It was played on the Proms last night by the John Wilson Orchestra. Bravo!1 If I did not know otherwise I would have said it was Richard Strauss. Few pieces come up to the level of the Four last Songs - this does. So beautiful.
I watched it over and over on the BBC i-player. The climactic ending when the great organ of the Albert Hall joined the fabulous John Wilson orchestra was incredibly emotional for me. I almost stopped breathing. Bravo!
I'm thrilled to have found this. Amazing Korngold! live in concert what better place in heaven may I rest my weary soul as to be lifted by such joyful sounds
This magical classical musical piece had me immediately. I adored Erich Korngold’s film scores and this is hidden treasure better than gold. I only wish he knew how beloved it became before his death. Thank you for a brilliant performance
Here are the lyrics. It's one of my favorite songs, from a great movie, and from one of my favorite composers: When you are gone, the birds will stop their singing; When you are dead, no sun will ever rise. No more, no more the joyous days of springing shall bless these eyes, shall bless these eyes. When you are in your grave, the flowers blowing shall hang their heads and sicken in their grove. Beauty will fade and wither at your going, oh my own love, oh my own love.
The lyrics in the film are different - sung in the first person, not as posted here (below), in the second. Not "When you are gone, " but "When I am gone, Another love will cheer thee. The sun will rise as bright - tomorrow morn. "The birds will sing, though I, no longer near you, must lie forlorn, lie forlorn. "When I am in my grave, the flowers blowing shall make you garlands twenty times as sweet. "Beauty will live though I must sleep unknowing beneath your feet, must sleep beneath your feet." The difference adds greatly to the film's romantic emotionality.
A stunning and electrifying performance. Shame on that numbed, complacent audience for not standing. Like they hear that kind of excellence every day?! I live in Los Angeles and audiences here jump to their feet for complete mediocrity.
Clemence Groves sang this originally and what a voice! Such a beautiful piece of work and she was the frosting on the cake. Yet you can't buy a CD of her, find information about her - only her date of birth. I would give anything to have a CD of her singing this and almost anything else.
Sasha 1939 - If you return to this site you can find on TH-cam a recording by Clemence Groves, Mezzo Soprano, of Tomorrow on the soundtrack of The Constant Nymph between 12:24 to 14:30 minutes (th-cam.com/video/w7RjwXJg0-U/w-d-xo.html). Her voice is on the Symphonic Version on this soundtrack. Don't confuse it with the Chamber Version found at 4:26 - 6:47 minutes (on this same soundtrack) sung by Sally Sweetland, soprano. I agree, Ms. Grove's voice is beautiful.
Serendipity is the strangest thing. Jeff is a school friend and colleague from . . . quite a while ago. I’m looking forward to many more symphonic delights from him!
When you are gone, the birds will stop their singing; When you are dead, no sun will ever rise. No more, no more the joyous days of springing shall bless these eyes, shall bless these eyes. When you are in your grave, the flowers blowing shall hang their heads and sicken in their grove. Beauty will fade and wither at your going, oh my own love, oh my own love.
Beautifully said, Arellano! So few know about Korngold, and many think that film composers are somehow not on a par with "real" composers, but I would hold this piece up to any classical aria!
Note the difference between the authorized published lyrics and the words that were used in the film, "The Constant Nymph." The difference is major, between the sweet and sentimental promise to a dead lover that all "beauty will fade," and the shock of speaking as a corpse to release a living lover to love again.
So true, Keith. I always wondered about that. I have loved this piece for almost 50 years, but I didn't get to see the movie, "The Constant Nymph," until Robert Osborne finally was able to get it on Turner Classic Movies before his death. I think I was just as excited as he was to finally get to see this film. The lyrics for the movie fit so perfectly with the love story between the characters portrayed by Boyer and Fontaine. So, are these the authorized published lyrics that Bonnie Snell Schindler is singing?
