{"id":311777,"date":"2025-11-22T18:12:36","date_gmt":"2025-11-22T18:12:36","guid":{"rendered":"https:\/\/peraltafinancing.com\/uncategorized\/authentic-korngold-to-raise-the-proms-roof\/"},"modified":"2025-11-22T18:12:36","modified_gmt":"2025-11-22T18:12:36","slug":"authentic-korngold-to-raise-the-proms-roof","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=311777","title":{"rendered":"Authentic Korngold to raise the Proms roof"},"content":{"rendered":"


\n<\/p>\n

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Last Saturday night, I left the Royal Albert Hall after the debut Prom of the Sinfonia of London and started down the slippery slope to South Kensington tube station. Moments later I stopped, because I’d realised I was, rather uncharacteristically, shaking all over.<\/span>\u00a0<\/span><\/p>\n

What induced this state was an extraordinary concert by an orchestra that hasn\u2019t performed for more than 60 years, reconvened and conducted by John Wilson. Their programme was of works that can thrill and terrify in equal measure: Johann Strauss, Berg, Ravel\u2019s\u00a0La Valse<\/i>, and Erich Wolfgang Korngold\u2019s Symphony in F sharp.<\/span><\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
John Wilson conducting the Sinfonia of London
photo: BBC\/Chris Christodoulou<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

Thirty-five years after I first fell in love with Korngold\u2019s music, 30 after seeing with horror how loathed it was in certain quarters of the music world, and a quarter-century since my compact biography of him was published, I\u2019d finally witnessed his Symphony \u2013 a tragedy-laden, post-war howl of pain \u2013 receive the performance it deserves.\u00a0The Times<\/i>\u00a0review has now gone the whole way, hailing it as a masterpiece.<\/span><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

The Symphony was completed in 1952 (it took him a while) and premiered on Austrian radio in 1954. The short version of the story is that it wasn\u2019t successful. Then Mitropoulos wanted to perform it – he called it \u2018the perfect modern work\u2019 \u2013 but died before he could do so. It wasn\u2019t played in concert until 1972, in Munich, under Rudolf Kempe.\u00a0<\/span><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

Saturday wasn\u2019t the first time it\u2019s been performed in the UK, far from it, but it\u2019s the first time that I have heard it sound as it can and should. Such was Wilson\u2019s hold on its architecture that there was no mistaking its staircases and supporting walls, nor any chance of them succumbing to the rising damp of technical imprecision. His scherzo was fast, light-footed and ferocious as an orchestral cheetah, the adagio as carvernous and profound as the catacombs; and his hand-picked performers were virtuosi enough to carry off a sort of orchestral Olympic gold (a sample: Adam Walker on first flute, Juliana Koch on first oboe, Thomas Gould playing no. 3 first violin, Peter Moore as first trombone; the list carries on).<\/span><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

So easy to love?<\/span><\/b><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

The Symphony is not an easy work to love. No warm, cuddly, Czech-Viennese Korngold here, guzzling fine goose-liver or chocolate cake. It\u2019s totally of its time and place: the structures of the classic symphonists, the expected playing standards of the Vienna Philharmonic, but also the emotional condition of someone torn from his whole world and flung seven thousand miles around the globe into a new life where material success never once meant real happiness. Someone struggling to save his family and friends, witnessing destruction on an unimaginable scale. Someone bewildered to find himself facing, in turn, racial prejudice, survival necessity and artistic snobbery; someone who\u2019d watched everything he had been born into swept away forever by World War II.\u00a0<\/span><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

The music is bitter, sometimes furious, sometimes ironic, sardonic or surreal, its malleable tonal centre (F sharp doesn\u2019t mean F sharp\u00a0major\u00a0<\/i>\u2013 anything but) with more than one toe in German expressionism. Occasionally a big punchy motif \u2013 try the horn call in the scherzo\u2019s trio \u2013 prefigures the sounds of John Williams, like the New York skyline glinting into view over a choppy ocean. It\u2019s three parts Fritz Lang to one part Steven Spielberg. It is not nostalgic or schmalzy in any way, shape or form, even when the emotion knocks you for six. You may not like it; it\u2019s not necessarily meant to be likeable. But at least if you still don\u2019t like it after you heard this performance \u2013 or the award-winning CD that the SoL and Wilson have made \u2013 you can rest assured that you\u2019ve given it a fair try and are responding to the work, and not just to the way it was played.<\/span><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

So what went right at the Prom that doesn\u2019t usually? And what\u2019s gone wrong before?<\/span><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

