Symphonies in the Action - Great Movie Scores
Korngold's musical style was dramatic and atmospheric, a perfect fit for Hollywood epics. But he first manuscripted operas in the Twneties in Europe, including Die tote Stadt and Das Wunder der Heliane.
Korngold had worked with and been friends with director Max Reinhardt, who was about to leave for America to direct/produce movies for the Worner Bros, starting with their "high-brow entry" for 1934, A Midsummer's Night Dream. Neither wanted to remain in Europe, with Hitler coming to power and finding Vienna not as safe a haven anymore. When Max invited him to arrange the Mendelsohn score for a movie in Hollywood, Korngold jumped at the chance.
American musical styles were vastly different in Classical circles, but Erich now had the opportunity to write music and make money for Hollywood, for producers and studio heads who loved his style.
With romance and drama, Korngold's scores remind the audience that music is a reflection of the setting, or audial underscore to the emotions being conveyed in the scene.
Google "movie scenes without their music" and realize their importance.
Korngold returned to classical music composing for orchestra in 1945, after the death of his father. To quote Hugo Friedhofer (I will also cover in this series): His contribution was enormous, and he influenced everyone working at that time. He was the first to write film music in long lines, great flowing chunks, that contained the ebb and flow of mood and action, and the feeling of the picture.
Korngold died in 1957, only 60 years old and believing he and his works would be forgotten. He is not. Not only are his film scores still resonanting with audiences, but a classical society dedicated to his concert music is active to this day.