Latest

December 5, 2019 A Korngold Festival! Two from the Bard Music Festival, 2019, as well as Two New Recordings
December 5, 2019 A Fine New Recording of Korngold’s Masterpiece, Das Wunder der Heliane
December 5, 2019 The Bard Music Festival—Erich Wolfgang Korngold’s Trajectory: the Symphony in F#, Music for Hollywood, Chamber Music
December 4, 2019 Bard Music Festival 2019: Korngold and his World
December 4, 2019 A Crop of Recordings XXIX: Magnard, Bruckner, Korngold, and Vaughan Williams

Victoria Gibson

Art

Rise Up, Fallen Angel: a Performance Work by Victoria Gibson at the Center for Performance Research, Brooklyn, May 26-28, 7.30 pm

May 13, 2011The Editor

Rise Up, Fallen Angel: a Performance Work by Victoria Gibson at the Center for Performance Research, Brooklyn, May 26-28, 7.30 pm

The ephemeral strands that connect us; a gesture, a sound, a touch – may trigger cascades of meaning. A …

Support New York Arts. All donations are tax deductible We can't effect our transition to an organization that will bring you original multidisciplinary performances and exhibitions, or the essays, reviews, articles, and interviews the arts deserve without your support. Please donate generously. The Arts Press (parent organization of New York Arts) is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the charitable purposes of The Arts Press must be made payable to Fractured Atlas only and are tax-deductible to the extent permitted by law.

Read the Fractured Atlas privacy policy here: https://www.fracturedatlas.org/site/about/privacy

Please send contributions other than those made online, i.e. by check, to Michael Miller, Publisher, The Arts Press, 127 East 91st Street, New York New York, 10128. Checks should be made payable to Fractured Atlas, with The Arts Press in the memo line.

A Fine New Recording of Korngold’s Masterpiece, Das Wunder der Heliane

Lovers of opera, decadence, and general excess, had reason this year to rejoice. This past summer, Bard Summerscape staged, as its centerpiece, complementary to the Bard Music Festival, Das Wunder der Heliane (The Miracle of Heliane), which is possibly the single most important work by Erich Wolfgang Korngold (1897-1957). And the work has now appeared in a sumptuous new recording (reviewed here) as well as in a much-praised DVD version from the renowned Deutsche Opera (Berlin), which indeed looks wonderful in this trailer.

A Crop of Recordings XXIX: Magnard, Bruckner, Korngold, and Vaughan Williams

Delving into the music of Alberic Magnard is to reach deep into the heart of French culture. Magnard was a subtle, aristocratic composer, trading in understatement. If you enjoy the delicate chromaticism of Gabriel Fauré, or Albert Roussel’s early works, such as his First Symphony, Poème de la forêt, you will love Magnard. If you are looking for the more obvious charms of Berlioz, Dukas, Franck or Saint-Saëns, you may be disappointed. Magnard is like Franck, but turned inward and away from Franck’s saccharine religiosity. Despite all the forte moments one could want, this is music best heard with the lights low and a log in the fireplace.

Bard Music Festival 2019: Korngold and his World

As I return to the Bard Music Festival year after year, I notice that the spaces of Olin Hall and the Fisher Center, become more crowded and sold-out notices appear ever more frequently. I also notice that I’ve seen a good many of the attendees before. There is certainly a minority who are passionately interested in one composer or his historical and cultural context and not in the others, but I am confident in saying that the core of the Bard audience consists of recidivists. Lately the choice of focal composers has shifted from the undisputed pantheon to composers who are interesting because of their cultural position in their own time. Saint-Saëns, Chávez, and Rimsky Korsakov fall into this category. The audience keeps on growing. It’s obvious that we share a broad interest in western art music, but the way in which the individual composers are presented is exploratory, and, given the presence of musicians and musicologists, bound to take a controversial course. I always leave not only knowing something I didn’t know before, but with a profound new insight, and, most important of all, questions to mull over during the months that separate us from the next Bard Festival.

The Bard Music Festival—Erich Wolfgang Korngold’s Trajectory: the Symphony in F#, Music for Hollywood, Chamber Music

After attending the fully staged performance of Korngold’s opera Das Wunder des Heliane and the concerts of the second weekend of the Bard Korngold Festival, I arrived a distinct sense of the shape of the composer’s career trajectory and of the development of his unique musical sensibility, one which I suspect the festival programmers might not have hoped to suggest. To the extent that Korngold’s name is familiar, it is owing to his powerful, compelling, and influential Hollywood film scores. The unique, invaluable Bard Music Festivals usually aim to take us beyond and behind the headlines associated with its central figures and to give us a means to re-evaluate them in a more nuanced way, in the context of their less familiar works as well as those of their contemporaries. In the case of my encounter with Korngold, however, the result was a strengthening of the general view that this composer was born to compose film scores.Up to now, Korngold’s non-film music has not been completely neglected.

A Korngold Festival! Two from the Bard Music Festival, 2019, as well as Two New Recordings

Not everyone agreed about the merits of Erich Wolfgang Korngold’s music, but he was the occasion of one of the most provocative Bard Music Festivals ever. Four of us have deliberated on either that or important new recordings, which add to our understanding of this sympathetic composer.

A Crop of Recordings XXIX: Magnard, Bruckner, Korngold, Vaughan Williams

Korngold did not live to see his symphony achieve popularity, as many know. It premiered in serial-minded Vienna in 1954, poorly rehearsed, and immediately sank into oblivion as a holdover from the past. Korngold himself died just a few years later of heart disease. Nearly twenty years then passed before Rudolf Kempe discovered orchestral parts in the Munich Philharmonic’s score library and revived the work for a new era. This awareness wasn’t totally Kempe’s doing. A generation of college students had grown up in the meantime watching late-night swashbucklers featuring Korngold’s Hollywood scores. These audiences fell in love with the spirit of his music. It was Errol Flynn, you might say, who got young people interested in Korngold, and film score conductors like Charles Gerhardt who then followed apace with the music on LP. Today, John Wilson occupies a similar space in British musical culture, bringing to life for concert audiences music originating in film and television.

Wire and Light Legerdemain: Richard Harrington’s unique art at MCLA Gallery 51, North Adams, Massachusetts

The mysteries of these works deepen when illuminated with a spectral light slit and allowed to traverse the physiognomy of the hard-metallic torsos.

Latest

December 5, 2019 A Korngold Festival! Two from the Bard Music Festival, 2019, as well as Two New Recordings

December 5, 2019 A Fine New Recording of Korngold’s Masterpiece, Das Wunder der Heliane

December 5, 2019 The Bard Music Festival—Erich Wolfgang Korngold’s Trajectory: the Symphony in F#, Music for Hollywood, Chamber Music

December 4, 2019 Bard Music Festival 2019: Korngold and his World

December 4, 2019 A Crop of Recordings XXIX: Magnard, Bruckner, Korngold, and Vaughan Williams

Victoria Gibson