Erich Wolfgang Korngold: Das Wunder der Heliane

Editorial Reviews
Amazon.com
Of all the late Romantic operatic effusions that London records has recorded as part of its series of music banned by the Nazis, this is the most extraordinary. Korngold was one the first great composers of film music, having settled in Hollywood in the late 1930s. So if you enjoy movie music of the sweeping, epic variety, you'll love this. The story of the opera is, typically, a fairy tale about the triumph of goodness over evil, and it's simply the last word in orchestral glitter and opulence--sort of like Strauss on steroids. Almost impossibly difficult and costly to perform, we're lucky to have this stunning performance to preserve what would undoubtedly be a remarkable experience in the theater. --David Hurwitz

Album Details
As Part of Decca's Acclaimed Entartete (German for Degenerate) Series Devoted to Either Suppressed Or Forbidden Music During the First Half of the 20th Century, Korngold's Notorious Opera Das Wunder Der Heliane Composed in 1927 Recieves Its Premier Recording Here. Korngold's Ravishing Orchestration Heightens the Combination of Mystical, Erotic, Religious and Philosophical Themes that Abound Throughout the Piece. All Interested with Music in Particular and the Arts in General of this Period this Will Certainly Find Much to Enjoy Here.

Tracks:

Selig Sind Die Liebenden
Wie Warm, Wie Shon!
Ich Weiss Die Antwort Nicht
Dich, Der Das Lachen Angezundet Im Lande
Wie? Sterben?
Ihr Menschen! Fur Euch Hab'Ich Gelebt!
Habt Frieden In Der Steele!
O Wusstet Ihr, Wie Weh Mir Ist Um Euch
Euer Haar Muss Golden Sein
Ich Lieb' Euch!!
Du Sollst Vom Tod Gelost Sein
Schweig!

Tracks:

Vorspiel
Beschieden?
Urteile Bringt Mir!
Gott! Gott, Du Weisst, Wie Ich Vor Ihr Getniet Hab'
Vater - Bist Du's Selbst?
Ich Ging Zu Ihm
Wie Redet Sie? Was Will Sie Uns Sagen?
Der Du In Deinen Alten, Blinden Augen
Totet Mich!
Riefst Du?
Rein Bist Du, Rein?
So Wahr Gott Lebt

Tracks:

Zwischenspiel
Ah! Habt Ihr Vernommen?
Horet, Mich, Bruder
Fanfaren
So Wie Ich Dich Belehrt
Seht, Seht, Wie Sie Schon 1st!
Im Namen Gottes Sag' Ich Dir
Wer Sie Beruhrt, Der Stribt!!
Sehrt! Seht Ihn! Den Toten!
Du Kind! Du Liebste Frau Der Welt!
Am Siebten Tore Nun

Erich Wolfgang Korngold: Violin Concerto in D major Op.35 / Gesang der Heliane Op.20 / Vier StÃ¼cke Op.11 / Suite Op.23

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Erich Wolfgang Korngold: Violin Concerto in D major Op.35 / Gesang der Heliane Op.20 / Vier StÃ¼cke Op.11 / Suite Op.23

Manufacturer: Oehms Classics
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Korngold - Der Ring des Polykrates / Siebel
Korngold: Die Kathrin / Diener, Rendall, Hayward, Watson, D. Jones

ASIN: B000AOELXI
Release Date: 2005-11-15

Erich Wolfgang Korngold: Das Wunder der Heliane

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Super-luscious music , high calorie and honey sweet
Took a few listens to "get it".....
Korngold...the serious one
Exquisite
Truly Extraordinary Opera

Erich Wolfgang Korngold: Das Wunder der Heliane

Manufacturer: Polygram Int'l
ProductGroup: Music
Binding: Audio CD

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Korngold: Die Kathrin / Diener, Rendall, Hayward, Watson, D. Jones
Korngold - Der Ring des Polykrates / Siebel
Korngold - Die tote Stadt / Leinsdorf
Schreker: Die Gezeichneten
Korngold - Die tote Stadt