The trouble with Korngold<\/span><\/b><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

The first trouble with Korngold is that his music is so damnably difficult to play. Growing up as a child prodigy in Vienna, he was accustomed to astronomically high standards. He had the ear of Mahler at nine and Strauss by 15 (until his critic father ruined that for him). He was surrounded by the cr\u00e8me-de-la-cr\u00e8me of Europe\u2019s great musicians and knew he didn\u2019t need to make their lives easier. He wrote a violin sonata for Carl Flesch and Artur Schnabel when he was 14, a one-act opera (Violanta<\/i>) for Maria Jeritza at 16-17,\u00a0Die tote Stadt<\/i>\u00a0for Jeritza and Richard Tauber, premiered when he was 23. Conductors? He expected someone on the level of his neighbour, Bruno Walter. Frankly, if we give him instead \u2013 er, one of a few I can think of, we\u2019re asking for trouble.\u00a0<\/span><\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Marietta’s Lute Song from Die tote Stadt<\/i><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\u00a0<\/span><\/o:p><\/p>\n

Korngold is, moreover, a control freak: often he writes out the rubato exactly as he wants it to sound. I once counted the changes of time signature in the slow movement of his Piano Quintet \u2013 I think there were 57. Or possibly just 54. If you play what he writes, you provide the sound he wants. The audience hears a flexible, satiny, well-oiled ebb and flow that breathes and rests and intensifies. The musicians, though, are probably breaking quite a sweat over the mathematical exactitude that such freedom entails.\u00a0<\/span><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

They may also be doing their nut over poorly-prepared parts. A new complete Korngold edition is mercifully underway now, but previously some of the trouble with e.g.\u00a0Heliane<\/i>\u00a0has been that the originals were so badly presented. There was even a theory that in the 1920s there may have been deliberate sabotage by an (or some) anti-semite(s) who made the music as illegible as possible and even mis-wrote the then very famous composer\u2019s name as Kornfeld<\/i>. (They did. I\u2019ve seen it.)<\/span><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

Once you can read what\u2019s on the page, there\u2019s another issue. This music is full of expression and feeling. Recognising this, some musicians, with the best of intentions, ladle on still more of it in great hot-caramel dollops. If you do that, it overbalances, goes soggy in the centre, loses momentum, loses direction, and sometimes falls to bits. It turns into the schmalz that people came to expect it to be because they know Korngold ended up in Hollywood – but it is not, it was never meant to be, and if it sounds that way, something is very wrong. As the composer\u2019s father, the critic Julius Korngold, wrote at the start of the 20th<\/sup>\u00a0century,\u00a0the \u2018modern\u2019 was all about expression<\/a>. In 1910 his son was therefore as modern as modern could be. Hollywood Schmollywood. I can\u2019t put it better than John Wilson himself, who said to me in an interview: \u2018The last thing you want to do with Korngold is pour chocolate sauce all over it.\u2019\u00a0<\/span><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

A few years ago I wrote a \u2018Building a Library\u2019 article for BBC Music Magazine about the Beethoven \u2018Hammerklavier\u2019 Sonata. I listened to around 50 recordings, but found that a surprising number of pianists played it reverentially, every note a precious gem wrapped carefully in cotton wool. The one I loved the most played it, instead, like a huge, wise, quirky, brilliant, firebreathing dragon awakening (it was\u00a0Peter Serkin on a fortepiano<\/a>). How many others, I wondered, were playing not the music, but their expectations of it?\u00a0Their attitude towards<\/i>\u00a0the music, one of reverence and fear?\u00a0<\/span><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

Korngold\u2019s music has been open season for this kind of self-fulfilling prophecy. Exploring recordings of the Korngold Violin Concerto for Radio 3\u2019s equivalent feature (some years ago) it sounded much as if some of the artists, thinking the music is chocolate sauce, thought they should pour on even more. Swooning is expected, schmalz encouraged: that old Hollywood prejudice hangs over performers who have probably never even seen the films with Korngold scores \u2013 let alone heard him conducting on the soundtracks, a great clue to his genuine style, which is dynamic and sweeping enough to whoosh you clear off your chair. So, too is the recording of\u00a0Heifetz in the Violin Concerto, live in Carnegie Hall, 1947<\/a>: no swooping or splurging, but virtuosic, eloquent, heroic, idealistic.\u00a0<\/span><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