Keith Fowler and Judi PaparozzI: I rarely have time to spend time on TH-cam and review these recordings, but thought I should try to dispel any misconstructions being authored. Mr. Fowler is correct: the words being sung here are the published lyrics, corresponding to the published sheet music. Whether they are "authorized" or not is an assumption, but probably a safe one considering how careful and custodial Margaret Kennedy - the author - was with most of her output. However, bear in mind that - structurally - the published "song" version is quite different from that of the movie. First, the "song" version condenses the entire orchestral introduction down to about seven measures; secondly, it includes a repeat of virtually all the musical material sung the first time through. In other words, the vocal section of the tone poem is - in the song version - twice as long. This is why Maragaret Kennedy altered the lyrics: although sung by one voice, her extended lyrics are clearly meant to be two separate characters, in this case a lament of Charles Boyer's character, followed by a consolation sung by the Joan Fontaine character. Again, Mr. Fowler is spot on: the intent and result is quite different from the version in the film, but in my opinion, balances better both musically and dramatically. The Constant Nymph is an exraordinarily unusual movie. Can you imagine an audience sitting still today during an on-screen five minute concert tone poem? Imagine if it were eight or nine minutes, as in the full version here! The demands of movie production, the appeal to different audience quadrants, auditor reception and perception, etc., probably demanded that a shorter and more concise version be rendered for the film - though I admit my ignorance as to which version came first (though I have my suspicions). The version heard here, which includes all of the orchestral introductory material heard in the movie and extant in a concert version matching the original film, has been expanded to embrace the later, extended published "song" version vocal ending. This required some orchestating and arranging on my part, simply to render the bridge between repeats, etc. in the style of Korngold's orchestral language. In an earlier comment, someone referenced the change from "Thee" and "Thou" to "you", etc.; once again, I can offer no explanation as to the why, but an artistic decision was made to respect the pubished lyrics in the song form. I believe you can download a digital version of the song version from Sheetmusic.com, but I can tell you from experience that there are quite a few misprints in it. I hope this is helpful. Jeffrey Schindler
This is cool to see! I recorded this with the Bruckner Orchestra in Linz on the ASV label....You're lucky to do it live! I don't know some of these words.... Good job! Thanks for posting! :)
Hitchcock had the great Bernard Herman compose a piece performed in THe Man Who Knew Too Much. But that piece was important for an effect of the use of cymbals in the plot. This Korngold piece is at the spiritual heart of the extraordinay film The Constant Nymph, Both the film and piece are exquisite.
rossharmonics Not so, ross. Herrmann was invited to compose a work for the Royal Albert Hall sequence in The Man Who Knew Too Much, but declined and instead used Arthur Benjamin's Storm Clouds Cantata, which was composed for the original 1934 film, also directed by Hitchcock. Herrmann expanded the 3-minute cantata to nine minutes, and also re-orchestrated it.
klscomus Interesting. In the film, they show a poster for the performance, which says, if I remember correctly, that it is by Hermann. Thus I was misled. Thanks for the info.
Ah Say not so! Another love will cheer you. The sun will rise as bright tomorrow morn. The birds will sing, though I no longer near you must lie forlorn, lie forlorn. When I am in my grave, the flowers blowing shall make you garlands twenty times as sweet. Beauty will live Ah though I must sleep unknowing beneath your feet, must sleep beneath your feet.
The beginning of the song here sounds very much like the beginning of the song "Yours and Mine" sung by Eleanor Powell (actually overdubbed by Marjorie Lane) in the film "Broadway Melody of 1938".
Thank you for posting this! I've had the Korngold album for over 30 years and never could understand the lyrics to "Tomorrow." Last week it was on TMC and I recorded it. When I played it back I used closed caption to view the lyrics, pausing every few seconds so I could type them on my phone. It still gives me goosebumps to listen to the music, and I am a Korngold FREAK. (I also would like to know if the conductor and soprano are related.)
