriam’, leaves the listener to contemplate in silence.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"Wilson’s release wins hands down. Part of the victory is due to the conductor and string players’ panache…whatever the mood, the Sinfonia’s tone stays full-blooded and refulgent, just like Chandos’s recording.\" -\u003cem\u003eTimes\u003c\/em\u003e of London\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eWhat a fine and stimulating recording this is. Perhaps nobody since John Barbirolli has been able to make strings sing like the brilliantly talented John Wilson. Franz Schreker’s “Intermezzo” here has a sheen to it that is intensely delicate one minute and impossibly sumptuous the next. Strauss’s “Metamorphosen” has rarely had such an agonizingly drawn out, lovingly burnished performance as this. Even better is the rarity that accompanies it: Korngold’s Symphonic Serenade, a disfigured, difficult recollection of all that poignantly easygoing light music in the Austrian tradition, written when he returned to Vienna from Hollywood. The hush that Wilson finds for its slow movement is indescribably haunting.\u003c\/p\u003e\n\u003cp\u003e-- The New York Times\u003c\/p\u003e","brand":"Chandos","offers":[{"title":"SACD","offer_id":46012557525226,"sku":"095115529225","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4069299-2810009.jpg?v=1778268572"},{"product_id":"korngold-messiaen-prokofiev-ravel-szymanowski-myths","title":"Korngold, Messiaen, Prokofiev, Ravel \u0026 Szymanowski: Myths \u0026","description":"Viviane Goergen has not only made a name for herself with her recordings of Ernst Toch's piano works, among others, through far-sighted repertoire enrichment, but also with an interpretation concept that offered new approaches for interpreters as early as the 1980s through the use of meditation, autogenic and mental training, among other things, which also benefits her Schumann recording from 1988.","brand":"Audite Musikproduktion","offers":[{"title":"CD","offer_id":46012597108970,"sku":"4011563660118","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4371423-3263683.jpg?v=1778235078"},{"product_id":"the-korngold-collection","title":"The Korngold Collection","description":"The Pacifica Quartet presents The Korngold Collection, a landmark recording of Erich Wolfgang Korngold's complete string quartets and rarely heard chamber works tracing the composer's extraordinary evolution from prodigy of post-imperial Vienna to pioneering film composer in Hollywood.    Described by The Daily Telegraph as \"nothing short of phenomenal,\" the multiple Grammy Award-winning Pacifica Quartet brings more than three decades of acclaimed artistry to this sweeping portrait of Korngold's chamber music.     The three string quartets, written between 1923 and 1945, chart Korngold's artistic journey: the First Quartet pulses with adventurous harmony; the Second, composed just before his emigration from Austria, overflows with lush melody; and the Third, finalized after WWII, draws on themes from his iconic film scores, including The Sea Hawk and Between Two Worlds.    Complementing the quartets are two early chamber gems: the radiant Piano Quintet in E major (1920), written in the wake of his operatic triumph, Die tote Stadt and performed with pianist Orion Weiss; and the vibrant String Sextet in D major (1914), a youthful work that helped establish Korngold's early reputation, featuring violist Milena P�jaro-van de Stadt and cellist Eric Kim.    Praised for their \"remarkable expressive range and tonal beauty\" (The New York Times), the Pacifica Quartet has distinguished itself through a deep commitment to complete composer cycles, including The Soviet Experience, their celebrated survey of Shostakovich's 15 string quartets, plus quartets by his contemporaries.","brand":"Cedille","offers":[{"title":"CD","offer_id":46012663333098,"sku":"735131924023","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4470918-3474488.jpg?v=1778198331"},{"product_id":"schreker-korngold-krenek","title":"Schreker, Korngold \u0026 Krenek","description":"While the three composers featured on this recording are not, in the public perception and sometimes even in that of the performers, among the most significant exponents of Viennese music in the first half of the twentieth century, their remarkably expressive and virtuoso writing is deeply rooted in fin-de-si�cle Vienna. They were banned by the dictatorships of the 1930s and then blacklisted in the aftermath of the Second World War by the young European avant-garde, and it is only in recent years that the beauty and opulence of their works have been rediscovered.    Vienna-born conductor Sascha Goetzel writes about the works performed here with the Orchestre National des Pays de la Loire: 'With Korngold, Schreker and Krenek, we're not just hearing music - we're entering a dialogue between past and present, tradition and rebellion, myth and modernity [...] Korngold embodies the emotional sincerity and creative ambition of the late Romantic tradition. Schreker immerses us in the subconscious - mythical, unstable, and rich in feeling. Krenek breaks through the facade, injecting irony, jazz and fragmentation into the orchestral form [...] In their own ways, each composer pushes back against inherited  conventions to discover new languages of sound.'","brand":"BIS","offers":[{"title":"SACD","offer_id":46012694397162,"sku":"7318599927220","price":21.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4449256-3432646.jpg?v=1778192692"},{"product_id":"korngold-kreisler-from-vienna-to-hollywood","title":"Korngold \u0026 Kreisler: From Vienna to Hollywood \/ Hegel Quartet","description":"\u003cspan data-mce-fragment=\"1\"\u003eThe members of the Hegel Quartet grew up in different parts of the 'New World': Australia, USA and Canada. In search of the roots of the musical traditions in which they grew up, each of them made their own way to Europe during their studies. It was pure coincidence that they met in mid-life, having already absorbed so much of the legendary musicians who make the European concert scene so rich. Composers Fritz Kreisler and Erich Wolfgang Korngold, like so many other Jewish artists, escaped the turmoil of the World Wars in the last century and eventually became citizens of the United States. These two great artists, and many others in similar life situations, created a thriving cultural paradise in their new homelands - for example, in South America, Canada, or Australia - that produced generations of artists. Even at the height of his success as a Hollywood film composer, Korngold greatly missed Vienna and its opera houses, and it seems that he died of a broken heart after unsuccessfully trying to re-establish himself in 1950s Europe. The Hegel Quartet’s new recording of these works is also accompanied, in a modest way, by a desire to repatriate, as it were, Kreisler and Korngold to their beloved Europe by four emigrants from the opposite direction.\u003c\/span\u003e","brand":"Ars Produktion","offers":[{"title":"SACD","offer_id":46012754231530,"sku":"4260052383452","price":22.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4075168-2820047.jpg?v=1778252837"},{"product_id":"echoes-of-vienna","title":"Echoes of Vienna","description":"Vienna was in the grip of serious political unrest that forced many of it's artists into exile when Erich Wolfgang Korngold (1897-1957) composed his Second String Quartet in 1933, first performed the following year in the Austrian capital. In it he celebrated, before it faded away, the vitality of a musical school of which Wolfgang Amadeus Mozart (1756-1791) had been one of the founders more than a century and a half earlier, and which Anton Webern (1883-1945) had helped to usher into modernity. It is this lineage that the musicians of the Quatuor Herm�s (the Herm�s String Quartet) highlight through a twilight-tinged programme in which each work bears witness to a fascinating narrative power and could be understood as an expression of a farewell.","brand":"La Dolce Volta","offers":[{"title":"CD","offer_id":46012792013034,"sku":"3760419360436","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4478777-3535398.jpg?v=1778209771"},{"product_id":"korngold-much-ado-about-nothing-op-11-72800","title":"Korngold: Much Ado About Nothing \/ Mauceri, UNC School of the Arts Symphony","description":"\u003cp\u003eKorngold’s music for Shakespeare’s comedy Much Ado about Nothing, premiered in Vienna in 1920, enjoyed instant success and soon spread around the world. But the music has not been heard as Korngold intended since the 1st production. For this recording, made in conjunction with a staged US premiere, Korngold’s complete score was reconstructed from the original Viennese materials and is played here by the chamber-orchestral forces for which it was written.