Korngold:570034Bk Hasse 3/4/09 9:08 PM Page 4

570791bk Korngold:570034bk Hasse 3/4/09 9:08 PM Page 4 Philippe Quint Philippe Quint has established himself among the leading violinists of his generation. His début recording of William Schuman’s KORNGOLD Violin Concerto (Naxos 8.559083), received Editor’s Choice by The Gramophone and was nominated for two Grammy awards, including one for best soloist with an orchestra. His recording of Violin Concerto Corigliano’s Red Violin Caprices and Bernstein’s Serenade (Naxos Photo: Robin Holland 8.559245) was also named Editor’s Choice by The Gramophone. His Naxos discography also includes works for violin and piano Schauspiel Overture by Miklós Rózsa (Naxos 8.570190) and Rorem’s Violin Concerto (Naxos 8.559278). Philippe Quint has appeared with the Detroit, Much Ado About Nothing Houston, New Jersey, Minnesota, Bournemouth, Indianapolis, China National, Weimar Staatskapelle and Orpheus orchestras under the batons of St. Clair, Alsop, Litton, Falletta, Seibel, Masur, Philippe Quint, Violin Mester, M. Shostakovich, Prieto, Parisotto, Hege and Yates. He has performed throughout the United States, Asia, Europe, South Orquesta Sinfónica de Mineria America, South Africa and Australia and appeared on CNN, ABC, BBC, NBC, Reuters and Bloomberg. Born in St Petersburg, Philippe Quint studied with Andrei Korsakov in Moscow Carlos Miguel Prieto and at the Juilliard School with Dorothy Delay, Cho-Liang Lin and Masao Kawasaki. Carlos Miguel Prieto Carlos Miguel Prieto is considered one of the most dynamic young conductors of recent years and holds appointments as music director of the Orquesta Sinfónica Nacional de Mexico, the Orquesta Sinfónica de Mineria, the Louisiana Philharmonic and Huntsville Symphony. Prieto’s numerous North American guest appearanes have included the orchestras of Dallas, Houston, Phoenix, Florida, San Antonio, Calgary, Dayton and the Boston Photo: Peter Schaaf Symphony at the Tanglewood Festival with Yo-Yo Ma. He has also conducted orchestras throughout Europe, Russia, Israel, Latin America, The Netherlands, and led the Philharmonia of the Nations and every major orchestra in Mexico. He has made festival appearances at Grant Park in Chicago and the Naumburg concerts in New York’s Central Park. He has also conducted the Youth Orchestra of the Americas since its inception in 2002 and guest conducted the Indianapolis Symphony Orchestra and a special joint concert with Louisiana and the New York Philharmonic. A C graduate of Princeton and Harvard Universities, Carlos Prieto studied conducting with Jorge Mester, Enrique Diemecke, Charles Bruck and Michael Jinbo. As a violinist, he has participated in the festivals of Aspen, M Tanglewood, Interlochen, San Miguel Allende, Cervantino, and has played as soloist with the National Symphony Orchestra of Mexico. Y K 8.570791 4 570791bk Korngold:570034bk Hasse 3/4/09 9:08 PM Page 2 Erich Wolfgang Korngold (1897–1957) Composed in 1911, the Schauspiel-Ouvertüre (Overture Nothing that was first given at Vienna’s Schönbrunn Castle Violin Concerto • Schauspiel Overture • Much Ado About Nothing Suite to a Drama) was the first orchestral work that the teenage in May 1920. Realising that the musicians would be Korngold orchestrated without assistance. Given its required elsewhere before the run had been completed, the Along with Mozart, Mendelssohn, Busoni and Enescu, orchestra is used resourcefully, with some especially première that year by the Gewandhausorchester Leipzig composer duly arranged the score for violin and piano in Erich Wolfgang Korngold ranks among the main atmospheric writing for tuned percussion. and Arthur Nikisch, it immediately consolidated his consultation with the violinist Rudolf Kolisch [this version composer prodigies. Born in Brünn (now Brno) on 29th The first movement opens with an expressive melody, growing reputation. Its content was for long thought to is to be found on Naxos 8.557067], in which incarnation May 1897, the second son of music critic Julius Korngold, taken from the 1937 film Another Dawn, the soloist taking have been inspired by Shakespeare’s play A Winter’s Tale, it quickly found favour. This recording, however, provides he impressed Mahler with his music when aged only nine, the lead through to an orchestral restatement of its opening but that proved to be a gloss put about by the composer’s an opportunity to experience the music as Korngold first and went on to consolidate this with a score for the ballet- phrase before a lively transition into the second theme, father Julius. In fact the piece unfolds in inherently abstract conceived it for small but diversely constituted orchestral pantomime Der Schneeman, given its première at the from the 1939 film Juarez, which proves even more bitter- terms, with the slow introduction followed by an expanded forces. Vienna Court Opera in 1910. A sequence of orchestral, sweet than its predecessor. The first theme briefly returns, sonata-form section that culminates in a powerful coda. The Overture, a model of sonata-form