Interpretations can end up skewed, sometimes for the sake of received opinion, and if the music isn\u2019t well known, then if it is poorly delivered nobody knows any better. Without top-notch performances, the impression is given that the music isn\u2019t good, not that the playing might perhaps be responsible. This is quite often the fate of composers who are being rediscovered. In many instances, it\u2019s only when they have come on to the radar strongly enough that the top musicians \u2013 or their record companies \u2013 will jump in and do them justice.\u00a0<\/span><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

The quantity of vicious abuse I\u2019ve seen directed at Korngold over the last three or four decades is mind-boggling. But now, here\u2019s a really great performance of the Symphony and suddenly…\u00a0The Times<\/i>\u00a0critic, Rebecca Franks, writes:
<\/span><\/span><\/p>\n

\n

It emerged here as a staggering masterpiece: brooding, biting, anguished, mourning, soul-stirring. Played with the high-octane approach so familiar from the John Wilson Orchestra\u2019s Hollywood film and musicals Proms, the symphony seared itself in the mind. No surprise, perhaps, given that the Sinfonia of London made its recording debut with this work. Yet hearing it live, in all its emotional intensity and ferocity, was another experience entirely.<\/span><\/i><\/i><\/span><\/p>\n

\u00a0<\/span><\/i><\/p>\n<\/blockquote>\n

\u00a0<\/span><\/o:p><\/p>\n

Striking a chord<\/span><\/b><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

I\u2019ve sometimes wondered if perhaps the composers whose music can appear most closely related to their life stories stand the best chance of cutting through to the public upon discovery or rediscovery. Weinberg, for example, and indeed Korngold, are possibly easier \u2018to get a handle on\u2019 than certain figures among their more-or-less contemporaries who wrote marvellous music yet kept it wholly detached from their personal circumstances, such as Hans G\u00e1l and Szymon Laks. I\u2019ve loved everything I\u2019ve heard by both the latter; if they are winning through now, it\u2019s because of the assiduous championship of some very devoted performers. Hopefully it will continue, but I wonder if this may partly explain why it\u2019s sometimes seemed more of an uphill struggle.<\/span><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

Still, there\u2019s a danger mark over which parts of Korngold\u2019s story are remembered. For decades he was vilified for having gone into film music, but does one really have to spell out why he did so? Korngold was Jewish in Vienna. After the Anschluss in 1938, had they not escaped, he and his family would have been deported to a concentration camp and murdered.\u00a0<\/span><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

His astute colleague Max Reinhardt, the theatre director, invited him to Hollywood in 1934 to arrange Mendelssohn\u2019s music for his film of\u00a0A Midsummer Night\u2019s Dream<\/i>\u00a0and introduced him to Warner Bros. He had the perspicacity to accept their commissions and to apply for American citizenship in 1936. Warner Bros saved the Korngold family\u2019s lives. The Korngolds were, in the grand scheme of things, \u2018lucky\u2019.<\/span><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

The fact that he escaped with his life did not prevent exile from being painful, or the job of film music ultimately unsatisfying. When the films disappeared from the cinemas, so did his music. This is why he recycled so much of it into concert works \u2013 though that\u2019s complicated by the fact that many of the ideas in his film scores originated from notebooks he had kept years earlier in Vienna, before Hollywood was ever a glint in anybody\u2019s eye (try this: the main theme from\u00a0The Adventures of Robin Hood<\/i>\u00a0can be found in waltz form in his completion of Leo Fall\u2019s operetta\u00a0Rosen aus Florida<\/i>, 1925).\u00a0<\/span><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

The problem changed a little when television became ubiquitous. For years, those films remained in wide circulation on TV:\u00a0The Sea Hawk<\/i>\u00a0and\u00a0The Adventures of Robin Hood<\/i>\u00a0brought Korngold\u2019s name and soundworld to generations of viewers. No wonder people associated him with film music \u2013 especially when his concert works and operas were being performed very little in the mid-century. A few recordings won through in the \u201870s: Kempe conducting the Symphony, Leinsdorf\u2019s\u00a0Die tote Stadt<\/i>, for instance, but it\u2019s fair to say that these were a tad niche.\u00a0<\/span><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

Korngold was therefore being remembered as \u2018a Hollywood composer\u2019, rather than as a Jewish composer in exile who, after the war ended, must have seen the film footage from the liberation of Auschwitz. The degree of that shock and agony is unimaginable to most people sitting in concert halls today. (Michael Haas, author of\u00a0Forbidden Music<\/i>, has explored the issue of cultural loss\u00a0in depth here<\/a>.)\u00a0<\/span><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
My copy of Die tote Stadt<\/i>, piano score
sourced from Travis & Emery in 1987<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


