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Korngold: Suites from Film Scores
 
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Korngold: Suites from Film Scores

~ Andre Previn, London Symphony Orchestra, Erich Wolfgang Korngold
5.0 out of 5 stars  See all reviews (3 customer reviews)
Price: £13.69 & this item Delivered FREE in the UK with Super Saver Delivery. See details and conditions
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Product details

  • Audio CD (4 Feb 2002)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Universal Classics
  • ASIN: B00005UW3Z
  • Other Editions: MP3 Download
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon.co.uk Sales Rank: 79,529 in Music (See Bestsellers in Music)

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1. The Sea Hawk (Original orchestration: Hugo Friedhofer, Ray Heindorf, Milan Roder)
2. The Private Lives of Elizabeth and Essex (Original orchestration: Milan Roder, Hugo Friedhofer)
3. Captain Blood (Original orchestration: Hugo Friedhofer, Milan Roder, Heinz Roemheld)
4. The Prince and the Pauper (Original orchestration: Hugo Friedhofer, Milan Roder)
On this CD:
  1. (The) Sea Hawk
    Composed by Erich Wolfgang Korngold
    Conducted by André Previn

  2. (The) Private Lives of Elizabeth and Essex
    Composed by Erich Wolfgang Korngold
    Conducted by André Previn

  3. Captain Blood
    Composed by Erich Wolfgang Korngold
    Conducted by André Previn

  4. (The) Prince and the Pauper
    Composed by Erich Wolfgang Korngold
    Conducted by André Previn

Product Description

Amazon.co.uk Review

Previn conducts Korngold presents suites from four of the finest and most influential film scores ever written, performed by an orchestra (the LSO) well used to the genre and conducted by someone who, like Korngold before him, has always had an equivocal relationship with Hollywood. Ever a reluctant film composer, Erich Wolfgang Korngold nevertheless became one of the principal architects of the Hollywood Sound; the style and scope of his scores for the four swashbuckling Errol Flynn vehicles here continue to resonate through any number of modern films, from the Star Wars saga onwards. Korngold's "operas without words", written in the same splendidly grandiose Viennese manner he brought to his concert works, helped define film music's pivotal role in the on-screen drama and provide textbook examples of how to underpin both action and emotion. The earliest is 1935's Captain Blood, which Korngold scored, not without protest, in just three weeks; then came 1937's The Prince and the Pauper with its highly chromatic, almost decadent lyricism (parts of it were later recycled in his Violin Concerto). Both The Private Lives of Elizabeth and Essex (1939) and The Sea Hawk (1940) are works of high melodrama and bold gestures, replete with rousing marches, stirring fanfares and delicious love themes.

It's a safe choice of repertoire for Previn, who knows Korngold's idiom well, and a comfortable one for this orchestra. The result is an album of plushly upholstered performances, which emphasise the continuities and similarities between each suite. Although all the scores have been recorded before in more complete versions, these abbreviated suites suit Previn's expansive, concert-hall approach to the music as he lingers long over the big romantic gestures. Korngold collectors will find nothing here they haven't heard before, but perhaps they'll discover it's rarely been so luxuriantly performed.--Mark Walker

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Customer Reviews

3 Reviews
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Average Customer Review
5.0 out of 5 stars (3 customer reviews)
 
 
 
 
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4 of 5 people found the following review helpful:
5.0 out of 5 stars Excellent, 5 Oct 2006
Great music, severely under-rated by snobs. Great perfeormances, well -recorded and a very attractive presentation packaging. A good present to expand the mind of prejudiced twits.
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2 of 2 people found the following review helpful:
5.0 out of 5 stars A classic for all music lovers, 6 Dec 2005
By Jonathan Coates (Leeds, w Yorks United Kingdom) - See all my reviews
I dont know much about classical music as I'm not an expert of classical music but to enjoy this you don't have to be. As a child (I'm 41) I remember watching the old Errol Flynn movies from the 1930's and loved the music scores as much as the movies they were written for.

If you've not heard of Korngold or of his music then buy this and I promise you will not be disappointed!, and with Andre Previn at the helm of the London Symphony Orchestra you could not do better.

So if your stuck for a great present for dad this could be the one.

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9 of 13 people found the following review helpful:
5.0 out of 5 stars MAGIC FORMULA, 16 Dec 2005
By DAVID BRYSON (Glossop Derbyshire England) - See all my reviews
(TOP 50 REVIEWER)    (REAL NAME)      
This disc provides four sets of selections from Korngold’s legendary film scores. That suits me for one better than the scores in their entirety, and I like the way the production has been done, with each set of extracts played without intermissions (although there are separate tracks for the individual episodes). Korngold’s film music is all about effect so far as I’m concerned, and enough of a good thing is enough, especially when the transitions between the separate extracts are arranged as skilfully and smoothly as they are here. Korngold’s style fitted the epics of the 30’s and 40’s to perfection – it was his natural style, he didn’t adapt that as William Alwyn did, and he didn’t follow models but was the model himself, starting with Captain Blood in 1935. It was as if someone had invented a glove because he liked the shape of it, and found out that it was perfectly suited to being worn on the hand.

The liner-notes that come with the disc are admirable. Previn contributes a short and lucid introduction giving us his general view of Korngold and of film music. The majority of the material is from the authoritative source of Brendan G. Carroll, providing a more detailed commentary on the four film scores separately. These are given in the chronological order of the films, whereas the scores are not, in case anyone needs to know that. Previn suits me down to the ground as an interpreter of music like this. He had an exceptionally adept touch with scores that are thick-textured and lyrical, something I found many years ago in his Brahms readings, and which you will find in his recording of the German Requiem from 2000, one year prior to the present disc. The way he does it is just right for me, with plenty of body and fullness to it, but showing real mastery in keeping the texture clear at the same time. He and the LSO are long acquainted of course. Their relationship had its stormy episodes, but in my own opinion it was one of the most successful such partnerships in the entire 20th century. There is a sense of consistency here, which might seem unsurprising given that this is Korngold whose idiom is not exactly varied, but it does great credit to the various orchestrators, of whom I count five. Korngold simply was not given time to go through the hard slog of writing out his scores in full, but he knew the kind of sound he wanted and I would guess he supervised his assistants pretty closely.

The recording seems exemplary to me as well. It suits Korngold, it suits the LSO, it suits Previn’s special approach. The packaging is a new kind that I was also given by DG for a set of Lutoslawski concertos. It is in soft board, with a fold-over cover forming an envelope containing the liner. Extracting the latter can be like coaxing an unwilling dog out of its kennel sometimes, but I have no objection to this new format. In my filing system this disc will be separated by only one other from my disc of Ketelbey, another composer for the masses during the same era. The two make an interesting contrast. Ketelbey wrote for the radio, specifically for the BBC Light Programme and was listened to by an audience of impoverished British housewives in pinnies as in the film Vera Drake, and by the husbands and sons of these in flat caps. Korngold sang of romantic adventure and – more to the point – of romantic opulence. Where I come from, and for my age-bracket, this is the music of escapism, and it is a pleasure to escape down memory lane again.

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