ASIN: B000004215
Release Date: 2002-05-08

Tracks:

Das Wunder der Heliane: Act I - Selig sind die Liebenden
Das Wunder der Heliane: Act I - Wie warm, wie sch(Der Fremde)
Das Wunder der Heliane: Act I - Ich weidie Antwort nicht (Der Pfortner)
Das Wunder der Heliane: Act I - Dich, der das Lachen angezim Lande (Der Herrscher)
Das Wunder der Heliane: Act I - Wie? Sterben? (Der Fremde)
Das Wunder der Heliane: Act I - Ihr Menschen! Fh hab' ich gelebt! (Der Fremde)
Das Wunder der Heliane: Act I - Habt Frieden in der Seele! (Heliane)
Das Wunder der Heliane: Act I - O w Ihr, wie weh mir ist um Euch (Heliane)
Das Wunder der Heliane: Act I - Euer Haar muss golden sein (Der Fremde)
Das Wunder der Heliane: Act I - Ich lieb' Euch!! (Der Fremde)
Das Wunder der Heliane: Act I - Du sollst vom Tod gelsein (Der Herrscher)
Das Wunder der Heliane: Act I - Schweig! (Heliane)

Tracks:

Das Wunder der Heliane: Act II - Vorspiel
Das Wunder der Heliane: Act II - Beschieden? (Der Herrscher)
Das Wunder der Heliane: Act II - Urteile bringt mir! (Der Herrscher)
Das Wunder der Heliane: Act II - Gott! Gott, du weisst, wie ich vor ihr gekniet hab' (Der Herrscher)
Das Wunder der Heliane: Act II - Vater - Bist du's selbst? (Der Herrscher...Der Schwertrichter)
Das Wunder der Heliane: Act II - Ich ging zu ihm (Heliane)
Das Wunder der Heliane: Act II - Wie redet sie? Was will sie uns sagen?
Das Wunder der Heliane: Act II - Der du in deinen alten, blinden Augen (Der Fremde)
Das Wunder der Heliane: Act II - T mich! (Der Fremde)
Das Wunder der Heliane: Act II - Riefst du? (Der Schwertrichter)
Das Wunder der Heliane: Act II - Rein bist du, rein? (Der Herrscher)
Das Wunder der Heliane: Act II - So wahr Gott lebt (Heliane)

Tracks:

Das Wunder der Heliane: Zwischenspiel
Das Wunder der Heliane: Act III - Ah! Habt ihr vernommen?
Das Wunder der Heliane: Act III - H mich, BrDie Botin)
Das Wunder der Heliane: Act III - Fanfaren
Das Wunder der Heliane: Act III - So wie ich dich belehrt (Der Schwertrichter)
Das Wunder der Heliane: Act III - Seht, seht, wie sie schst!
Das Wunder der Heliane: Act III - Im Namen Gottes sag' ich dir (Heliane)
Das Wunder der Heliane: Act III - Wer sie berder stirbt!! (Der Herrscher)
Das Wunder der Heliane: Act III - Seht! Seht ihn! Den Toten!
Das Wunder der Heliane: Act III - Du Kind! Du liebste Frau der Welt! (Der Fremde)
Das Wunder der Heliane: Act III - Am siebten Tore nun (Der Fremde)

Amazon.com

Of all the late Romantic operatic effusions that London records has recorded as part of its series of music banned by the Nazis, this is the most extraordinary. Korngold was one the first great composers of film music, having settled in Hollywood in the late 1930s. So if you enjoy movie music of the sweeping, epic variety, you'll love this. The story of the opera is, typically, a fairy tale about the triumph of goodness over evil, and it's simply the last word in orchestral glitter and opulence--sort of like Strauss on steroids. Almost impossibly difficult and costly to perform, we're lucky to have this stunning performance to preserve what would undoubtedly be a remarkable experience in the theater. --David Hurwitz

Album Details

As Part of Decca's Acclaimed Entartete (German for Degenerate) Series Devoted to Either Suppressed Or Forbidden Music During the First Half of the 20th Century, Korngold's Notorious Opera Das Wunder Der Heliane Composed in 1927 Recieves Its Premier Recording Here. Korngold's Ravishing Orchestration Heightens the Combination of Mystical, Erotic, Religious and Philosophical Themes that Abound Throughout the Piece. All Interested with Music in Particular and the Arts in General of this Period this Will Certainly Find Much to Enjoy Here.