Korngold was a film composer but had a pedigree similar to many of the great composers; like Mozart, he was a child prodigy. His music inspired John Williams's fanfare for Star Wars.
Korngold: Forced to leave his beloved Vienna because he was a Jew. Composed some of the best Hollywood scores ever and then got shuttled to the side by Goldwyn-Mayer. Returned to Vienna after the war and everything "serious" was 12 tone music. 3 times musically exiled.
Thank you so much for your inquiry and input! Korngold’s Cello Concerto, Op. 37, does indeed owe its antecedents to a film score from the 1946 movie Deception, starring Bette Davis and Claude Rains. However, there is an important distinction: the concert work extends and adds to the material used in the motion picture. More precisely, Korngold took the theme(s) used in the film and, from them, realized a sweeping, one-movement work for cello and orchestra, expanding the material into a 13-minute composition. In a similar fashion, his Violin Concerto, Op. 35, includes themes from Another Dawn, Juarez, Anthony Adverse, and The Prince and The Pauper. The difference in the instance of Tomorrow, Op. 33 is that it is extracted in its entirety from The Constant Nymph as it appears in the film; unlike the concerti mentioned earlier, it is not an expansion, realization, recomposition, etc. The description of the video is accurate; I hope this helps. Incidentally, I’m sure you are aware that many motion pictures will use concert works, frequently as what’s called “source music,” music in the background or coming from a source on screen (e.g., a radio, string quartet, piano, etc.). For example, one might hear Mozart at an elegant dinner party and Chopin at a parlor recital while other action occurs. However, for an example - in reverse - of what Korngold has done with the cello and violin concerti, we need to look no further than his colleague, Miklos Rosza. At director Billy Wilder’s urging, he took his Violin Concerto, Op. 23 (composed in 1953) and used themes from that concert work in the 1970 movie The Private Life of Sherlock Holmes, for which he wrote the score. I want to express my appreciation for raising the initial question, as other thoughtful and erudite auditors, such as yourself, may have been pondering a similar query. I am grateful for the opportunity to resolve any uncertainties or misapprehensions. Thank you once again.
As a follow up to my comment below, I’ve heard it said among some of these so-called ‘serious musicians’ regarding this outstanding composer that his works contain more ‘Korn’ than ‘gold.’ Everyone’s entitled to their opinion, I suppose. For the most part, I think that criticism is somewhat unfair, if not exactly the opposite.
For a composer such as Korngold, the ultimate tribute is to be copied. You have only to listen to any modern orchestral film music to know that Korngold set the standard for what film music should be.
If the above were true, then have all the great movie composers used Korngold as the takeoff point for all of their music? Think John Williams as prime example.
lark005 I forget the name of the novelist but you can easily google it. The song was set to music by Erich Korngold for the movie THe Constant Nymph. The composer in the story is working on this piece throughout the film and it is central to the plot. The novel is also called The Constant Nymph. The film was out of circulation for decades. Since it's rerelease just a few years ago, it became one of my favorite movies. Joan Fontaine said it was her favorite role. I can see why. However, she has several other films where she turns in a stellar performance as well - Rebecca, Suspicion, and Letter from an Unknown Lady. This piece is so central to the story that the novelist had to write the lyrics rather than just talk about a song without having the lyrics in the text.
The lyrics are altered from those in the film. The change is significant. In the film they are sung in the first person, "When I am gone...when I am in my grave..." And the consequence is that the birds will still be singing, and that the flowers will make garlands "twenty times as sweet." Life will go on, beauty will live, and you will find another.
Overblown and lacking musical taste. I switched off when the celestial choir came on. Korngold never learnt that less is more and supreme technical competence cannot ennoble kitsch. That said, I appreciate quite a few of his real works.
Sometimes it takes re-hearing and even re-training of the ear to move past the biases we learn in music classes, even such compelling notions as "less is more." Korngold was a true master of the subtleties within (& despite?) "excess."
