Zugl.: Frankfurt am Main, Hochsch. für Musik und Darst. Kunst, Diss., 2007

Erich W. Korngold's Second Sonata, op. 2 (1910), and Artur Schnabel's Piano Sonata (1923) are composed in completely different styles. Korngold's late-Romantic sonata has lush, poignant harmonies, while Schnabel's five-movement work is atonal with twelve-tone elements and unabashedly harsh. However, the two pieces share Expressionistic attributes like extreme contrasts, leitmotifs, and manic-depressive tendencies. Korngold's sonata has a façade of glory and splendor that conceals darker proceedings. This façade breaks down in the later movements. Schnabel's sonata, like his personality, is frank and unapologetic. Each movement has a unique agenda; the five movements as a whole have few musical elements in common among them. Despite these divergent effects, the sonatas are united by the personal link between the composers, namely, Schnabel's decision to widely perform Korngold's sonata. Schnabel, more famous for performing than for composing, was inordinately choosy regarding the composers whose music he performed. Schnabel "only [performed] music that is better than it can be played," and he was especially disdainful of modern music. Given these preferences, Schnabel's championing the young Korngold's unproven work is extraordinary. Forty years later, Schnabel described it as a "most amazing piece." Perhaps this fascination is the result of their common perspective toward Vienna. The present essay will interpret these two works using fin de siècle Vienna as a framework, especially typifying "the atmosphere of Vienna, of jesting defeatism and precious, playful morbidity in the [1890s], of her gradual decay." Accounts by Schnabel, author Stefan Zweig, and others describe the Viennese as "incorrigible optimists" fascinated by music and theatre but uninterested in world affairs. Korngold composed his sonata during the foreboding years preceding World War I, profiling the indifference to societal and political ills. Schnabel composed his sonata after the war, when the "Golden Age of Security," as Zweig phrased it, was corroded by Vienna's opulence and decadence. Accordingly, this essay will elucidate one possible interpretation for each of these pieces, movement by movement, with this dichotomy in mind. The interpretations will vividly illustrate the pretentious depravity and decadence from raucous revelry, as well as the profound pain and dire consequences that follow. Korngold's sonata is as a painting of realism, and his piece uses rich harmonies and soaring melodies to plainly depict the society. Schnabel's sonata, on the other hand, is a work of abstract art, using surrealism and exaggeration to warp images and environments, and portray society as suffering consequences that are unimaginably horrible, consequences that only a mind in the throes of a never-ending nightmare could envisage.

Thesis (D.M.A.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 240-246). Available also in a digital version from Dissertation Abstracts.

This study examines the Piano Concerto in C sharp, Op.17 (1923), by Erich Wolfgang Korngold (1897-1957), in light of developing variation, techniques that transform motivic ideas and create musical continuity in this work. The troublesome reception history of Korngold’s piano concerto derives from its complex musical features, which have created difficulties in understanding and evaluating this piece. Consequently, critics and scholars often label the highly sophisticated yet tonal musical language in this piece a residue of Romanticism from the nineteenth century. In this document, in contrast, examination of motivic development and connections in Korngold’s piano concerto reveals thematic and structural coherence in light of Korngold’s idea of modernity. This study provides a historical and technical survey of developing variation and discusses Korngold’s implementation of these techniques in his early compositions and the piano concerto. By doing so, this study recognizes the progressive aspect in Korngold’s music.

<p>Medverkande: Erik Wallin, Violin och Albert Dahllöf, Piano</p><p>Korngolds Violinkonsert i D-Dur op.35 sats 1, Moderato Nobile</p>

This dissertation aims to examine the motivic voice leading of the first two movements of Korngold's Violin Concerto, Op. 35 to illuminate the interwoven motives within the underlying structures of the movements. The analysis principally concentrates on two main motives: the motivic tritone and rising-third motives. Moreover, the analysis of Korngold's motivic writing further investigates the semantics that are evoked by the technical aspects. With his exceptional ability to interconnect music to narratives both in operas and films, Korngold never ceased to express the recurring themes of love and revival also in his instrumental music. It is noteworthy that he borrowed only the "love themes" from his film scores for the first two movements of the violin concerto. The violin concerto was the first work written after Korngold returned to absolute music after a decade of composing for films to ensure his and his family's survival during the war. After the Anschluss, during his exile in California as a Jewish refugee, Korngold's love for his homeland Austria, his philanthropic concern for humanity, and longing for peace became his primary focus; these concerns are reflected in his Violin Concerto through his use of specific motives. By researching the historical and biographical materials, as well as employing linear analysis, this study seeks to explore the meanings of the linear motives in Korngold's music; more specifically, it attempts to show how particular motivic figures and tonal structures express the composer's ideas of transcendental "love." It argues that an in-depth understanding of both the technical and semantic aspects is also the first and foremost requirement for performing this piece.

