Going all Austro-Hungarian

Brendan Carroll gave a fascinating evening at the Austrian Cultural Forum last night devoted to Korngold's film music. With meaty extracts from Max Reinhardt's A Midsummer Night's Dream (1934) as well as Captain Blood, The Sea Hawk et al, and some rare interview recordings from those who were there at the time, the packed audience was transported to another world. Here's one of the stories:

Max Steiner, composer of King Kong and Gone with the Wind, among others, was a friend of Korngold's in Hollywood. One day he remarked to Korngold, "You know, Erich, since you've been in Hollywood, your music has got worse and my music has got better. Why do you suppose that is?" Without missing a beat, Korngold replied: "That's easy, Max, it's because you've been stealing from me and I've been stealing from you!"

I reckon it's time for a palette-cleanser before the LPO Korngold events kick in with tomorrow's film music bonanza at the RFH. I'm currently proof-reading novel number next, Hungarian Dances. So here, with an appropriately Danubian breath of fresh air, is Andras Schiff (evidently filmed some years ago and relayed somewhere interesting in the Far East) playing Schubert's Hungarian Melody. Just listen to that tone...

Reviews coming in...

It's a mixed bag for Saturday, with most reviewers and bloggers (Intermezzo and Mostly Opera) focusing on the facts that a) there weren't enough programmes, and b) Pekka Kuusisto's clothing was somewhat unconventional. It was, of course - red & black trainers plus a shirt with sparkly sleeves - though not half as unconventional as his playing, the peculiarities of which went largely uncommented-upon, except for Robert Matthew Walker's entertaining write-up at Classical Source. Meanwhile the Daily Telegraph felt there was too much Korngold in the Korngold day, quite apart from reviewing the 'Nach Ensemble', and the Times thinks EWK should have copied Zemlinsky more (if the reviewer had come to our film and talk, he might have understood why Korngold didn't, 'nuff said). They can't agree on Anne Sofie's singing/sense of involvement, to which I can only add that she sang beautifully except for a couple of top notes, that as a very tall, blonde Swede she often comes across as aloof even if she doesn't mean to, and if you were disappointed at not seeing her shoes, assume that she was probably not in high heels.

Anne Sofie von Otter sings Marietta's Lute Song

Glaub, es gibt ein auferstehen

I'm happy to report that Erich Wolfgang Korngold is well and truly resurrected. Heliane herself, whose trial is to raise her beloved from the dead, would have been proud yesterday.

Korngold Focus Day was an even bigger success than I'd hoped. Attendance was excellent, a forest of hands went up to ask questions at the round-table talk, the Nash Ensemble played the socks off the Piano Quintet, Pekka Kuusisto and Bengt Forsberg made the Violin Sonata shine out as one of EWK's most extraordinary and original works, and after Anne Sofie von Otter sang the Lute Song, there wasn't a dry eye in the hall.

Presenting the discussion was extremely enjoyable. Huge thanks to everyone for their marvellous, insightful contributions.

Next Friday, 2 November, the LPO gives a Royal Festival Hall concert of film music conducted by John Wilson, including the UK premieres of 'Tomorrow' from The Constant Nymph and a suite from Escape Me Never as well as perennial favourites The Sea Hawk and The Adventures of Robin Hood, plus works by Korngold's Hollywood contemporaries and successors.

Queen Elizabeth Hall TODAY

Please come and celebrate Korngold at the Queen Elizabeth Hall today!

1.30pm - Barrie Gavin's documentary Adventures of a Wunderkind (free admission)

3.30pm - Round-table discussion with Brendan Carroll, Erik Levi and Ben Wallfisch. Yrs truly asks the questions. (Free admission)

6pm - The Nash Ensemble plays chamber music featuring Zemlinsky, Brahms and Korngold's Piano Quintet

7.45pm - Anne Sofie von Otter sings, Pekka Kuusisto plays the violin, Bengt Forsberg plays the piano. Programme includes Four Shakespeare Songs, the Violin Sonata, the Much Ado About Nothing suite and extracts from Die tote Stadt.