Customer Reviews:

Super-luscious music , high calorie and honey sweet.......2007-04-15

Korngold broke the mold of classical opera by making his harmonies so luscious and Hollywoodesque, stretching beyond Struass's lushness in the extreme. There is literally not one bar of his Wunder der Heliane that isn't saturated with sugar. For sheer luxuriant excess, no other post-Romantic operas come close,not even his own erotic-addicted Die Tote Stadt. Decca's recording is beautiful, as is the orchestral playing throughout. This glistening, sparkling music would be entrancing without voices, yet here we get very satisfying voices, despite the murderous difficulty of the vocal lines and the maturity of Tomowa-Simtov and Nicolai Gedda. Along with Zemlinsky's Lyric Symphony, this music was my favorite discovery from Decca's acclaimed series of music banned by the Nazis. I won't be able to listen to Wunder der Heliane every day, any more than I could eat a pound of marzipan every day. But small doses are quite a drug.

Took a few listens to "get it"............2007-04-07

.....but when I did, the payoff was great. The orchestral writing is so different than anything else out there. I see that many compare this to Puccini and Strauss but I would say Korngold has a style all is own. There are plot elements that greatly resemble Strauss's Frau. The music seems to be climactic at all times. Sometimes it is exhausting but is always exciting. The singers are all top notch. I especially enjoyed Tomowa-Sintow's performance. If you would like to hear something off the beaten path grab a copy of this. It will be released in the Decca Classic Opera series soon at a lower price (but still including libretto)so you may want to wait for that if cost is an issue.

Korngold...the serious one.......2007-03-08

At his very best. Forget his music for movies when you buy this.

Martin Pitchon

Exquisite.......2006-07-20

I don't think I can come up with many more superlatives to describe this recording than have already been used. If you haven't heard Korngold before, I would refer you to the 1975 recording of his opera, "Die tote Stadt" as an introduction. It's not as big of a mouthful as this score. If you have heard Korngold before, you know what to expect. He was a staunch Late Romantic, and never left that compositional style throughout his lifetime. As has been stated by other reviewers, Korngold is the reason why movie music is what it is today, with scores to over 25 films, including "The Adventures of Robin Hood," "Captain Blood," "The Prince and the Pauper," "The Sea Hawk," and "The Private Lives of Elizabeth and Essex," which is my personal favorite. Four of these scores are available on a recording conducted by Andre Previn, which I highly recommend as another alternative for the beginning Korngold listener or for the avid fan. With all this high quality output, I fail to understand why "movie music" is considered such a pejorative in "serious music" circles. But that is another discussion entirely...

There have been comparisons to Strauss and Puccini ("Die tote Stadt" was reportedly Puccini's favorite opera. Before his death, he avidly campaigned for Ricordi to publish it in an Italian version). Personally, I hear a lot more Mahler in Korngold than I hear Strauss, albeit Korngold's music is often less introspective than Mahler's. Mahler was a bridge between the late romantics and the serial, highly introspective school of Arnold Schoenberg. Mahler's writing, while extremely chromatic, is fundamentally built upon tonality, though he delights in defying the typical uses of it. Korngold relishes this extreme chromaticism, and this opera is Korngold at his most extreme. Mahler's music is often very melodic(just listen to the 4th movement of the 5th symphony for one example)--the same I don't feel can be said for Strauss--and Korngold's ability to craft a melody is one of the best I've ever heard. This particular opera perhaps lacks some of the instant hummability of Tote Stadt's "Glück das mir verblieb" and Pierrot's Tanzlied, but this opera too has its grand tunes. The Stranger's music in Act I is beautiful. He doesn't have an aria but several ariettes, all of which are quite melodic. Heliane's aria in Act II has a wonderful repeated melodic figure that feels like it could go on forever. Act III's 8 minute orchestral prelude similarly has a melody that stretches and overlaps itself, building to climax after climax before settling down, very reminiscent of the slow movement of a Mahler symphony, just to rev back up again for what has got to be one of the hardest chorus scenes ever written. The baritone's aria in Act III, much like the Tanzlied from "Die tote Stadt," is lyrical and melodic to the nth degree. The final duet between the Stranger and Heliane is quite glorious--just what we'd expect from a "movie composer" for two characters ascending triumphantly into heaven.

