Enhanced descriptions from Syndetics:

Korngold created works in the romantic tradition of Mahler and Strauss from an early age. He fled Nazi Germany for Hollywood, where his symphonic film scores won two Oscars. Later, he turned again to composing concert music, but his commercial success prompted critics to dismiss his works.

Table of contents provided by Syndetics

• Foreword (p. 9)
• Acknowledgments (p. 11)
• Introduction (p. 15)
• The Early Years: 1897-1913 (p. 19)
• Chapter 1 "A Genius!" (p. 21)
• Chapter 2 The Prodigy Reveals Himself (p. 35)
• Chapter 3 Fame and Honors (p. 48)
• Chapter 4 The Prodigy Goes on Tour (p. 62)
• Chapter 5 "We Will Have to Burn Our Books on Harmony" (p. 76)
• A Born Camposer: 1913-1918 (p. 95)
• Chapter 6 "He is a Young Eagle" (p. 97)
• Chapter 7 Operatic Triumphs (p. 109)
• Chapter 8 The Prodigy Falls in Love (p. 117)
• The "New Music" and the Aftermath of War: 1919-1923 (p. 127)
• Chapter 9 One of the Most Important and Successful Composers of Our Time" (p. 129)
• Chapter 10 "He is the Greatest Hope of German Music" (p. 143)
• Chapter 11 A New Order in Music -- Schoenberg and Serialism (p. 156)
• The New Dark Age -- Hitler's Rise to Power: 1924-1933 (p. 169)
• Chapter 12 "Mama, We Are Playing at Being Married, a Whole Life Long!" (p. 171)
• Chapter 13 Korngold Versus Kôenek (p. 186)
• Chapter 14 The Youngest Music Professor in the World (p. 201)
• Chapter 15 The Search for a New Opera (p. 216)
• From Vienna to Hollywood: 1934-1944 (p. 229)
• Chapter 16 Lights! Action! Korngold! (p. 231)
• Chapter 17 Operas Without Singing (p. 245)
• Chapter 18 Escape from Hitler -- Exile in Hollywood (p. 262)
• Chapter 19 The Golden Age of Film Music (p. 280)
• Chapter 20 New Triumphs -- Hollywood and Broadway (p. 300)
• The Return to Absolute Music: 1944-1955 (p. 315)
• Chapter 21 Farewell to Films (p. 317)
• Chapter 22 Return to Europe (p. 333)
• Chapter 23 Faith in Music (p. 351)
• Chapter 24 Afterword -- the Korngold Renaissance (p. 367)
• Notes to Chapters One Through 23 (p. 373)
• The Complete Works of Erich Wolfgang Korngold (p. 396)
• Selected Bibliography (p. 407)
• Discography 1914-1996 (p. 415)
• Index (p. 437)

Reviews provided by Syndetics

Publishers Weekly Review

Until the recent Korngold renaissance, he has been known mainly for his film scores. In his comprehensive biography, Carroll, president of the International Korngold Society, demonstrates that the composer's music should not be discounted. Born in Vienna, where his early compositions were admired by Mahler, Sibelius, Strauss and other notables of the day, Korngold (1897-1957) was a child prodigy who had a work performed publicly when he was 13. By age 20 he had a brilliant career in Europe as a pianist, conductor and composer of symphonies, operas and chamber music. In 1934, he was persuaded by director Max Reinhardt to come to this country to work on a film adaptation of A Midsummer Night's Dream. He remained in Hollywood, writing scores for such films as Anthony Adverse, The Adventures of Robin Hood and The Sea Hawk, returning to serious concert music only a few years before his death. Carroll's research is exhaustive and his analysis of Korngold's music lucid and perceptive. It remains to be seen whether his assessment of Korngold as one of the great composers of the century is accurate. Photos. (Oct.) (c) Copyright PWxyz, LLC. All rights reserved

CHOICE Review

In comparison with major anniversaries of Franz Schubert (b. 1797) and Johannes Brahms (d. 1897), Korngold's centenary (1897-1957) passed relatively unheralded. Acclaimed "a genius" at age nine by Gustav Mahler--at least as recounted by his dominating father, Julius, the pre-eminent music critic in Vienna--Korngold at 13 had his music performed in New York City. By his 20th birthday he had made his debut as conductor of his one-act operas at the Vienna Court Opera and was becoming one of Europe's most celebrated musicians. After emigrating of political necessity to Hollywood in 1934, Korngold supplied and conducted music for nearly two dozen films (he never differentiated between film and concert music). Carroll, cofounder and president of the International Korngold Society, has amassed a welter of biographical detail, which he augments with photographs, extensive notes--helpful in identifying Korngold's many professional associates--a complete list of works, and a discography (few works with opus numbers have gone unrecorded). Film aficionados may or may not agree with the author's capsule summaries; musicians puzzled by his occasionally imprecise technical terminology likely would have preferred musical examples. An optional purchase; accessible to all readers. J. Behrens; University of Western Ontario

Booklist Review

Korngold (1897^-1957) was a prodigy, like Mozart. His first compositions, written at age seven, already were harmonically sophisticated. By the time he was a teenager in Vienna, his works were being performed by the most famous chamber groups and singers. His father, Julius, was music critic for Vienna's leading newspaper; therefore, most of Erich's compositions were premiered where Julius could review them. His music was tonal--he never strayed into serial music--but its harmonic structure admitted much dissonance. Well-read, he composed operas and incidental music for the stage. When the Nazis arose, the Korngold family escaped to America, where, against the wishes of Julius, Erich turned to scoring films for Warner Brothers. Captain Blood, The Adventures of Robin Hood, and The Sea Hawk boast his best-remembered music. He retired from film work after a heart attack in 1947 and briefly returned to composing "absolute music." Carroll tells this influential practical composer's story largely with material gleaned from interviews with family and friends and letters from Korngold's famous musical colleagues. --Alan Hirsch