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eThis is indeed a worthy and welcome addition to the Korngold discography. At long last we have a further complete performance of the composer’s delightful incidental music to Shakespeare’s comedy. It joins the sequence recorded by Ondine with John Storgards conducting. The music was first performed in Vienna’s Schönbrunn Palace when Korngold was just 21. It was very successful and the composer would later go on to adapt the music for various chamber ensembles and as an orchestral suite. Now we have the music as it was performed at Schönbrunn together with choice dramatic overlays including Balthasar’s Song, ‘Sigh no more, ladies, sigh no more; Men were deceivers ever’, Beatrice’s soliloquy as she yields to love, and the two sets of lovers’ happy uniting in the final wedding scene.\u003c\/p\u003e\n\u003cp\u003eThe orchestra is the same size and specification as that at Schönbrunn with a string quartet rather than a string section so that proper balances with all the other instruments can be assured. With the string quartet are: solo flute\/piccolo, oboe, clarinet, bassoon, trumpet and trombone with two horns, a piano, harmonium, harp and three percussionists plus solo timpanist. The original parts were available so that each player could replicate the bowings and articulations used in Vienna. Furthermore, all the composer’s own recordings of the work were made available too, so questions of tempo and portamento could be addressed. Conductor John Mauceri was a very apt choice for he has had much experience conducting Korngold and is a stalwart champion of film music, an asset that might well be regarded as not being far removed from the spirit of this work – in fact the March of the Watch could be considered a pre-echo of Korngold’s Sherwood Forest scenes from his The Adventures of Robin Hood. Mauceri also contributes the erudite notes for this album.\u003c\/p\u003e\n\u003cp\u003eKorngold’s conception works very well in his chosen ensemble. It points up the comedy and irony such as that in March of the Watch and in the dreamy romanticism of the Garden Music. All those intimate glistening string-harp-and-harmonium figures, and rippling piano arpeggios, suggest birdsong and flowers nodding in zephyr breezes. It’s all in gentle romantic waltz time, plus the contrastingly intense almost Mahlerian Funeral Music. Although I would have thought it unnecessary, five of the pieces that have dialogue are repeated again in purely instrumental dress.\u003c\/p\u003e\n\u003cp\u003eThere have been a number of recordings of Korngold’s purely orchestral suite from Much Ado About Nothing. Of these I would unhesitatingly recommend Caspar Richter’s 2002 reading originally released on CD DCA 1131. This is not only because it included, for the first time, the enchanting Garden Music but also for the other items on this album which had great appeal especially Korngold’s divine Abschiedlieder Songs  (Songs of Farewell). A delight for committed Korngold fans.\u003c\/p\u003e\n\u003cp\u003e-- MusicWeb International (Aan Lace)\u003c\/p\u003e","brand":"Toccata","offers":[{"title":"CD","offer_id":46012858335466,"sku":"5060113441607","price":10.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2165754.jpg?v=1778295545"},{"product_id":"korngold-suite-op-23-piano-quintet-op-397001","title":"Korngold: Suite, Op. 23; Piano Quintet, Op. 15 \/ Spectrum Concerts Berlin","description":"\u003cp\u003eErich Korngold was described as ‘arguably the most remarkable prodigy in history’, whose transition into artistic maturity was almost seamless. The successes of his youth continued with works such as the Piano Quintet, Op.15, in which the brilliant interplay of the instruments, songful expressiveness and dramatic power create a masterpiece of weight and sub-stance. The Suite, Op.23 is a highly virtuosic piece in which Korngold leads us on a monumental stroll through a gallery of European musical history, from Bach via Beethoven to the early 20th century. Spectrum Concerts Berlin has also recorded Korngold’s Piano Trio, Op.1 and String Sextet, Op.10 for Naxos.\u003c\/p\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46012869542122,"sku":"747313401970","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3864841-2626978.jpg?v=1778227389"},{"product_id":"korngold-das-wunder-der-heliane-op-20-57039","title":"Korngold: Das Wunder der Heliane, Op. 20 \/ Bollon, Freiberg Philharmonic","description":"\u003cp\u003eErich Wolfgang Korngold was at the height of his fame and technical mastery by the time he began work on his fourth opera in 1923. Prominent opera houses clamored to stage his works, and the Viennese premiere of Das Wunder der Heliane (‘The Miracle of Heliane’) featured Lotte Lehmann among its star cast. Its story is one of the redemptive power of love over injustice and adversity, expressed in music that is richly impressionistic and intensely dramatic. Korngold was criticized for resisting the tide of modernist atonality in this opulent score, but its symbolism and compelling romantic atmosphere can be appreciated today more than ever. This Freiburg Opera production has a strong cast topped by soprano Annemarie Kremer, one of the most successful singers in the lyric dramatic soprano repertoire. Award-winning baritone Aris Argiris has established an international career, performing regularly at the world’s most prestigious opera houses.\u003c\/p\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46012897001706,"sku":"730099041072","price":35.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3825489.jpg?v=1778246136"},{"product_id":"korngold-string-quartets-2-3-alma-966097","title":"Korngold: String Quartets 2 \u0026 3 \/ Alma Quartet [Vinyl]","description":"\u003ctable\u003e  \u003ctbody\u003e  \u003ctr\u003e  \u003ctd\u003eErich Wolfgang Korngold (1897-1957) was a genius. Naturally he was most widely known and rewarded as one of the founding composers of Hollywood film music, but he is not a particularly well-known composer in the classical music world. His three string quartets are surely masterpieces and can be seen as modern tone poems imbued with beautiful melancholy and Viennese charm. A child prodigy, Korngold wrote some of the most heart-wrenching melodies, which are sure to leave any listener longing for more. His String Quartet No. 2, Op. 26 (1933) was written just before Korngold moved to Hollywood and is full of musical imagery of Vienna, with gestures towards the waltzes of Johan Strauss II as well as the intricate lyricism of Richard Strauss. A fierce anti-serialist, Korngold was determined that it was still possible to stretch the boundaries of tonality without adapting to the 12-tone technique. The String Quartet No. 3, Op. 34 (1945) is full of themes that he used in his film scores and was written when Korngold was suffering from deep depression. The quartet is much darker. Why did we choose to tackle Korngold’s music for this unique project of a direct-to-disc recording on vinyl? The music resonates deeply with us, as it represents the epitome of late romanticism and lyrical expression. We all have a profound love for romantic music and after listening to some recordings of his quartets we knew instantly these were the perfect fit for us. It was definitely a challenge to understand the idiom in Korngold’s writing. Our individual personalities as well as the Alma sound is clearly audible.\u003c\/td\u003e  \u003c\/tr\u003e  \u003c\/tbody\u003e  \u003c\/table\u003e","brand":"Challenge Classics","offers":[{"title":"Vinyl","offer_id":46012914630890,"sku":"608917286823","price":28.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4018059-2857719.jpg?v=1778227400"},{"product_id":"korngold-string-quartets-2-3-alma-966098","title":"Korngold: String Quartets 2 \u0026 3 \/ Alma Quartet","description":"\u003ctable\u003e  \u003ctbody\u003e  \u003ctr\u003e  \u003ctd\u003eErich Wolfgang Korngold (1897-1957) was a genius. Naturally he was most widely known and rewarded as one of the founding composers of Hollywood film music, but he is not a particularly well-known composer in the classical music world. His three string quartets are surely masterpieces and can be seen as modern tone poems imbued with beautiful melancholy and Viennese charm. A child prodigy, Korngold wrote some of the most heart-wrenching melodies, which are sure to leave any listener longing for more. His String Quartet No. 2, Op. 26 (1933) was written just before Korngold moved to Hollywood and is full of musical imagery of Vienna, with gestures towards the waltzes of Johan Strauss II as well as the intricate lyricism of Richard Strauss. A fierce anti-serialist, Korngold was determined that it was still possible to stretch the boundaries of tonality without adapting to the 12-tone technique. The String Quartet No. 3, Op. 34 (1945) is full of themes that he used in his film scores and was written when Korngold was suffering from deep depression. The quartet is much darker. Why did we choose to tackle Korngold’s music for this unique project of a direct-to-disc recording on vinyl? The music resonates deeply with us, as it represents the epitome of late romanticism and lyrical expression. We all have a profound love for romantic music and after listening to some recordings of his quartets we knew instantly these were the perfect fit for us. It was definitely a challenge to understand the idiom in Korngold’s writing. Our individual personalities as well as the Alma sound is clearly audible.