A pesquisa das contribuições dos arquitetos estrangeiros (Jacques Pilon, Franz Heep, Lucjan Korngold e Giancarlo Palanti) nos projetos de edifícios de escritórios na cidade de São Paulo, no período de 1930-1960, partiu de um procedimento metodológico que utilizou dois elementos principais: a revisão da historiografia recente e a identificação das obras através do cruzamento das informações de novas fontes primárias do Acervo de Projetos da Biblioteca da FAUUSP. O primeiro capítulo objetiva a compreensão das contribuições dos edifícios de escritórios na verticalização do centro de São Paulo, através da identificação das obras pioneiras e de seus paralelos com a arquitetura norte americana, das contribuições específicas daqueles arquitetos estrangeiros no contexto das grandes transformações urbanas ocorridas no período e dos desafios técnicos no desenvolvimento do concreto armado. O segundo capítulo apresenta a contribuição dos arquitetos estrangeiros diretamente nos projetos, identificando uma morfologia através da análise da implantação e volumetria, do pavimento térreo e dos acessos, da circulação e das instalações, do pavimento tipo, da estrutura e dos vedos: massa, caixilhos, grelhas, brises e pele de vidro. O terceiro capítulo esboça a prática e as relações profissionais desses arquitetos e de seus colaboradores, estrangeiros ou não, bem como o ensino de projeto dentro dos seus escritórios e o papel do detalhamento na produção e formação desses colaboradores. / ALMEIDA, Moracy Amaral e. Pilon, Heep, Korngold e Palanti: office buildings (1930-1960). Thesis, Faculty of Architecture and Urbanism, University of São Paulo, São Paulo, 2015. ABSTRACT The research on foreign architects (Jacques Pilon, Franz Heep, Lucjan Korngold and Giancarlo Palanti) contributions to the office buildings projects in the city of São Paulo, from 1930 to 1960, came from a methodological procedure. It used two main elements: the review of the recent historiography and the identification of works by crossing the information of new primary sources of FAUUSP Library Archives . The first chapter\'s objective is to understand the contribution of the office buildings to the verticalization center of São Paulo, through the identification of the pioneers architects and their works in comparison to the North American architecture, the specific contributions of those foreign architects during a large urban transformation and the technical challenges in the development process of reinforced concrete. The second chapter presents the contribution of foreign architects directly to the projects, identifying a morphology by analyzing the site plans and volumetry, the ground floor and access paths, circulation and installations, pavement type, structure and envelopment: mass, frames, grilles, louvers and curtain wall. The third chapter outlines the practice and professional relationships of these architects and their collaborators, foreigners or not, as well the design teaching at their offices and the relevance of the detail in the development and training of these team.

A pesquisa das contribuições dos arquitetos estrangeiros (Jacques Pilon, Franz Heep, Lucjan Korngold e Giancarlo Palanti) nos projetos de edifícios de escritórios na cidade de São Paulo, no período de 1930-1960, partiu de um procedimento metodológico que utilizou dois elementos principais: a revisão da historiografia recente e a identificação das obras através do cruzamento das informações de novas fontes primárias do Acervo de Projetos da Biblioteca da FAUUSP. O primeiro capítulo objetiva a compreensão das contribuições dos edifícios de escritórios na verticalização do centro de São Paulo, através da identificação das obras pioneiras e de seus paralelos com a arquitetura norte americana, das contribuições específicas daqueles arquitetos estrangeiros no contexto das grandes transformações urbanas ocorridas no período e dos desafios técnicos no desenvolvimento do concreto armado. O segundo capítulo apresenta a contribuição dos arquitetos estrangeiros diretamente nos projetos, identificando uma morfologia através da análise da implantação e volumetria, do pavimento térreo e dos acessos, da circulação e das instalações, do pavimento tipo, da estrutura e dos vedos: massa, caixilhos, grelhas, brises e pele de vidro. O terceiro capítulo esboça a prática e as relações profissionais desses arquitetos e de seus colaboradores, estrangeiros ou não, bem como o ensino de projeto dentro dos seus escritórios e o papel do detalhamento na produção e formação desses colaboradores. / ALMEIDA, Moracy Amaral e. Pilon, Heep, Korngold e Palanti: office buildings (1930-1960). Thesis, Faculty of Architecture and Urbanism, University of São Paulo, São Paulo, 2015. ABSTRACT The research on foreign architects (Jacques Pilon, Franz Heep, Lucjan Korngold and Giancarlo Palanti) contributions to the office buildings projects in the city of São Paulo, from 1930 to 1960, came from a methodological procedure. It used two main elements: the review of the recent historiography and the identification of works by crossing the information of new primary sources of FAUUSP Library Archives . The first chapter\'s objective is to understand the contribution of the office buildings to the verticalization center of São Paulo, through the identification of the pioneers architects and their works in comparison to the North American architecture, the specific contributions of those foreign architects during a large urban transformation and the technical challenges in the development process of reinforced concrete. The second chapter presents the contribution of foreign architects directly to the projects, identifying a morphology by analyzing the site plans and volumetry, the ground floor and access paths, circulation and installations, pavement type, structure and envelopment: mass, frames, grilles, louvers and curtain wall. The third chapter outlines the practice and professional relationships of these architects and their collaborators, foreigners or not, as well the design teaching at their offices and the relevance of the detail in the development and training of these team.