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 (kôrn′gōld′, -gôlt′), Erich Wolfgang 1897-1957.
Austrian-born American composer and pianist whose works include operas, such as Die tote Stadt (1920), orchestral and chamber music, and film scores, including Anthony Adverse (1936).


(ˈkɔrnˌgoʊld; Ger. ˈkɔrnˌgɔlt)
Erich Wolfgang, 1897–1957, Austrian composer, conductor, and pianist in the U.S.
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Much of the film's wall-to-wall underscoring adopts the nineteenth-century symphonic idiom that was common among studio-era Hollywood composers such as Max Steiner and Erich Wolfgang Korngold, but relatively foreign to cartoon shorts, whose scores typically featured chockablock medleys of popular songs interspersed with the hyper-explicit musical reinforcements of visual gestures referred to in film-music parlance as "mickey mousing.
Egresada de la Escuela de Musica Crane de la Universidad del Estado de Nueva York, al ganar la Beca Fulbright, que obtuvo sin discusion, se perfecciono con Arleen Auger y la propia Elisabeth Schwarzkopf en Alemania, donde amplio y perfecciono su repertorio con la obra de otros importantes compositores teutones mas modernos como Erich Wolfgang Korngold, Kurt Weill y el tambien muy ligado a Estados Unidos Andre Previn.
Erich Wolfgang Korngold, who was much celebrated in Europe as a musical wunderkind, never felt accepted or at home in the USA -- despite his greatest successes.
The story goes that after hearing music by Erich Wolfgang Korngold, Puccini said: "He has so much talent, he could easily give us half and still have enough left for himself.
The Weeks will focus on, among others, the work of Erich Wolfgang Korngold, a romantic composer linked to Viennese musical modernism who - after being forced into exile by Nazi Germany's occupation of Austria - moved on to become a pioneer in film music in Hollywood in the 1940s.
Yes, he is, and it remains an engaging, well-made movie, over-lit in many scenes, perhaps, as if it were made in a TV studio, but with plenty of engrossing visual compositions and imposing period production design by one of the greatest art directors in movie history, William Cameron Menzies, and a stirring main theme by the archetypal Hollywood composer, Erich Wolfgang Korngold (though Max Steiner gets my vote).
Contents: Independence Day by David Arnold, Jurassic Park by John Williams, Back to the Future by Alan Silvestri, Out of Africa by John Barry, Pirates of the Caribbean by Klaus Badelt and Hans Zimmer, King's Row by Erich Wolfgang Korngold, Dancer in the Dark by Bjork, Torn Curtain by Bernard Hermann, Once Upon a Time in the West by Ennio Morricone, On Dangerous Ground by Bernard Hermann, Harry Potter and the Goblet of Fire by Patrick Doyle, Romeo and Juliet by Nino Rota, The Magnificent Seven by Elmer Bernstein, and "One Day I'll Fly Away" from Moulin Rouge by Joe Sample and Will Jennings.
Fifty or 60 years ago, it was not unusual to see the name of the composer right up next to that of the producer or director in a movie's opening credits--Max Steiner on "Casablanca," for example, or Erich Wolfgang Korngold on "Kings Row.
Born in Moravia in 1897, Erich Wolfgang Korngold grew up in Vienna where his father was the successor to Eduard Hanslick as Vienna's preeminent music critic.
Erich Wolfgang Korngold fue bautizado asi en honor de Mozart con la esperanza de que la genialidad mozartiana incubara en la criatura recien parida.
AS A wunderkind Erich Wolfgang Korngold was the toast of musical Vienna but he eventually fled to Hollywood to escape Nazi anti-Semitism.
The final section of this book is a particularly effective survey of a disparate group of musical variations upon A Midsummer Night's Dream by composers including Henry Purcell, John Frederick Lampe, Felix Mendelssohn, and Erich Wolfgang Korngold, en route to Britten.