\u003c\/td\u003e  \u003c\/tr\u003e  \u003c\/tbody\u003e  \u003c\/table\u003e","brand":"Challenge Classics","offers":[{"title":"CD","offer_id":46012915384554,"sku":"608917286922","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4018060-2798007.jpg?v=1778229859"},{"product_id":"korngold-piano-trio-string-sextet-spectrum-concerts","title":"Korngold: Piano Trio, String Sextet \/ Spectrum Concerts Berlin","description":"\u003cp\u003eKorngold’s breathtaking precocity is everywhere in evidence in these two chamber masterpieces. The Piano Trio was composed when he was just twelve years old but its symphonic breadth and brilliantly demanding piano writing reveal myriad tonal colors and a mischievous reinvention of conventional Viennese form. Audacious yet rooted in lyricism, the String Sextet was written almost five years later and possesses memorable themes as well as a refined, theatrical intimacy.\u003c\/p\u003e\n\u003cp\u003eSpectrum Concerts Berlin is one of Germany’s most significant voices in the world of chamber music and has specialized for Naxos in the music of expatriate German\/Austrian composers. Their recording of Schulhoff’s String Sextet (8.573525) was a MusicWeb International ‘Recording of the Month’ in December2016: ‘This is sometimes quite difficult music... [But] it is given a terrific performance here by a group of string players’.\u003c\/p\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46013050192106,"sku":"747313400874","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3856771-2623743.jpg?v=1778269786"},{"product_id":"die-toten-stadt-156261","title":"Die Toten Stadt","description":"The child prodigy Erich Wolfgang Korngold (1897-1957) composed Die Todt Stadt to a libretto by Paul Schott (the name in point of fact a pseudonym for the composer and his father, Julius) in the late 1910s, its premier coming in 1920.  Its success was tremendous but brief, making it to NYC two years later but rarely making its way to the stage in the ensuing years and decades.  This BRSO, Munich 1952 historic performance captures a nearly all-German cast headed by Maud Cunitz and Karl Friedrich.","brand":"MYTO Historical","offers":[{"title":"CD","offer_id":46013071163626,"sku":"080143903185","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2107581_3c105860-df21-4c1f-8918-1b8209ee4579.jpg?v=1778313202"},{"product_id":"korngold-die-tote-stadt-petersen-kaufmann-941319","title":"Korngold: Die tote Stadt \/ Kaufmann, Petersen, Petrenko, Bayerisches Staatsorchester [Blu-ray]","description":"\u003cp\u003e\u003cstrong\u003eAlso available on \u003ca href=\"https:\/\/www.arkivmusic.com\/products\/korngold-die-tote-stadt-petersen-kaufmann-941318\"\u003estandard DVD\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e \u003c\/p\u003e  \u003cp\u003eThe premiere of Korngold's Die tote Stadt at the Bayerische Staatsoper in 2019 was praised both by press and audiences. Marlis Petersen (Marie\/Marietta) and Jonas Kaufmann (Paul) sang the main roles, with the Bayerisches Staatsorchester under Kirill Petrenko's baton, in the intense staging by Simon Stone. After opening night, Joshua Barone wrote in the NY Times: “[The] work's comeback may have reached its peak at the Bavarian State Opera. It’s difficult to imagine a better case for Die tote Stadt than was made in Munich.” The boundary between dream and reality dissolves as Paul, mourning his dead wife Marie, meets the dancer Marietta. With her looks so similar to Marie’s, Marietta becomes the object of the projection of Paul’s erotic desires. Following a nerve-racking “vision”, Paul is finally reeled back to reality and he can leave Bruges as the place of his death cult. The original title of the piece, “Triumph des Lebens”, is symbolic of the main character’s personal development. Just a few weeks before the successful world premiere of Die tote Stadt, none other than Puccini himself described Korngold as the “greatest hope of new German music”. Because of their melodic urgency, arias such as “Glück, das mir verblieb (Marietta's Lute Song)” and “Mein Sehnen, mein Wähnen (Pierrot's Song)” have found a home among the concert repertoires of many opera singers and radiate far beyond the fame of Die tote Stadt. This production is the first AV release on our newly launched label.\u003c\/p\u003e","brand":"Bayerische Staatsoper Recording","offers":[{"title":"Blu-Ray","offer_id":46013146464490,"sku":"4028098000050","price":33.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3987840-2723129.jpg?v=1778391489"},{"product_id":"korngold-die-tote-stadt-petersen-kaufmann-941318","title":"Korngold: Die tote Stadt \/ Kaufmann, Petersen, Petrenko, Bayerisches Staatsorchester","description":"\u003cp\u003e\u003cstrong\u003eWinner of a 2022 Gramophone Award!\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe premiere of Korngold's Die tote Stadt at the Bayerische Staatsoper in 2019 was praised both by press and audiences. Marlis Petersen (Marie\/Marietta) and Jonas Kaufmann (Paul) sang the main roles, with the Bayerisches Staatsorchester under Kirill Petrenko's baton, in the intense staging by Simon Stone. After opening night, Joshua Barone wrote in the NY Times: “[The] work's comeback may have reached its peak at the Bavarian State Opera. It’s difficult to imagine a better case for Die tote Stadt than was made in Munich.” The boundary between dream and reality dissolves as Paul, mourning his dead wife Marie, meets the dancer Marietta. With her looks so similar to Marie’s, Marietta becomes the object of the projection of Paul’s erotic desires. Following a nerve-wracking “vision”, Paul is finally reeled back to reality and he can leave Bruges as the place of his death cult.\u003c\/p\u003e\n\u003cp\u003eThe original title of the piece, “Triumph des Lebens”, is symbolic of the main character’s personal development. Just a few weeks before the successful world premiere of Die tote Stadt, none other than Puccini himself described Korngold as the “greatest hope of new German music”. Because of their melodic urgency, arias such as “Glück, das mir verblieb (Marietta's Lute Song)” and “Mein Sehnen, mein Wähnen (Pierrot's Song)” have found a home among the concert repertoires of many opera singers and radiate far beyond the fame of Die tote Stadt. This production is the first AV release on our newly launched label.\u003c\/p\u003e","brand":"Bayerische Staatsoper Recording","offers":[{"title":"DVD","offer_id":46013147316458,"sku":"4028098000067","price":33.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3987839-2723130.jpg?v=1778263949"},{"product_id":"korngold-violanta-steinberg-teatro-regio-torino-292813","title":"Korngold: Violanta \/ Steinberg, Teatro Regio Torino","description":"\u003cp\u003eErich 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.\u003c\/p\u003e","brand":"Dynamic","offers":[{"title":"CD","offer_id":46013228318954,"sku":"8007144078768","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3823391-2571814.jpg?v=1778247430"},{"product_id":"korngold-violanta-steinberg-teatro-regio-torino-292802","title":"Korngold: Violanta \/ Steinberg, Teatro Regio Torino","description":"\u003ca class=\"links\" href=\"album.jsp?album_id=2302766\"\u003e\u003cb\u003eAlso available on Blu-ray\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e  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.","brand":"Dynamic","offers":[{"title":"DVD","offer_id":46013229400298,"sku":"8007144378769","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3823389-2570277.jpg?v=1778256999"},{"product_id":"chamber-music-by-erich-wolfgang-korngold-948859","title":"Chamber Music by Erich Wolfgang Korngold \/ Beatson, Eusebius Quartet","description":"\u003cp\u003eSOMM Recordings throws new, invigorating light on the Chamber Music of Erich Wolfgang Korngold, performed by the Eusebius Quartet and pianist Alasdair Beatson. Hailed by musicologist Nicolas Slonimsky as “the very last breath of the romantic spirit of Vienna”, Korngold’s stellar beginnings in Europe’s concert halls and opera houses were later overshadowed by his success in America where his soaring symphonic signature forged the template for the Hollywood soundtrack. But, as Korngold authority Brendan G Carroll notes in his informative booklet essay, the composer’s “relatively small body of chamber works... is no less impressive and actually offers a succinct distillation of his style and voice, often to considerably profound effect.”