That being said, yes, one must address the fact that the story line is a bit heavy-handed, plodding, wordy, and ungainly. Somehow, though, Korngold manages to remove some of that awkwardness through his ever-dramatic music. It's not a libretto that Puccini would have ever set, though its grandiosity is on par with "Turandot." Korngold would have been better off to have had his father's dramatic hand in crafting the libretto (the two wrote the libretto to "Die tote Stadt" under the pen name Paul Schott).

"Das Wunder der Heliane" surely ranks as one of the most exquisite operas that is never performed. Listening to this CD may be as close as any of us ever get to experiencing this opera. I do wonder why more opera companies don't perform Korngold's other work, specfically "Die tote Stadt," more often (though his Violin Concerto has been appearing more of late). I attended a performance of the Lord of the Rings score at my local symphony hall a few years ago and the place was packed. Clearly, people enjoy this lush movie music. Why not mount an opera that will give them the same? "Das Wunder der Heliane" may not be a great first choice for many reasons (it is obscure and hellaciously difficult for both the orchestra and the singers), but eventually it would be a spectacular show to see in person.

Truly Extraordinary Opera.......2006-03-05

WillBod below is so completely in the dark concerning Korngold and his qualitative relation to Strauss. It would be simplistic as well as uninformative to say they are apples and oranges. Once past Rosenkavalier, Strauss became less interesting, repetitive, and prone to note-spinning, sins of which EWK can never be accused. Das Wunder is an incredible feat, the product of indisputable genius. It's not a matter of orchestral steroids, but of hearing an orchestra as no other composer can make it sound. The opera is a very serious, highly wrought metaphysical work. I can tell you from my perusal of the score that though this performance is probably as good as they could make it, it still leaves quite a lot to be desired. Tempo markings, fluctuations and many character markings are almost all ignored in favor of something akin to a generic tempo, which makes the entire work seem quite sluggish in this performance. It is supposed to move forward inexorably toward the 3rd act apotheosis. I'm sure this is only because they just could not afford the rehearsal time to really get it right. Mauceri is a good conductor who absolutely understands the style, so I am convinced he did the best he could at the time. This is the sort of work which gains from every new performance and interpretational perspective. It's just too bad that we'll most likely not have any other recordings of it, because another Tristan or Elektra (or worse some Bel Canto trash) must be recorded again and again. Our loss. The singers are all quite fine. Tomowa-Sintow's voice is fantastically sturdy, but a bit brash in sound. She still sings the hell out of the music. The Stranger is also good. Let none of my quibbles keep you from acquiring this work. Like any difficult work being done for the first time, it needs to be done more to feel out its contours. Make no mistake, Das Wunder der Heliane is a landmark, and it should be in any serious collection of opera recordings, as well as in the repertoire of larger opera houses.