A rather arrogant opinion of this piece. At least he's kind enough to appreciate some of Korngold's "real" works. One must remember that this was written by Korngold for a movie that the writer would find overblown and lacking in taste...and therefore appropriate
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Why was there not a standing ovation for this performance?? I was reduced to tears! Korngold is just something else. A true musical genius.
They stepping with the feet ,too !!!
Never heard this before. What a superb piece and beautifully performed. Magnificent orchestration.
It was played on the Proms last night by the John Wilson Orchestra. Bravo!1 If I did not know otherwise I would have said it was Richard Strauss. Few pieces come up to the level of the Four last Songs - this does. So beautiful.
I watched it over and over on the BBC i-player. The climactic ending when the great organ of the Albert Hall joined the fabulous John Wilson orchestra was incredibly emotional for me. I almost stopped breathing. Bravo!
Korngold touches all our hearts .
Korngold would be proud! A stunning and emotional performance by all.
I love Korngold.
I'm thrilled to have found this. Amazing Korngold! live in concert what better place in heaven may I rest my weary soul as to be lifted by such joyful sounds
wunderschön!!!!!!such a beautiful performance
This magical classical musical piece had me immediately. I adored Erich Korngold’s film scores and this is hidden treasure better than gold. I only wish he knew how beloved it became before his death. Thank you for a brilliant performance
Thanks for the beautiful song, wonderfully sung by Bonnie Schindler and performed by the orchestra. Hurray for Korngold.
MASTERPIECE BY KORNGOLD
Here are the lyrics. It's one of my favorite songs, from a great movie, and from one of my favorite composers:
When you are gone, the birds will stop their singing;
When you are dead, no sun will ever rise.
No more, no more the joyous days of springing
shall bless these eyes, shall bless these eyes.
When you are in your grave, the flowers blowing
shall hang their heads and sicken in their grove.
Beauty will fade and wither at your going,
oh my own love, oh my own love.
Check the film to see how the words differ. The change is a major one.
@@TheKFFowler FYI - The sheet music actually has BOTH verses, "Whey you are gone" then "When I am gone."
Thank you so much!!!!!!
Dankeschön 🥂🍾 🤗 🖤 für meinen Mann 🖤
Thank you: very helpful. . .
Greatness! Wonderful just wonderful! So emotional!
Thank you, Bonnie and Jeffrey, for this truly beautiful and moving performance.
The lyrics in the film are different - sung in the first person, not as posted here (below), in the second. Not "When you are gone, " but
"When I am gone,
Another love will cheer thee.
The sun will rise as bright - tomorrow morn.
"The birds will sing,
though I, no longer near you,
must lie forlorn, lie forlorn.
"When I am in my grave,
the flowers blowing
shall make you garlands twenty times as sweet.
"Beauty will live
though I must sleep unknowing
beneath your feet, must sleep beneath your feet."
The difference adds greatly to the film's romantic emotionality.
FYI - The sheet music actually has BOTH verses, "Whey you are gone" then "When I am gone."
Maravillosa y conmovedora canción, pura delicia escucharla.¡¡¡
Thank you for enriching my soul ❤
A Wonderful performance by all taking part...words fitting the music so so sublimely
😰😍😰
wow I really like this piece. Besides from the quality of musical ideas, it also showcases the mezzo voice really beautifully.
A masterpiece..bravo
A stunning and electrifying performance. Shame on that numbed, complacent audience for not standing. Like they hear that kind of excellence every day?! I live in Los Angeles and audiences here jump to their feet for complete mediocrity.
Just Gorgeous!
Bravo...
Clemence Groves sang this originally and what a voice! Such a beautiful piece of work and she was the frosting on the cake. Yet you can't buy a CD of her, find information about her - only her date of birth. I would give anything to have a CD of her singing this and almost anything else.