\u003c\/p\u003e\u003cp\u003eThe earliest work here is the string quartet arrangement of the suite drawn from his 1920 incidental music to Shakespeare’s Viel Lärmen um Nichts (Much Ado About Nothing). Its glowing Intermezzo is heard in the world premiere recording of Tom Poster’s sumptuous new arrangement. The following year’s Op.15 Piano Quintet was composed shortly after Korngold’s opera Die tote Stadt (The Dead City), and, Carroll notes, “its flamboyant, heroic melodic style owes much to the residual influence of that epic score”. The Op.26 Second String Quartet from 1933 “is one of the most intensely ‘Viennese’ works Korngold ever wrote.” The jolly, bubbling humor of its opening gives way to a rich, expansive Larghetto before concluding with a spirited hymn to that most Viennese of dance forms, the waltz.\u003c\/p\u003e\u003cp\u003ePraised as “excellent” by The Sunday Times, the Eusebius Quartet was formed in 2016 and is making its debut on SOMM Recordings. Alasdair Beatson’s previous SOMM releases include his enthusiastically reviewed recording debut, coupling Schumann, Grieg, Brahms and Berg (SOMMCD 086), and a Mendelssohn recital (SOMMCD 104) hailed by Classic FM for its “highly sensitive playing of rare insight”.\u003c\/p\u003e","brand":"SOMM Recordings","offers":[{"title":"CD","offer_id":46013246177514,"sku":"748871064225","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4008036-2749698.jpg?v=1778268765"},{"product_id":"korngold-songs-vol-2-stallmeister-fischer-856551","title":"Korngold: Songs, Vol. 2 \/ Stallmeister, Fischer, Schenker-Primus, Simon","description":"\u003cp\u003eIn his song settings, Korngold pursued the Romantic ideal and lavished considerable care and inventiveness on their composition. His seemingly effortless gift for melody is everywhere ap-parent in this second volume (Vol.1 is on 8.572027), whether in the early works or the songs from the 1940s, which would not sound out of place in an operetta or a Broadway musical. Also present, notably in the Drei Gesänge, Op.18, is an exciting, experimental approach to harmony that reflects the music of his most radical opera, Das Wunderder Heliane (8.660410-12).\u003c\/p\u003e  \u003cp\u003e \u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e  \u003cp\u003e \u003c\/p\u003e  \u003cp\u003e\u003cspan id=\"ctl00_MainContent_gvReviews_cell0_12_ASPxPopupControl1_ASPxLabel2\" class=\"dxeBase_PlasticBlue\"\u003eAlready in \u003cspan id=\"ctl00_MainContent_gvReviews_cell0_12_ASPxPopupControl1_ASPxLabel2\" class=\"dxeBase_PlasticBlue\"\u003ethe 1920\u003c\/span\u003es, as a young man, Korngold was composing in a powerfully vocal idiom, as can be heard in the \u003cspan id=\"ctl00_MainContent_gvReviews_cell0_12_ASPxPopupControl1_ASPxLabel2\" class=\"dxeBase_PlasticBlue\"\u003efour\u003cem\u003e Lieder des Abschieds (Songs of Farewell)\u003c\/em\u003e\u003c\/span\u003e. He did not become a prolific art song composer, but there are lieder dotted among his long list of compositions This second volume of his complete songs include \u003cem\u003eSonett fur Wien \u003c\/em\u003efrom 1953, just four years before his death. The mezzo, Sibylle Fischer, has the task of expressing so much sadness in the four \u003cem\u003eLieder des Abschieds,\u003c\/em\u003e a mood she passes to the baritone, Uwe Schenker-Primus, in the Drei Gesange. He also has the task to hark on sorrow in the\u003cem\u003e Lieder aus dem Nachlass\u003c\/em\u003e, and we hear him to better effect in the forthright \u003cem\u003eFive Songs\u003c\/em\u003e. That Korngold wrote songs for the cinema surfaces with Morgen from the film\u003cem\u003e The Constant Nymph\u003c\/em\u003e, here recreated with a piano trio accompaniment, and sung with a smooth elegance by Britta Stallmeister. Together with the pianist, Klaus Simon, the vocal trio give us a rare chance to hear forgotten Korngold. \u003c\/span\u003e\u003c\/p\u003e  \u003cp\u003e \u003c\/p\u003e  \u003cp\u003e\u003cspan class=\"dxeBase_PlasticBlue\"\u003e– David's Review Corner (SDavid Dento)\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46013402218730,"sku":"747313308378","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3968357-2709465.jpg?v=1778230151"},{"product_id":"korngold-die-tote-stadt-273436","title":"Korngold: Die Tote Stadt","description":"KORNGOLD: DIE TOTE STADT","brand":"Sony Masterworks","offers":[{"title":"CD","offer_id":46015558451434,"sku":"886974466024","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1496822.jpg?v=1778382571"},{"product_id":"korngold-complete-incidental-music","title":"Korngold: Complete Incidental Music \/ Mammel. Simon, Holst-Sinfonietta","description":"\u003cp\u003eKorngold’s greatest critical successes lay in the field of opera and in his film scores. The early sets of incidental music reflect these two elements, sharing the theatrical bravura of opera and anticipating his own later filmic techniques. The music for the Viennese production of Shakespeare’s much Ado About Nothing in 1920, heard here in full, is expressive and dramatic. Der Vampir, a psychological study of desire, seduction and greed, is rarely heard, but remains a potent example of Korngold’s instinct for directness of characterization.\u003c\/p\u003e\n\u003cp\u003e“[It's] a pleasant surprise to be confronted with something completely unfamiliar…The Holst Sinfonietta performs these waltzes, flourishes and scarps of underscoring with considerable color and Schwung.\" -Gramophone\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eThis disc reaffirms – as if such proof were still necessary – just what a prodigious genius the young Erich Wolfgang Korngold was. The complete incidental music for Korngold’s score to Much Ado About Nothing runs to nearly fifty minutes of music brimming over with pointed musical characterisation, subtle scene-setting and gorgeous melody – all written before his twenty first birthday.\u003c\/p\u003e\n\u003cp\u003eThe playing of his Holst-Sinfonietta is uniformly excellent and the engineering manages to find a really effective balance between all the disparate instruments. Time and again I marvelled at the genius of Korngold’s lushly economical scoring.\u003c\/p\u003e\n\u003cp\u003eA further attraction of this new disc for the Korngold completeist collector is the presence of the world premiere recording of his score to accompany Der Vampir oder Die Gejagten The Vampire or The Hunted). Written just three years later this is a fascinating score in the almost expressionist way the music instantly illuminates and comments on the drama.\u003c\/p\u003e\n\u003cp\u003eThe issue for the listener – especially the non-German speaking ones – is that the bulk of the music is underscoring dialogue. In this instance Cornelius Bauer (who also contributes the useful liner note) and conductor Klaus Simon have produced a concert version where a narrator explains the plot as well as performing a number of roles. Here Ekkehard Abele is the suitably dramatic narrator\/voice. However, due to copyright issues the liner cannot reproduce any of the texts for the work. This is compounded by the fact that the liner briefly outlines the convoluted plot but gives no actual synopsis and no indication of which track\/cue fits what part of the plot. Furthermore, it would appear that some of Korngold’s music has been lost. The score as it currently exists ends with an extended dream sequence but there are two more acts in the original play which include indications of further music cues. So what we have here is an attenuated arrangement of an incomplete score in an [potentially] unfamiliar language.\u003c\/p\u003e\n\u003cp\u003eNone of which sounds too enticing but this is where Korngold’s especial genius shines through. The instrumentation of Der Vampir is even smaller than Much Ado. Here he uses just flute, violin, cello, harp, piano and percussion as well as a Greek-style spoken chorus for the aforementioned dream-sequence. None of the music cues are anything like as extensive or self-contained either but goodness me they are effective. The playing here is every bit as skilled and apt as in the main work but this will remain very much an appendix to the main body of Korngold’s work.\u003c\/p\u003e\n\u003cp\u003eThe main value of this disc is the complete recording of Much Ado About Nothing which is immensely enjoyable. Der Vampir is valuable as a first recording and in the way it illustrates the range of Korngold’s skill especially at such a young age. The only real mystery is why such a valuable recording has sat in the Naxos vaults for nearly eight years.