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Regarding study of music banned by 3rd Reich

The Music Survives: Degenerate Music

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Viktor Ullmann: Der Kaiser von Atlantis/Hölderlin-Lieder
The Conformist (Extended Edition)

ASIN: B0000042FG
Release Date: 1997-06-10

Tracks:

Die V (Libretto: Braunfels After Aristophanes): Vorspiel - Prolog
Between Two Worlds: The World At War - The Next World
Der Kaiser von Atlantis (Libretto: Kien): Wer da? Halt! Steh! - Ist's wahr, das es Landschaften gibt - Komm fort von hier - Schau, die Wolken
Das Wunder der Heliane (Libretto: Muller after Kaltneker): Act 2, Scene 3: Ich ging zu ihm
Flammen (Libretto: Benes, Brod): Scene 8: Introduzione - Karnevalsnacht
Rondeau: `Rue du Rocher' (excerpt) - Berthold Goldschmidt
Die Gezeichneten (Libretto: Schreker): Act 3, Scene 15: Maskenzug - Was fliehst du vor mir?
Deutsche Sinfonie, Op. 50: Prdium
Der gewaltige Hahnrei: Act Two: Zwischenspiel - Du bist so blas wie ein Licht bei Tage!
String Quartet No. 2 - From The Monkey Mountains - III: Largo e misterioso - The Moon And I
Johnny Spielt Auf (Libretto: Krenek): Ob er kommt

Description

CD Video boxed set. Londn Rec. CD sample of wks by compose rs banned by Nazi regime. 40 min. vid. documentary of how & why these composers were labelled degenerate by Nazis. Never-before-seen cover art by Art Spiegelman (Maus).

Customer Reviews:

Regarding study of music banned by 3rd Reich.......2004-12-09

I know Michael Haas, executive producer. He has made a total commitment to locating and recording work of musicians whose work was banned by the Hitler regime because composers, etc. were even suspected to be Jewish, gay, gypsy, etc. One atheist or agnostic composer was sent to concentration camp because his father had been a Jew in the past.

This is needed to give a picture of the survival of music by talented people under duress.

Erich Wolfgang Korngold: Complete Works for Violin & Piano

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Erich Wolfgang Korngold: Complete Works for Violin & Piano

Manufacturer: Cpo Records
ProductGroup: Music
Binding: Audio CD

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Erich Wolfgang Korngold: The Piano Music
Korngold - Der Ring des Polykrates / Siebel

ASIN: B000051Y12
Release Date: 2000-11-14

Tracks:

Violin Sonata Op. 6 In G: Ben moderato, ma con passione
Violin Sonata Op. 6 In G: Scherzo. Allegro molto (con fuoco)
Violin Sonata Op. 6 In G: Adagio. Mit tiefer Empfindung
Violin Sonata Op. 6 In G: Finale. Allegretto quasi Andante
Die tote Stadt Op. 12: Tanzlied des Pierrot
Die tote Stadt Op. 12: Mariettas Lied zur Laute
Caprice fantastique Wichtelmannchen
Der Schneemann: Serenade
Das Wunder der Heliane: Gesang der Heliane
Much ado about nothing Op. 11: Madchen im Brautgemach
Much ado about nothing Op. 11: Holzapfel und Schlehenwein
Much ado about nothing Op. 11: Gartenscene
Much ado about nothing Op. 11: Mummenschanz

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Korngold: Der Sturm; Cello Concerto

Manufacturer: Asv Living Era
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

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ASIN: B0000BXBXH
Release Date: 2003-10-21

Tracks:

Introduction To Act I Scene I
Prelude To Act II
Aria: Ich Ging Zu Ihm (Act II)
No.4 - Festmusik (Act II Scene 1)
No.12 - Trauermusik (Prelude To Act V)
No.14 - Schlusstanz (Finale To Act V)
Cello Concerto In C, Op.37
Der Sturm
Kanns Heut Nicht Fassen - Aria
Waltz
March (Act I)
Prayer (Aria) (Act I)