\u00a0<\/span><\/p>\n

A little knowledge is a dangerous thing\u2026\u00a0<\/span><\/b><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

When I was a student 35 years ago, the faculty spent plenty of time drumming into us that a composer\u2019s music has nothing whatever to do with his\/her\/their life experience: works were to be considered solely on their own terms, regardless of their creator\u2019s history. This is the diametric opposite, of course, of my speculations about which music chimes with the public when neglected composers come out of the woodwork.\u00a0<\/span><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

Again, it\u2019s a massive generalisation, a trawler-net in which some pretty big tuna are left flailing. Nobody who knows any composers personally could think that (as some clunky biopics would have it) they just sit down and write a piece that expresses his\/her\/their immediate, overt experience or state of mind. Some might have, sometimes: for example, a Robert Schumann who wrote so intensely that he could draft a whole piano work in just a few days – but that\u2019s the exception. There are many, the G\u00e1ls and Lakses for instance, who deliberately keep their work and their lives separate. Or to quote (or misquote) a line of Nina Raine\u2019s play\u00a0Bach and Sons<\/i>, Sebastian says rather tetchily: \u2018Of course there are emotions in my music \u2013 just not\u00a0my<\/i>\u00a0emotions.\u2019<\/span><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

In between, there\u2019s infinite middle ground. Try Beethoven. Sometimes what he\u00a0didn\u2019t<\/i>\u00a0write can tell us a little bit about how he did, when he did. He had notably scant output in 1817, something often attributed to his personal state of mind, body and preoccupations at the time: illness, depression, trying to adopt his nephew, and so forth. Look a little closer, though, and you see what was actually going on in 1817: the noxious mix of Napoleon\u2019s rampaging return, the 1816 Indonesian volcanic eruption which produced a \u2018year without a summer\u2019 in Europe with crop failure leading to massive food shortages, runaway inflation\u2026 It\u2019s a wonder that anybody managed to write any music at all.\u00a0<\/span><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

You can take composers out of their times, but\u2026 We\u2019re all subject to the buffeting of history, like it or lump it, and composers perhaps more so than most, since their work is widely expected, despite all that detachment, somehow to distil their zeitgeist into sound.<\/span><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

Each note on a page is a choice by the person who put it there; each person will present a different, individual set of responses. One size doesn\u2019t fit all. And essentially, music is a human creation. It doesn\u2019t write itself.\u00a0<\/span><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

\u2026wildest dreams\u2026<\/span><\/b><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

When I set about my university dissertation on\u00a0Die tote Stadt\u00a0<\/i>in 1986, I can\u2019t say I ever expected to see it on stage, let alone at the Bavarian State Opera by Marlis Petersen, Jonas Kaufmann and Kirill Petrenko. I\u2019d heard just one, rather muddy recording of the Symphony. I knew nothing of\u00a0Das Wunder der Heliane<\/i>\u00a0except the one famous aria, \u2018Ich ging zu ihm\u2019; I never imagined I\u2019d give the pre-concert talk for its UK premiere and, since that performance wasn\u2019t a massive success (it didn\u2019t fit inside the hall and the chosen solutions did not work) the recent production at the Deutsche Oper Berlin was beyond my wildest dreams.\u00a0<\/span><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

But here we are, it\u2019s 2021 and the Symphony has raised the roof. Korngold fanatics from all over the country came to London to hear it. The recording (on Chandos) has been winning prizes. There will still be people who don\u2019t like the piece, but that\u2019s natural: nobody can like everything and no one should be expected to. The crucial thing is that with such a performance, the composer has the best possible chance of getting his music to us across time, space and dimensions. And we can hear it, at last, as it really is, because Wilson knows the style inside out, understands what to do with it and has an orchestra that can play it properly. (Catch it on TV on BBC4 on Thursday evening, or afterwards on the iPlayer.)<\/span><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

Next\u2026can we perhaps plead with ENO to stage\u00a0Die tote Stadt<\/i>\u00a0with Wilson conducting? I\u2019m sure somebody could make a good, singable translation [raises hand]. It is to be featured at the Longborough Opera Festival next year \u2013 its first hearing in the UK since a slightly uninspiring outing at Covent Garden about 13 years ago, even though it is all over Europe these days.\u00a0<\/span><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n

Finally, I\u2019m daring to dream.\u00a0<\/span><\/p>\n

\u00a0<\/span><\/o:p><\/p>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"

Last Saturday night, I left the Royal Albert Hall after the debut Prom of the Sinfonia of London and started down the slippery slope to South Kensington tube station. 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