\u003c\/p\u003e\n\u003cp\u003e-- MusicWeb International (Nick Bernard)\u003c\/p\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46020706795754,"sku":"747313335572","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4046156-2788642.jpg?v=1778266334"},{"product_id":"korngold-string-quartets-nos-1-2-3-62440","title":"Korngold: String Quartets Nos. 1, 2 \u0026 3 \/ Doric String Quartet","description":"\u003cimg src=\"\/graphics\/p10s10.gif\"\u003e\u003cbr\u003e  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. \u003cbr\u003e  \u003cbr\u003e 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.\u003cbr\u003e  \u003cbr\u003e 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.\u003cbr\u003e  \u003cbr\u003e 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.\u003cbr\u003e  \u003cbr\u003e --David Hurwitz, ClassicsToday.com\u003cbr\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46025286877418,"sku":"095115161128","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1719266.jpg?v=1778321746"},{"product_id":"korngold-string-quartets-1-3-piano-quintet-112196","title":"Korngold: String Quartets 1-3, Piano Quintet Op 15 \/ Sigfridsson,  Aron Quartett","description":"\u003cbr\u003e \u003cbr\u003e  \u003cspan class=\"COMPOSER12\"\u003eKORNGOLD \u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003eString Quartets Nos. 1-3; Piano Quintet\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e1 \u003c\/span\u003e \u003cspan class=\"BULLET12b\"\u003e•\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e Aron Qrt; \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e1\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eHenri Sigfridsson \u003c\/span\u003e \u003cspan class=\"BULLET12b\"\u003e•\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e CPO 777 436-2 (2 CDs: 103:24) \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003e“I feel it—and can’t comprehend it—can’t retain it—and yet can’t forget it; and if I grasp it all, I can’t measure it. … No rule would fit it, and yet there was no error in it.” \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eHans Sachs’s rumination from the act II “Fliedermonolog” of \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eDie Meistersinger \u003c\/span\u003e \u003cspan\u003eis a perfect summation of Erich Wolfgang Korngold’s music. At once gay yet wistful, familiar yet elusive, inviting yet unsettling, it aurally distilled all the complex contradictions of \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003efin de siècle \u003c\/span\u003e \u003cspan\u003eVienna, preserving it for generations to come and carrying it into exile in America after the debacle of World War I. If the waltzes of Johann Strauss Jr. embody a carefree present moment, the works of Korngold preserve and nurture nostalgic memories of a lost past, ardently clinging and seeking to re-create those, that it might still dwell in them rather than an alien present. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThe four works in this set, spanning almost a quarter-century from 1921 to 1945, offer  refractions of those memories over a generation. The Piano Quintet and First String Quartet, composed almost simultaneously, present two decidedly different faces. The Quintet acts as if nothing has been lost; it is gay and brilliant, with unabashed romantic ardor emphasized by sweeping runs in the keyboard part. The outer movements are energetic, while the lyrical second movement employs an utterly haunting, gorgeous theme from Korngold’s song “Mond, so gehst du wieder auf” (Moon, Thus Risest Thou Again) from his op. 14 song cycle \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eLieder der Abschied \u003c\/span\u003e \u003cspan\u003e(Songs of Farewell); once heard, it simply won’t leave one’s head. The First Quartet, by contrast, is more introspective and even melancholic at points; its backwards longing has a certain assertive determination to it. A far greater reliance on chromaticism and freer employment of spicy dissonance give it a constantly edgy, unsettled character, with an antsy, off-kilter Intermezzo and quirky Finale that includes a jaunty, almost Vaughan Williams-like march fragment as a second subject (Korngold inscribed the movement’s opening page with a quote from Shakespeare’s \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eAs You Like It\u003c\/span\u003e \u003cspan\u003e). \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThe Second Quartet dates from the summer of 1933, near the close of a period of several years’ involvement by Korngold with operetta, and just before his first visit to Hollywood. It is a microcosm of melodic and harmonic devices that Korngold would employ so brilliantly in years to come as a composer of film scores. Given Hitler’s recent assumption of power in neighboring Germany, the first, second, and fourth movements would almost seem to be a perverse denial of reality. The opening Allegro epitomizes the skittish music of the Hollywood light romance; the Scherzo is all charming, gently smiling bustle; the Finale is, improbably, a witty, chatty waltz, but one of a decidedly un-Straussian character. All the more surprising, then, is the third-movement Larghetto, beginning with open harmonics like an icy chill (almost hinting at the Second Viennese School), eventually succeeded by a melody of melancholic yearning that seeks to cling to a wistfully remembered but unrecoverable comfort and security. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThe Third Quartet dates from 1945, at a juncture in Korngold’s Hollywood exile when, dispirited by academic critical disdain and convinced his film scores were destined for oblivion, he had secretly decided to turn back to composition in more “serious” genres. Dedicated to a longtime friend and near neighbor in exile, the conductor Bruno Walter, it shows Korngold adopting a leaner, more astringent melodic and harmonic language. The melodic material is more fragmentary and questioning; the dissonances more frequent and unresolved. The scherzo has a jittery, almost neurotic character to its outer sections, as short, choppy interjections repeatedly disrupt an incipient \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003emoto perpetuo\u003c\/span\u003e \u003cspan\u003e, from which a brief lyrical interlude provides only momentary relief. The slow movement bespeaks stifled grief and haunting bitterness over shattered hopes, with searing pain expressed by violins playing in the higher register as the viola and cello grind out clashing chords below. Only the finale, with its Stravinskian flavor and vigorously offbeat cascades of 16th notes, offers a somewhat hesitantly upbeat finale. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThe only other complete set of the quartets is by the Flesch Quartet, originally recorded for ASV and now available on a budget reissue from Brilliant Classics. In \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eFanfare\u003c\/span\u003e \u003cspan\u003e 23:2 Martin Anderson had high praise for its rendition of the Third Quartet and Sextet (the filler there instead of the Piano Quintet here). If those performances were more competitive, the budget price would tilt a recommendation toward the older set. However, the new cpo set completely outclasses its predecessor at every level, both interpretively and sonically. The Aron Quartet plays with immaculate ensemble and intonation, with far richer tone and irresistible zest and tenderness; the Flesch ensemble is almost lethargic in comparison, with its overall timings averaging almost 15 percent slower. (For example, the respective timings for the First Quartet movements are 7:26, 7:41, 4:42, and 8:07 vs. 8:47, 9: 56, 4:37, and 9:09.) Although its spirit may be willing, the Flesch is relatively weak. Henri Sigfridsson is a perfect teammate for the Aron players in the Quintet, which is likewise far ahead of rival versions such as the uninspired Marco Polo recording. The recorded sound is exemplary in every way. One complaint: This is shockingly short timing for a two-CD set. There is no reason that all three quartets could not have been put on a single CD, and another work such as the Piano Quartet included on the second disc. Nevertheless, this album is a stellar contribution to the ongoing and much needed Korngold renaissance, and is urgently recommended for all devotees of that once unjustly maligned but now belatedly appreciated master of late Romanticism. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-weight:bold\"\u003eFANFARE: James A. Altena \u003c\/span\u003e\u003cbr\u003e","brand":"CPO","offers":[{"title":"CD","offer_id":46025332687082,"sku":"761203743629","price":36.