Amazon.com

Erich Wolfgang Korngold was born in Vienna in 1897, son of the feared, powerful music critic Julius Korngold, and he died in Hollywood in 1957. A sensational child prodigy, he composed his first ballet under Zemlinsky's tutelage at age 11, and four years later had written an opera, choral, orchestral and chamber music. A major career seemed assured but was aborted by Hitler; fortunately, Korngold was already in Hollywood, where he became one of the best and most successful film composers. However, he yearned to write "serious" music, but found himself forgotten, passé, and out of step with contemporary trends. Worse, the frustration seems to have sapped his creative inspiration: he never produced another truly original work, falling back on his film material for his concert compositions. With one exception, this record focuses on his European works, some never performed or recorded before, and it is clear that though he was steeped in the music of his time, his style already carried the seeds that blossomed so luxuriously in his film scores: the rich, super-romantic harmonies, surprising modulations, arching melodies, and the incredibly lush, colorful orchestration (Zemlinsky, who himself died in America poor and neglected, must have been a fabulous teacher). However, young Korngold must have learned the sensuous, ecstatic rapture of the three soprano arias here (unfortunately sung with a wide wobble) from the decadent air of early 20th-century Vienna itself. The earliest piece is a charming waltz (1908-09); it echoes both Johann and Richard Strauss but is spiked with cross-rhythms. The Storm for chorus, on texts by Heine (1913), graphically evokes a tempest with jagged vocal leaps, trumpets, drums, shrilling flutes, then soars into lyrical serenity. Three orchestral stage music excerpts (1918-19) are lovely. The only American piece is the Cello Concerto (1946), taken from the film Deception and expanded into a full-length movement. It has all the ingredients of a major concerto: introduced by chords fluctuating between C major and C minor, two themes, one sweeping and passionate, the other beautifully lyrical, are skillfully developed; a deeply felt, mournful slow section ends in a flute and cello cadenza with shimmering harp glissandi. The finale is light and bouncy, ending with long scales on the cello and loud crashes from the orchestra. Zuill Bailey sounds a bit distant at times, but plays the extremely difficult solo part brilliantly, with total emotional commitment. Korngold reportedly planned to add two more movements, but he never did: another opportunity lost to fame and fortune, or fate and misfortune? --Edith Eisler

Eva Martón - Zemlinsky, Schoenberg, Schreker, Korngold

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Eva Martón - Zemlinsky, Schoenberg, Schreker, Korngold
Eva Marton , Alexander von Zemlinsky , Arnold Schoenberg , Franz Schreker , Erich Wolfgang Korngold , John Carewe , and Budapest Symphony Orchestra
Manufacturer: Hungaroton
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004W1JN
Release Date: 2000-07-25

Korngold: Die Tote Stadt; Much Ado about Nothing Op11

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Korngold: Die Tote Stadt; Much Ado about Nothing Op11

Manufacturer: Asv Living Era
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004T90B
Release Date: 2000-06-27

Tracks:

Violin Sonata In G, Op. 6: First Movement: Ben moderato, ma con passione
Violin Sonata In G, Op. 6: Second Movement: Scherzo (Allegro molto - con fuoco)
Violin Sonata In G, Op. 6: Third Movement: Adagio (Mit tiefer Empfindung)
Violin Sonata In G, Op. 6: Fourth Movement: Finale (Allegretto quasi Andante - con grazia)
Much Ado About Nothing - Suite For Violin And Piano, Op. 11: I. Madchen im Brautgemach (Bridal Morning)
Much Ado About Nothing - Suite For Violin And Piano, Op. 11: II. Holzapfel und Schlehwein (Dogberry And Verges)
Much Ado About Nothing - Suite For Violin And Piano, Op. 11: III. Gartenscene (Intermezzo)
Much Ado About Nothing - Suite For Violin And Piano, Op. 11: IV. Mummenschanz (Hornpipe)
Sonette Fur Wien (In Memoriam), Op. 41
Caprice Fantastique (The Goblins), Op. 3
Das Wunder Der Heliane, Op.20: Gesand Der Heliane (Ich ging zu ihm)
Der Schneemann: Serenade
Die Tote Stadt, Op. 12: Pierrots Tanzlied
Die Tote Stadt, Op. 12: Mariettaslied

