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Erich Korngold's Discursive Practices: Musical Values in the Salon Community from Vienna to Hollywood

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Erich Korngold's Discursive Practices: Musical Values in the Salon Community from Vienna to Hollywood University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2016 Erich Korngold's Discursive Practices: Musical Values in the Salon Community from Vienna to Hollywood Bonnie Lynn Finn University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Musicology Commons Recommended Citation Finn, Bonnie Lynn, "Erich Korngold's Discursive Practices: Musical Values in the Salon Community from Vienna to Hollywood. " Master's Thesis, University of Tennessee, 2016. https://trace.tennessee.edu/utk_gradthes/4036 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Bonnie Lynn Finn entitled "Erich Korngold's Discursive Practices: Musical Values in the Salon Community from Vienna to Hollywood." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Rachel M. Golden, Major Professor We have read this thesis and recommend its acceptance: Leslie C. Gay Jr., Victor Chavez Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) Erich Korngold’s Discursive Practices: Musical Values in the Salon Community from Vienna to Hollywood A Thesis Presented for the Master of Music Degree The University of Tennessee, Knoxville Bonnie Lynn Finn August 2016 Copyright © 2016 by Bonnie Lynn Finn All Rights Reserved ii Dedication To my children, Amy and Thomas, in memory of my father, Richard Pelsue, and my grandmother, Nellie Pelsue, who all inspired me to pursue the study of music. iii Acknowledgements This project would not have been possible without assistance from numerous people along the way. Many thanks go to my husband, Randy, for supporting me while I spent countless hours writing and editing. Thank you to my advisor, Dr. Rachel M. Golden, for assisting me in the writing process and guiding me toward my finished thesis. I thank my committee members, Dr. Leslie C. Gay and Dr. Victor Chavez, for the input and guidance that helped shape my final project. My sincere gratitude goes to the staff and faculty of the George F. Devine Music Library for supporting me during the process, especially Sarah Nelson. Recognition also goes to my children, Amy and Thomas. I greatly appreciated your input and proofing as I honed my topic focus. Thomas, thank you for your patience during the seemingly endless times you listened to me talk about thesis. Finally, Amy, thank you for taking the time to accompany and drive me to the Skirball Museum and LACMA exhibits during my trip to Los Angeles. Both tours impacted the final outcome of this thesis, as did your insight and comments on each exhibit. iv Abstract Erich Wolfgang Korngold, a Viennese musician of the early twentieth century, composed western art music and film scores. Some scholars suggest his musical values and success in film music related entirely to his experiences composing operas. Indeed, Korngold’s adherence to tonality and his reputation as a European high art composer contributed to his success both in Vienna and Hollywood. However, much research has failed to address his time spent arranging and composing operettas. Few scholars have discussed that his lifelong style, including his operas, also reflected the Viennese light and popular music of his youth. Korngold’s background in Viennese music set the stage for Korngold’s discursive practices and negotiation between European high art music and popular music. Based on the work of Simon Frith, I use discursive practice to discuss ongoing discourses between high art and lighter or popular forms, along with social presentations and interaction with mass media. I apply Frith’s ideas to my research through the examples of Korngold’s works and social connections in Vienna and Hollywood. Additionally, through the identity theories of Turino, I demonstrate how Korngold’s Viennese upbringing influenced his musical tastes toward popular styles, such as the waltz, while his father’s influence contributed to his self-perception as a high art composer. Korngold grew up in a close-knit Viennese community of high art musicians, which impacted his music and personal identity. The salon communities in Vienna and Hollywood also contributed to the formation of his group identity. Korngold’s musical style is consistent throughout his life, but the presentation and reception of his music varied based on particular cultural and compositional contexts. v Table of Contents CHAPTER I: KORNGOLD’S DISCURSIVE PRACTICES ......................................................... 1 Discursive Practices: European Art Music, Light Music, and Popular Music ........................... 4 Definitions of Terminology ........................................................................................................ 7 Émigré ..................................................................................................................................... 7 Salons ...................................................................................................................................... 8 Identity .................................................................................................................................... 9 Methodology and Scope ........................................................................................................... 10 Historical Background .............................................................................................................. 12 Literature Review...................................................................................................................... 18 Chapter Overview ..................................................................................................................... 21 CHAPTER II: KORNGOLD’S EUROPEAN YEARS AND MUSICAL INFLUENCES .......... 24 Korngold in Vienna................................................................................................................... 25 World War I and the Weimar Republic .................................................................................... 32 German Anti-Semitism ............................................................................................................. 35 Vienna’s Music ......................................................................................................................... 39 Influences of Viennese Composers ........................................................................................... 42 Salons in Vienna and Berlin ..................................................................................................... 44 The Piano .................................................................................................................................. 48 CHAPTER III: LIGHT MUSIC AND FILM ............................................................................... 51 Korngold’s Operas, Mass Media and “Lautenlied” .................................................................. 55 Korngold, Operettas, and Johann Strauss II’s Music ................................................................ 64 Theater and Film Music ............................................................................................................ 70 CHAPTER IV: HOLLYWOOD ................................................................................................... 77 Los Angeles .............................................................................................................................. 78 Salons in Exile .......................................................................................................................... 81 Musical Values in America ....................................................................................................... 87 The Hollywood Film Industry .................................................................................................. 91 Korngold in Hollywood: 1934-1954 ......................................................................................... 96 Korngold at Work ............................................................................................................... 100 Korngold’s Self-Borrowing ................................................................................................ 105 vi CHAPTER V: KORNGOLD’S DISCURSIVE PRACTICES ................................................... 109 BIBLIOGRAPHY ....................................................................................................................... 116 APPENDIX ................................................................................................................................. 123 List of Europeans Active in Salons ......................................................................................... 124 VITA ........................................................................................................................................... 126 vii List of Tables Table 1: Korngold’s
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