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1600258.jpg?v=1778256760"},{"product_id":"korngold-das-wunder-der-heliane-albrecht-berlin-55366","title":"Korngold: Das wunder der Heliane \/ Albrecht, Berlin German Opera [Blu-ray]","description":"\u003cp\u003e\u003cstrong\u003eThis Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e \u003ca class=\"links\" href=\"album.jsp?album_id=2288521\"\u003e\u003cstrong\u003eAlso available on standard DVD\u003c\/strong\u003e\u003c\/a\u003e\u003cbr\u003e \u003cbr\u003e Erich Wolfgang Korngold regarded Das Wunder der Heliane as his greatest work, but the opera has been neglected since its premiere in 1927. This 2018 production from the Deutsche Oper Berlin features the American soprano Sara Jakubiak as Heliane, and the American tenor Brian Jagde as The Stranger in the award-winning director Christof Loy’s acclaimed staging. The Orchestra and Chorus of the Deutsche Oper Berlin deliver the large forces required for this hyper-Romantic opera, under the baton of Dutch National Opera’s chief conductor Marc Albrecht. \u003cbr\u003e \u003cbr\u003e -----\u003cbr\u003e \u003cbr\u003e REVIEWS:\u003cbr\u003e \u003cbr\u003e Das Wunder der Heliane is Korngold’s most extravagant stage work and one that he considered to be his greatest score. Written for a huge ensemble, masterfully used, the music possesses voluptuous sweep and hyper-Romanticism. Its intensity is emphasised through an intoxicating array of effects, propulsive rhythms and glorious vocal lyricism, its arc of climaxes building from one act to another. This revelatory new Berlin staging in 2018 enjoyed an unprecedented 20-minute ovation at its premiere. \u003cbr\u003e \u003cbr\u003e – Opera Lounge\u003cbr\u003e \u003cbr\u003e The performance is conducted with all the necessary full-blooded fervour by Marc Albrecht, and Korngold’s score emerges in all its richly chromatic, glittering tonality and overheated intensity.\u003cbr\u003e \u003cbr\u003e – Telegraph (UK)\u003c\/p\u003e","brand":"Naxos AudioVisual","offers":[{"title":"Blu-Ray","offer_id":46025393996010,"sku":"730099008365","price":28.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3919845.jpg?v=1778387792"},{"product_id":"korngold-piano-trio-op-1-violin-sonata-op-6","title":"KORNGOLD: Piano Trio, Op. 1 \/ Violin Sonata, Op. 6","description":"Classical Music","brand":"Profil","offers":[{"title":"CD","offer_id":46025480110314,"sku":"881488502428","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/778438.jpg?v=1778186843"},{"product_id":"korngold-violin-concerto-much-ado-about-nothing-235149","title":"Korngold: Violin Concerto, Much Ado About Nothing, Etc \/ Philippe Quint, Carlos Miguel Prieto","description":"\u003cbr\u003e \u003cbr\u003e  \u003cspan class=\"COMPOSER12\"\u003eKORNGOLD\u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003e Violin Concerto. \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eOverture to a Drama. Much Ado about Nothing: \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eConcert Suite \u003c\/span\u003e \u003cspan class=\"BULLET12b\"\u003e•\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e Carlos Miguel Prieto, cond; Philippe Quint (vn); Mineria SO \u003c\/span\u003e \u003cspan class=\"BULLET12b\"\u003e•\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e NAXOS 8.570791 (53:40) \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eErich Wolfgang Korngold’s Violin Concerto once seemed the almost exclusive domain of Jascha Heifetz, whose recording remained for a long time alone in the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eSchwann \u003c\/span\u003e \u003cspan\u003ecatalog. More recently, Itzhak Perlman (Angel 47746), Gil Shaham (Deutsche Grammophon 439 886, 18:3), and Anne-Sophie Mutter (Deutsche Grammophon 000352602, 28:5), to name only several of the most prominent violinists, have recorded it, and they’ve been joined in the last several years by Leonidas Kavakos, Hilary Hahn (both on DVD), Nikolaj Znaider (RCA 710336, 32:6), James Ehnes (CBC 5241, 32:3), Paul Waltman (Daphne 1032, also 32:3)—and now by Philippe Quint, so that the work at last boasts almost as many recordings as Bruch’s First Concerto did in the early 1960s. Heifetz’s white-hot inspiration would be hard for anyone to match; besides his studio recording, there’s another live one from March 30, 1947, with Efrem Kurtz on Music \u0026amp; Arts 766. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eLike the more recent violinists to tackle the Concerto, Quint emphasizes its sweep and lyricism, soaring to moments of rapturous intensity that make their point unmistakably, even if Heifetz’s indelible performance lurks in the background. Quint makes the first movement cogent, never either stale or derivative—and certainly not as percussive to the bone as Heifetz’s crisp staccato made it seem. In fact, if it sounds like one of the great Romantic masterpieces in Naxos’s recording, that may be as much due to Quint, or to Prieto and the orchestra, who provide a sympathetic and, in the slow movement, a magical accompaniment, as to the composer’s virtuosity. Quint plays throughout with a silvery tone that’s warm even in the middle registers and with a great capacity for expressive nuance; while it’s clear that he’s thoroughly in command of the work’s abundant technical difficulties, he never lets them overwhelm the score’s essential melodiousness. Prieto presents the finale’s boisterous first theme with a robust energy that hearkens unmistakably back to its cinematic origins, and he reaches a stunning climax several minutes before the end. That so many recordings of Korngold’s Violin Concerto have achieved so great a stylistic success, though hardly all poured from the same mold—or even from similar ones—attests to the understanding Korngold must have had of the instrument and its expressive resources. Quint’s stands near the top (though all the recordings I’ve mentioned can be highly recommended), not least because of Prieto’s sympathetic accompaniment and the lively recording, which places Quint farther up front, than, say, RCA placed Znaider. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eKorngold’s \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eOverture to a Drama\u003c\/span\u003e \u003cspan\u003e, from his 14th year, may not display the same maturity as his Violin Concerto, but it prefigures its sumptuous melodic style and its harmonic lavishness, if not the slickness of its brightly variegated orchestration. In fact, it may be a weakness in the orchestration itself rather than any aspect of Prieto’s performance that prevents the score from making a very deep impression. Korngold adapted the Concert Suite from \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eMuch Ado about Nothing\u003c\/span\u003e \u003cspan\u003e for violin and piano, but the full score’s rich orchestral garb makes it even more effective in that more penetratingly witty original version. Prieto and the orchestra generously serve up the youthful and rambunctious good humor of the Suite. The recorded sound throughout combines depth and clarity, and places the soloist in a balance with the ensemble that’s natural if forward. Very highly recommended. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-weight:bold\"\u003eFANFARE: Robert Maxham \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e Philippe Quint turns in one of the most appealing, least \"sticky\" performances of Korngold's Violin Concerto yet recorded. If you usually find the piece too kitschy, then you really need to hear this. Like Heifetz, Quint adopts generally swift tempos, and this pays huge dividends in the opening movement--too often the piece sounds like it features two slow movements in a row. Here there is urgency along with passion, and a wonderful lightness in passagework that sustains the melodic thread even in the sections containing multiple stopping--and there are a lot of them. Quint's effortless technique also permits him to find all of the puckish humor in the finale. The tunes come from Korngold's film score to The Prince and the Pauper, after all.\u003cbr\u003e  \u003cbr\u003e A good bit of the credit for the success of this performance must go to conductor Carlos Prieto and his Mexican orchestra. It doesn't sound like a large ensemble, and that's all to the good. Korngold's orchestration doesn't need to be drowned in strings: it benefits greatly from the transparency on display here, both in terms of balance in the Violin Concerto and also in the Schauspiel Overture. Korngold was only 14 when he wrote the overture, and it's a fully mature and very enjoyable piece in its own right. The adorable suite from Much Ado About Nothing has plenty of charm, and some good horn playing in the finale. A slightly over-prominent, wheezy harmonium in the suite represents the only strike against this otherwise well-engineered production. Definitely recommended.\u003cbr\u003e  \u003cbr\u003e -- David Hurwitz, ClassicsToday.com\u003cbr\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46025517105386,"sku":"747313079179","price":19.