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Joseph Lin - Korngold sonata
Vintage Korngold for Violin and Piano

Korngold: Violin Sonata

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Korngold - Die tote Stadt

ASIN: B000260QCY
Release Date: 2004-07-20

Tracks:

Maiden In The Bridal Chamber
Dogberry And Verges
Garden Scene
Masquerade
Ben Moderato, Ma Con Passione
Scherzo: Allegro MOlto - Trio: MOderato Cantabile
Adagio: Mit Tiefer Empfindung
Finale: Allegretto Quasi Andante
Ich Ging Zu Ihm From Das Wunder Der Heliane
Serenade From Der Schneemann
Tanzlied Des Pierrot From Die Tote Stadt, Op. 12
Caprice Fantastique (Wichtelmannchen From Marchenbilder, Op. 3
Mariettas Lied From Die Tote Stadt, Op. 12

Customer Reviews:

Joseph Lin - Korngold sonata.......2006-04-03

I throughly enjoyed this CD. Joseph Lin's performance is excellent. There is real feeling in his playing. I was not familiar with the music of Korngold and was glad for this exposure.

Vintage Korngold for Violin and Piano.......2004-08-27

With the exception of Korngold's violin sonata, all of the works on this CD are arrangements for violin and piano made by Korngold from orchestral or piano works. There are four pieces from his 1920 incidental music for a Schönbrunn Palace stage presentation of 'Much Ado About Nothing.' Originally written for orchestra, this arrangement was made by Korngold so that the play could also be done with a minimum number of musicians. The first selection, 'Mädchen im Brautgemach' ('Maiden in the Bridal Chamber') is about as schmaltzy (and delicious) as anything Korngold ever wrote. The same could be said about No. 3, 'Gartenszene' ('Garden Scene'). If nothing else they suggest that Shakespeare may have made a mistake giving 'Much Ado' a Mediterranean setting rather than turn-of-the-century Vienna! The other two pieces in that set, 'Holzapfel und Schlehwein' ('Dogberry and Verges') and 'Mummenschanz' ('Masquerade') are good-humored scherzi. As in the rest of this disc, young violinist Joseph Lin (not to be confused with master violinist Cho-Liang Lin, known widely as by his English nickname, 'Jimmy') and his piano accompanist, Benjamin Loeb, do a superb job with these ultrachromatic works.

The Sonata for Violin and Piano in G Major, Op. 6, was written when Korngold was only fifteen, but one would never know that. It is a fully-formed and craftily constructed four-movement work of 36 minutes. There is a sonata-allegro first movement whose recapitulation is dominated by the second theme that then disappears into a reflective coda. The second movement is a playful scherzo with typical ABA form but with some masterful thematic transformations and a transmuted Viennese waltz in the Trio. The Adagio 'mit tiefer Empfindung' ('with intense feeling') is a sentimental song for the violin that climaxes in a passionate peroration before dying away. The Finale, an Allegretto, is a set of variations (on a theme taken from Korngold's even earlier opera, 'Schneeglöckchen' ['Snowdrops']) that also quotes themes from the earlier movements.

The remaining five pieces are mostly piano-violin arrangements of some of the best-known moments from Korngold's operas: an aria from 'Das Wunder der Heliane,' an interlude from 'Der Schneemann,' the 'Tanzlied des Pierrot' and the still-familiar 'Mariettas Lied' from 'Die Tote Stadt.' The non-operatic exception is the brilliant 1932 Korngold-approved 'Caprice-fantastique' arranged by the Hungarian violinist, Rószika Révay, based on 'Wichtelmännchen' ('Goblins') from Korngold's early piano suite, 'Märchenbilder' ('Fairy Tale Pictures').

These are pieces that have been recorded before but never collected in one place. The performances by Lin and Loeb are musical, assured and scintillating. This is a worthwhile addition to the Korngold fan's collection. And a nice introduction to some of Korngold's non-movie-score and non-orchestral music.

Scott Morrison