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Erich Wolfgang Korngold: Sinfo

Ulrike-Anima Mathe , Korngold; Erich Wolfgang Audio CD
5.0 out of 5 stars  See all reviews (1 customer review)
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Product Details

1. Fliessend, Mit Heiterem Schwunge
2. Scherzo: Molto Agitato, Rasch Und Feurig
3. Molto Andante (Traumerisch)
4. Finale: Patetico
5. Moderato Nobile
6. Romance: Andante
7. Finale: Allegro Assai Vivace

Product Description

Product Description


Because he was one of the first and greatest of all film composers, critics used to sneer that everything Erich Wolfgang Korngold wrote sounded like movie music. The truth, of course, was just the opposite--it's the movie music that sounds like Korngold! One of the great child prodigies in musical history, he had a mature style fully in place by the time he was about eleven years old, and he never looked back. The Sinfonietta predates his involvement with film, and the Violin Concerto actually uses tunes from some of his Hollywood scores, but they're so clearly the work of the same composer that you'd never know the difference. If you like music that is lush, Romantic, and opulent, then go for it! --David Hurwitz

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5.0 out of 5 stars Very Fine Performances Of Two Late Romantic Works March 18 2002
Format:Audio CD
Do not be fooled by the title SINFONIETTA into thinking that this is some small scaled work. In essence it is a late romantic symphony on a Mahlerian scale. Come to think of it even some of Mahler's symphonies might appear small scaled next to this work. Lush melodies on an often epic scale are deftly developed in a rich and colorful orchestration. This all from a composer barely in his teens. Korngold has been compared to Mahler and Richard Strauss often to his detriment. Both Mahler and Strauss were Korngold admirers. He was not imitating them but working in the same musical atmosphere that they were. One hearing of the SINFONITTA makes it quite clear that Korngold has his own unique sound. The VIOLIN CONCERTO comes from his later years (it was written for Jascha Heifitz) and is a meloncholic but quite beautiful work. The rich melodic and orchestral detail are still present but finely balanced to give the violin a clear voice. Ulrike-Anima Mathe's performance matches the beauty of the work. Under Andrew Litton the Dallas Symphony is fully into Korngold's sound world and are more than a match for any European orchestra in this repertoire. If you know the works don't hesitate; if you are new to Korngold, a perfect introduction.
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