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1525266.jpg?v=1778286317"},{"product_id":"korngold-das-wunder-der-heliane-jakubiak-jagde-59966","title":"Korngold: Das Wunder der Heliane \/ Jakubiak, Jagde, Albrecht, Berlin German Opera","description":"\u003cp\u003e\u003ca class=\"links\" href=\"album.jsp?album_id=2288677\"\u003e\u003cstrong\u003eAlso available on Blu-ray\u003c\/strong\u003e\u003c\/a\u003e\u003cbr\u003e \u003cbr\u003e Erich Wolfgang Korngold regarded Das Wunder der Heliane as his greatest work, but the opera has been neglected since its premiere in 1927. This 2018 production from the Deutsche Oper Berlin features the American soprano Sara Jakubiak as Heliane, and the American tenor Brian Jagde as The Stranger in the award-winning director Christof Loy’s acclaimed staging. The Orchestra and Chorus of the Deutsche Oper Berlin deliver the large forces required for this hyper-Romantic opera, under the baton of Dutch National Opera’s chief conductor Marc Albrecht. \u003cbr\u003e \u003cbr\u003e -----\u003cbr\u003e \u003cbr\u003e REVIEWS:\u003cbr\u003e \u003cbr\u003e Das Wunder der Heliane is Korngold’s most extravagant stage work and one that he considered to be his greatest score. Written for a huge ensemble, masterfully used, the music possesses voluptuous sweep and hyper-Romanticism. Its intensity is emphasised through an intoxicating array of effects, propulsive rhythms and glorious vocal lyricism, its arc of climaxes building from one act to another. This revelatory new Berlin staging in 2018 enjoyed an unprecedented 20-minute ovation at its premiere. \u003cbr\u003e \u003cbr\u003e – Opera Lounge\u003cbr\u003e \u003cbr\u003e The performance is conducted with all the necessary full-blooded fervour by Marc Albrecht, and Korngold’s score emerges in all its richly chromatic, glittering tonality and overheated intensity.\u003cbr\u003e \u003cbr\u003e – Telegraph (UK)\u003c\/p\u003e","brand":"Naxos AudioVisual","offers":[{"title":"DVD","offer_id":46025599877354,"sku":"747313558452","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3919842.jpg?v=1778245008"},{"product_id":"korngold-the-adventures-of-robin-hood-stromberg-95693","title":"Korngold: The Adventures of Robin Hood \/ Stromberg","description":"\u003cp\u003eOn its first appearance on the Marco Polo label, this recording was acclaimed as ‘a model of what these things should be’ (Fanfare) and that no release on the label was ‘better or more important than this’ (ClassicsToday.com). It presents a definitive restoration of Korngold’s music for the 1938 Warner Bros.’ production of The Adventures of Robin Hood, starring the ultimate swashbuckler, Errol Flynn, and still one of the most-loved of all motion pictures. Throughout—and to an unprecedented degree—Korngold captures its lavish spectacle, romance, colour, pageantry and humour in his magnificent score. Also included is the Original Theatre Trailer Music, not previously available on CD.\u003c\/p\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46025939419370,"sku":"747313336975","price":13.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2873546_951d8b0e-a878-4de6-88ac-4aaa1f2e4dda.jpg?v=1778284169"},{"product_id":"korngold-songs-vol-1","title":"Korngold: Songs, Vol. 1","description":"The precociously gifted Korngold followed in the footsteps of the great late romantic composers Richard Strauss, Mahler and Pfitzner, his unwavering commitment to refined melody, ravishing harmony and formal coherence earning him the reputation of a musical genius.","brand":"Naxos","offers":[{"title":"CD","offer_id":46025981198570,"sku":"747313202775","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1826103.jpg?v=1778332343"},{"product_id":"laureate-series-violin-korngold-lin-loeb-226684","title":"Laureate Series - Violin - Korngold \/ Lin, Loeb","description":"\"Joseph Lin’s recording of Korngold’s Violin Sonata appears in a collection of arrangements. Gil Shaham recorded the Suite, along with his reading of the Concerto—and Barber’s—and included the Caprice fantastique on “Devil’s Dance” (Deutsche Grammophon 463 483, 24:3), that appeared around Halloween time in 2000. The Suite consists of four movements, “Maiden in the Bridal Chamber,” “Dogberry and Verges,” “Gartenscene,” (a short number played as an encore by Heifetz), and “Masquerade.” These pieces, in a more popular vein than the more ambitious Violin Sonata, showcase Korngold’s rich melodic gift and harmonic imagination, and “Dogberry and Verges” give evidence of a mild sense of humor that the Sonata seems to lack. Lin and Loeb sharply characterize each of these movements, with Lin producing an especially glowing tone in the “Garden Scene” and displaying musical and technical authority in the “Masquerade.” Shaham plays with a more sumptuous tone and soaring portamentos that bring the period and the music vividly to life and he moves forward more coherently—and cogently—in the march, “Dogberry and Verges,” which Lin plays with a drier sensibility approaching that in Prokofiev’s March from The Love for Three Oranges. But Shaham brings a cheekier strut to the final movement, “Masquerade.”\u003cbr\u003e  \u003cbr\u003e Compared to Kiss, Lin sounds relatively sweet-toned, and the timings of his movements fall between those of Kiss and Waltman. But while those two-odd minutes may seem insignificant in a four-movement work, they also can represent a sort of general relaxation that makes the work sound more discursive, though Lin and Loeb play with plenty of energy and attack the more aggressive passages in the first movement, for example, with plenty of gusto and plenty of sharp-edged panache at the movement’s climax. The duo also takes command in the large-scale Scherzo (at 10:37 in this recording, that movement occupies almost a third of the Sonata’s duration), and though there may be a degree of roughness in Lin’s attack, he brings a sense of excitement to the movement. Lin’s purity of tone on the E string generates thrilling intensity in the slow movement, powering its leaps into the stratosphere. If the Sonata’s dedicatees inspired its seriousness, Korngold certainly rose to the occasion, and so do Lin and Loeb.\u003cbr\u003e  \u003cbr\u003e The shorter pieces begin with the Serenade from Der Schneemann, a rapt miniature that shows off Lin’s tonal command but also his wide and rather slow vibrato, which, for some listeners, may even threaten to grow annoying. From Korngold’s opera, Die tote Stadt, come the two short pieces, “Tanzlied” and “Marietta’s Lied,” the first a delicately wistful song that’s immediately ingratiating, and the second, an affecting lyrical outpouring that could vie successfully with the most popular works in the genre. The Caprice, subtitled “Wichtelmännchen,” or “Goblins” could similarly almost take the place of several similar pieces, like Bazzini’s Dance of the Goblins or Paganini’s “Witches’ Dance” on recital programs, though it’s more atmospheric than brilliant. Lin sounds a bit more polite in this miniature—and occasionally more ardent, by turns—than does Shaham, who plays it with more suggestive macabre energy.\u003cbr\u003e  \u003cbr\u003e Naxos’s issue offers yet another chance to ponder the question posed above: did Korngold’s work in Hollywood debase his musical coin or polish it? Lin and Loeb make a great deal of this repertoire, and their readings deserve a recommendation to anyone interested in it, in young violinists (the release appears as part of Naxos’s “Laureate” series), or in Korngold—or even to more general listeners. Recommended.\"\u003cbr\u003e  \u003cbr\u003e  \u003cb\u003e FANFARE: Robert Maxham \u003c\/b\u003e\u003cbr\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46026184163562,"sku":"747313206728","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/652365.jpg?v=1778338917"},{"product_id":"ponce-m-m-violin-concerto-korngold-e-w-violin-concer","title":"Ponce, M.M.: Violin Concerto \/ Korngold, E.W.: Violin Concer","description":"Classical Music","brand":"Centaur Records","offers":[{"title":"CD","offer_id":46027521655018,"sku":"044747251325","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2243466_23df9e20-910a-4f41-ae55-fcacba5cacbb.jpg?v=1778289772"},{"product_id":"korngold-piano-quintet-string-sextet-stumm-lafollette-79460","title":"Korngold: Piano Quintet \u0026 String Sextet \/ Stumm, LaFollette, Stott, Doric String Quartet","description":"\u003cp\u003eErich 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.