“I have never drawn a distinction between music for films and for operas or concerts” –– Erich Wolfgang Korngold
Many conclude that Korngold was born in the wrong era. Instead of his romantic concepts excelling, his ideals and concepts were overshadowed not only by the vogue of the Second Viennese school composers: Arnold Schönberg, Alban Berg, and Anton Webern, he was also amidst an era of chaos, including the happenings of the first World War. In addition, the rise of Nazism turned his move to Los Angeles in 1934 into an exile due to his Jewish heritage.
However, Korngold’s earlier years were of more positivity. Gustav Mahler called him a “genius”, after hearing his composition Gold for Gustav Mahler. At only thirteen years old, the Austrian …show more content…
Wanting to revitalise his relationship with the traditional practise, the violin concerto was his first attempt, and it was a successful one. The concerto was dedicated to Alma Mahler, the widow of Gustav Mahler, and it was premiered on February 15th 1947 by Jascha Heifetz and the St. Louis Orchestra with Vladimir Golschmann as conductor. It was rumored that this piece was penned due to a suggestion from violinist Bronisław Huberman. However, by the time Korngold had finalised the score, Huberman’s years as a thriving violinist had passed, and thus, it was Heifetz who premiered the work. The tale of this piece’s compositional process was also turbulent. During a rehearsal with Bronisław Gimpel, it was deemed too difficult which only discouraged Korngold. It was only through an arranged rehearsal with Heifetz, were both composer and piece rejuvenated. He insisted to Korngold that the solo part to be more difficult, thus reviving the enthusiasm for this composition. And even after the premiere, where it received slightly dispassionate reviews –– The New York Times deemed it a “Hollywood Concerto” –– Heifetz incessantly championed the work, hence securing this concerto as a significance in the violin repertory. Heifetz continuous actions allocated him somewhat as an advocator for this concerto, and consequently, decades later, Korngold’s violin concerto is noted as a work written for Heifetz, despite its tumultuous origins. This piece is Korngold’s nod to both his classical romanticism and Hollywood ideals; it ecompasses both his Viennese School concept of commanding craftsmanship and artistry, and the dramatic Hollywood method of emotional
Many conclude that Korngold was born in the wrong era. Instead of his romantic concepts excelling, his ideals and concepts were overshadowed not only by the vogue of the Second Viennese school composers: Arnold Schönberg, Alban Berg, and Anton Webern, he was also amidst an era of chaos, including the happenings of the first World War. In addition, the rise of Nazism turned his move to Los Angeles in 1934 into an exile due to his Jewish heritage.
However, Korngold’s earlier years were of more positivity. Gustav Mahler called him a “genius”, after hearing his composition Gold for Gustav Mahler. At only thirteen years old, the Austrian …show more content…
Wanting to revitalise his relationship with the traditional practise, the violin concerto was his first attempt, and it was a successful one. The concerto was dedicated to Alma Mahler, the widow of Gustav Mahler, and it was premiered on February 15th 1947 by Jascha Heifetz and the St. Louis Orchestra with Vladimir Golschmann as conductor. It was rumored that this piece was penned due to a suggestion from violinist Bronisław Huberman. However, by the time Korngold had finalised the score, Huberman’s years as a thriving violinist had passed, and thus, it was Heifetz who premiered the work. The tale of this piece’s compositional process was also turbulent. During a rehearsal with Bronisław Gimpel, it was deemed too difficult which only discouraged Korngold. It was only through an arranged rehearsal with Heifetz, were both composer and piece rejuvenated. He insisted to Korngold that the solo part to be more difficult, thus reviving the enthusiasm for this composition. And even after the premiere, where it received slightly dispassionate reviews –– The New York Times deemed it a “Hollywood Concerto” –– Heifetz incessantly championed the work, hence securing this concerto as a significance in the violin repertory. Heifetz continuous actions allocated him somewhat as an advocator for this concerto, and consequently, decades later, Korngold’s violin concerto is noted as a work written for Heifetz, despite its tumultuous origins. This piece is Korngold’s nod to both his classical romanticism and Hollywood ideals; it ecompasses both his Viennese School concept of commanding craftsmanship and artistry, and the dramatic Hollywood method of emotional