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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).
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.


(ˈkɔrnˌgoʊld; Ger. ˈkɔrnˌgɔlt)
Erich Wolfgang, 1897–1957, Austrian composer, conductor, and pianist in the U.S.
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Zemlinsky taught composition to a number of private pupils, most notably the gifted Erich Wolfgang Korngold. This created an inextricable bond between suppressed Jewish musicians during the time of the Third Reich - better known as Nazi Germany.
The 1920 opera by Erich Wolfgang Korngold enjoyed immense popularity in its time, though it was later banned by the National Socialists in Germany for its Jewish origins.
The program will feature Erich Wolfgang Korngold's "Dance in the Old Style," Peter Ilyich Tchaikovsky's "Variations on a Rococo Theme, Op.
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." Snow White's terrified flight through the forest, for instance, is intensified by Paul Smith's grotesque Sturm und Drang scoring: while the orchestra numerically "catches" a few on-screen actions, the dominant aesthetic of this sequence privileges the broad sweeps of mood-appropriate music over animation music's typical gesture-appropriate approach.
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 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).
Tuesday's program will include a performance of Austro-Hungarian composer Erich Wolfgang Korngold's popular Concerto for Violin and Orchestra in D Major, written in 1945.
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.