\u003c\/p\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46027624906986,"sku":"095115170724","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1948612.jpg?v=1778320447"},{"product_id":"korngold-from-the-operas-loibner-janowitz-hoppe-87671","title":"Korngold: From The Operas \/ Loibner, Janowitz, Hoppe","description":"From the Operas of Erich Wolfgang Korngold (1949)","brand":"Cambria","offers":[{"title":"CD","offer_id":46027683856618,"sku":"021475010325","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/178583_ae432212-7f69-44ff-a06c-2ae9e88e7fe2.jpg?v=1778187108"},{"product_id":"korngold-sursum-corda-etc-bamert-et-al-87058","title":"Korngold: Sursum Corda, Etc \/ Bamert, Et Al","description":"\u003cp\u003eComposed when Korngold was only 14, the four-movement 'Sinfonietta', portrays a phenomenal expertise both in organization of musical ideas and in the handling of the orchestra: exquisitely orchestrated and crafted with an idiosyncrasy of harmony and rhythmic manipulation. Coupled with 'Sursum corda', an early virtuoso showpiece, and extraordinarily sumptuous piece, reminiscent of 'Pines of Rome', some of it was later used as some of the material for Korngold's score for 'Robin Hood' for which he received an Academy Award. Bamert's performances of these compelling examples of Korngold's early orchestral output were well received by the critics on original release, and are welcomed onto the Classics label for the first time. 'Here are glorious performances of two of his early orchestral works.' - BBC Music Magazine\u003c\/p\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46027731435754,"sku":"095115143223","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1115530.jpg?v=1778342871"},{"product_id":"korngold-symphony-theme-variations-straussiana-wilson-sinfonia-272395","title":"Korngold: Symphony, Theme \u0026 Variations \u0026 Straussiana \/ Wilson, Sinfonia of London","description":"\u003cimg src=\"\/graphics\/features\/gramophone_choice.jpg\"\u003e\u003cbr\u003e  \u003cbr\u003e  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.\u003cbr\u003e  \u003cbr\u003e  -----\u003cbr\u003e  \u003cbr\u003e  REVIEW:\u003cbr\u003e  \u003cbr\u003e  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.\u003cbr\u003e  \u003cbr\u003e  – Gramophone","brand":"Chandos","offers":[{"title":"SACD","offer_id":46027738120426,"sku":"095115522028","price":21.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3707578-2417919.jpg?v=1778275278"},{"product_id":"korngold-die-tote-stadt-weigle-vogt-pavlovskaya-136054","title":"Korngold: Die Tote Stadt \/ Weigle, Vogt, Pavlovskaya, Nagy, Fassbender","description":"Bruges la morte – The Dead City: This was the name of the novel published in 1892 that the young Erich Wolfgang Korngold used in 1920 as the basis for his first and most successful opera. The music of Tote Stadt, composed during the turbulent yet wildly creative time of nascent atonality, holds steadfastly to the operatic forms and tonal world of Puccini. Korngold‘s enormous richness of musical colors are irresistible, as are his harmonies – which go to the outermost bounds of the expected – and impressionistic tone-painting. \u003cbr\u003e  \u003cbr\u003e Included is a 43 page color booklet with notes on the performance, musicians and sung texts.\u003cbr\u003e","brand":"Oehms Classics","offers":[{"title":"CD","offer_id":46027987452138,"sku":"4260034869486","price":31.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1890408.jpg?v=1778329766"},{"product_id":"korngold-violanta-janowski-marton-jerusalem-berry-261666","title":"Korngold: Violanta \/ Janowski, Marton, Jerusalem, Berry","description":"\u003cb\u003eIncludes complete libretto\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e Violanta was Korngold’s second opera, composed after the comedy \"Der Ring des Polycrates\" when the composer was only 17 years old. It was given a double bill premiere with Der Ring in 1916 at the Munich Court Theatre under Bruno Walter, with Maria Jeritza in the title role.\u003cbr\u003e  \u003cbr\u003e The libretto, by Viennese playwright Hans Müller, has definite echoes of verismo. The opera is set during the Renaissance, in the Venetian Republic. Simone, military commander of the Republic is married to the beautiful Violanta, who has sworn revenge against Alfonso, Prince of the Republic. Violanta’s sister, Nerina, committed suicide after being seduced by Alfonso. Violanta’s plan is to lure Alfonso from the Carnival into her quarters, then have him killed by Simone, after being promised that his marital privileges will resume once Alfonso is dead. Once Alfonso is in Violanta’s quarters, she realizes that she’s in love with him as Alfonso is with her. She hesitates to give Simone, who is hiding, the signal to come out and kill him. Simone becomes impatient and comes out, finding the lovers in embrace. As Simone is about to strike Alfonso, Violanta gets in the way, receiving the blow and dying in Simone’s arms.\u003cbr\u003e  \u003cbr\u003e Here we have a marvellous example of how the young prodigy achieved his distinctive style at this early age. The usual description given to Korngold’s music, as made of elements of Richard Strauss and Giacomo Puccini, while being for the most part only a useful pointer, applies here perfectly. However, as with all generalizations, it does not give the whole story. Yes, the combination of rich orchestration and beautiful melodies is there; but listen, for example, to the Vorspiel where the very first mysterious chord is played in arpeggio by pretty much the whole orchestra, which then transforms into the main motif, played in tutti: Pure and unmistakable Korngold.\u003cbr\u003e  \u003cbr\u003e There are other wonderful moments in the opera, including the duet between Violanta and Alfonso; a Tristan-esque affair that, in my humble opinion, has a sense of forward movement that the Bayreuth master only achieved in \"Die Meistersinger\".\u003cbr\u003e  \u003cbr\u003e Let’s now talk about this recording. It is, to my knowledge, the only recording of this opera. The Munich Radio Symphony Orchestra - the same one that recorded with Erich Leinsdorf the classic 1975 premiere recording of \"Die Tote Stadt\" - is, as in that recording, in wonderful form. The clarity and power of the brass, the richness of tone of the strings and the clarity of the woodwinds put it in the same class as the best in the world.\u003cbr\u003e  \u003cbr\u003e Marek Janowski’s pacing of the score is very appropriate. It doesn’t feel rushed at all, letting the inner drive of the music provide the impetus. This is something that I feel is critical to let Korngold’s music shine; Erich Leinsdorf in his Tote Stadt feels at times rushed. Listen instead to the Leif Segerstam recording of the same opera on Naxos; while there are many controversial points with his interpretation, his pacing sounds ideal. Janowski seems to agree in his approach to Violanta.\u003cbr\u003e  \u003cbr\u003e Walter Berry, in this recording is beginning to show a bit of strain, but, for the most part, his voice is a rich as ever. On the other hand, Eva Marton in the title role is at the height of her powers, handling the difficult role with aplomb. Siegfried Jerusalem, although an acquired taste for many, as Alfonso, has the right qualities for a role that is not very dissimilar to that of Siegmund in vocal requirements.\u003cbr\u003e  \u003cbr\u003e The recorded sound is excellent, spacious, with great balance between the singers and orchestra. This is a 1980 analogue recording; by then, the art of recording by analogue means had reached a pinnacle. It can be said that by then it was perfected. Along with this release, other releases of the late 1970s, early 1980s era, like Solti’s \"Hansel und Gretel\" and parts of his Mahler cycle, show how far the technology had progressed. The SPARS code for this release is ADD, indicating that re-mastering took place, although no information about it is provided.\u003cbr\u003e  \u003cbr\u003e A libretto in the original German is included, along with translations to English and French. The very useful and informative notes include a short biography of Korngold, a history and description of the opera and analytic commentary, all written by Christopher Palmer. The introduction is written by none other than Karl Böhm, reminiscing about hearing the opera for the first time and his experiences while coming in contact with the Korngolds. An introduction by Vienna State Opera executive producer Marcel Prawy is also provided.\u003cbr\u003e  \u003cbr\u003e In conclusion, a great recording of a great opera that is well worth tracking down. This is a must not only for Korngold fans, but to admirers of late-romantic German opera. By virtue of being the only recording, it is THE reference recording, but it’s hard to think that it could have trouble holding that place against possible new recordings. Still, record companies, please keep them coming!\u003cbr\u003e  \u003cbr\u003e -- Victor Martell, MusicWeb International\u003cbr\u003e","brand":"CBS Masterworks","offers":[{"title":"CD","offer_id":46039898620138,"sku":"074643590921","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/0156994_4d9a9552-afc4-44d7-a5d5-3480f6fc65bf.jpg?v=1778822225"}],"url":"https:\/\/arkivmusic.com\/collections\/erich-wolfgang-korngold.oembed","provider":"ArkivMusic","version":"1.0","type":"link"}