for all its brevity, chamber and operatic works followed, culminating with presaging a cadenza, punctuated by orchestral interjections, The introduction features ominous writing for the wind unerringly sets the scene for the action to follow with its the dual première, in Hamburg and Cologne, of his opera which takes the place of a development section. At length and strings, building to a brief climax before taking on a alternately lively and expressive themes, piano and Die tote Stadt, which made him world famous at the age the first theme returns on full orchestra, then the soloist has more fervent tone. The initial music returns, now extended harmonium allotted notable roles in the scintillating of 23. The success of his next opera Der Wunder der a heightened transition to the second theme; gaining in with chorale-like gestures on brass and leading to a resolute instrumentation. Bridal Morning (Mädchen im Braut- Heliane was blighted, however, by the worsening political intensity, this soon heads straight into a rapid coda that theme for the whole orchestra. Aspects of this are excitedly gemach) finds Hero preparing for her wedding with situation, while his last opera Die Kathrin was not brings about the sparkling close. discussed as the transition to a more languorous theme uncertain yet undeniable emotion, evoked in music whose performed in Vienna on account of the Anschluss and the The second movement commences with languorous which itself is capped by a bracing codetta. A central span charm is offset by the merest hint of regret. Dogberry and annexation of Austria by Germany. orchestral chords, a backdrop against which the soloist sees the second theme poetically rendered by clarinet, the Verges (Holzapfel und Schlehwein) is a humorous Korngold had by now settled in Hollywood, where a unfolds an eloquent theme, from the 1936 film Anthony whole orchestra then entering with the first theme and interlude for the drunken nightwatchmen, their lack of series of lavish film scores over the next decade – such as Adverse, whose expansiveness is made even more so by a initiating a lively discourse on the way to a powerful control denoted by the stuttering march rhythm. The Captain Blood (1935), The Adventures of Robin Hood wistful ‘tail’ motif that appears twice. Those initial chords, climax that brings back the first theme at the outset of a Intermezzo underlines the reluctant but growing love of (1938) and King’s Row (1941) – brought his music to an now subtly darkened in tone, introduce a central section in varied reprise. The main thematic ideas are recalled, Beatrice for Benedick, encapsulated in the heartfelt cello audience of millions. Following the Second World War, which the interplay between soloist and orchestra gradually following which the clarinet has a further, even more melody with which the piece opens. The Hornpipe Korngold returned to Europe and to the concert hall but his builds in expressive intensity, before the main theme limpid version of the second theme, taken up by strings and (Mummenschanz), replete with an astringent wit and some effulgent late-Romantic style found relatively little favour returns as before though now with a sense that the darker then the whole orchestra as the music gains steadily in predictably virtuoso writing for two horns, rounds off the in the austerity of post-war Vienna while his death, on colouring has been absorbed into its emotional ardency on its way to a brief but majestic apotheosis. incidental music in robust good spirits. 19th November 1957, attracted only passing attention. complexion. The opening chords then return for a raptly In 1918, Korngold composed the incidental music for Recent decades, however, have seen a renewed interest in serene close. a production of Shakespeare’s play Much Ado About Richard Whitehouse his music, with a host of performances and recordings to The third movement bursts into life with decisive mark his centenary in 1997 and the fiftieth anniversary of orchestral chords, the energetic theme that follows his death in 2007. exploiting the soloist’s virtuosity to the full as well as that Orquesta Sinfónica de Mineria A relative exception to the rule as regards his of the orchestra. A further version of this theme, from the The Music Academy of the Mining Palace is a non-profit private organization, established in 1978 by a group of music- posthumous standing is the Violin Concerto, written in 1937 film The Prince and the Pauper, slower and more loving engineers, alumni of the National and Autonomous University of Mexico’s Engineering Faculty. The Academy 1945 at the prompting of Bronisław Huberman though indulgent, provides for requisite contrast, before the music sponsors the Orquesta Sinfónica de Mineria, a professional body of the highest quality, regularly performing a series given its first performance by Jascha Heifetz, who heard thus far is reprised in full. This time a rapid transition of summer programmes at the famous Nezahualcóyotl Hall.

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