Sasha 1939 - If you return to this site you can find on TH-cam a recording by Clemence Groves, Mezzo Soprano, of Tomorrow on the soundtrack of The Constant Nymph between 12:24 to 14:30 minutes (th-cam.com/video/w7RjwXJg0-U/w-d-xo.html). Her voice is on the Symphonic Version on this soundtrack. Don't confuse it with the Chamber Version found at 4:26 - 6:47 minutes (on this same soundtrack) sung by Sally Sweetland, soprano. I agree, Ms. Grove's voice is beautiful.
Serendipity is the strangest thing. Jeff is a school friend and colleague from . . . quite a while ago. I’m looking forward to many more symphonic delights from him!
Simplemente maravilloso..¡¡
When you are gone, the birds will stop their singing; When you are dead, no sun will ever rise. No more, no more the joyous days of springing shall bless these eyes, shall bless these eyes. When you are in your grave, the flowers blowing shall hang their heads and sicken in their grove. Beauty will fade and wither at your going, oh my own love, oh my own love.
What a nostalgic feeling those lyrics can transmited through the sweeping and timeless melody of Erich Wolfgang Korngold.
Beautifully said, Arellano! So few know about Korngold, and many think that film composers are somehow not on a par with "real" composers, but I would hold this piece up to any classical aria!
Note the difference between the authorized published lyrics and the words that were used in the film, "The Constant Nymph." The difference is major, between the sweet and sentimental promise to a dead lover that all "beauty will fade," and the shock of speaking as a corpse to release a living lover to love again.
So true, Keith. I always wondered about that. I have loved this piece for almost 50 years, but I didn't get to see the movie, "The Constant Nymph," until Robert Osborne finally was able to get it on Turner Classic Movies before his death. I think I was just as excited as he was to finally get to see this film. The lyrics for the movie fit so perfectly with the love story between the characters portrayed by Boyer and Fontaine. So, are these the authorized published lyrics that Bonnie Snell Schindler is singing?
Keith Fowler and Judi PaparozzI: I rarely have time to spend time on TH-cam and review these recordings, but thought I should try to dispel any misconstructions being authored. Mr. Fowler is correct: the words being sung here are the published lyrics, corresponding to the published sheet music. Whether they are "authorized" or not is an assumption, but probably a safe one considering how careful and custodial Margaret Kennedy - the author - was with most of her output. However, bear in mind that - structurally - the published "song" version is quite different from that of the movie. First, the "song" version condenses the entire orchestral introduction down to about seven measures; secondly, it includes a repeat of virtually all the musical material sung the first time through. In other words, the vocal section of the tone poem is - in the song version - twice as long. This is why Maragaret Kennedy altered the lyrics: although sung by one voice, her extended lyrics are clearly meant to be two separate characters, in this case a lament of Charles Boyer's character, followed by a consolation sung by the Joan Fontaine character. Again, Mr. Fowler is spot on: the intent and result is quite different from the version in the film, but in my opinion, balances better both musically and dramatically.
The Constant Nymph is an exraordinarily unusual movie. Can you imagine an audience sitting still today during an on-screen five minute concert tone poem? Imagine if it were eight or nine minutes, as in the full version here! The demands of movie production, the appeal to different audience quadrants, auditor reception and perception, etc., probably demanded that a shorter and more concise version be rendered for the film - though I admit my ignorance as to which version came first (though I have my suspicions).
The version heard here, which includes all of the orchestral introductory material heard in the movie and extant in a concert version matching the original film, has been expanded to embrace the later, extended published "song" version vocal ending. This required some orchestating and arranging on my part, simply to render the bridge between repeats, etc. in the style of Korngold's orchestral language.
In an earlier comment, someone referenced the change from "Thee" and "Thou" to "you", etc.; once again, I can offer no explanation as to the why, but an artistic decision was made to respect the pubished lyrics in the song form.
I believe you can download a digital version of the song version from Sheetmusic.com, but I can tell you from experience that there are quite a few misprints in it.
I hope this is helpful.
Jeffrey Schindler
Bravo and brava!
This is cool to see! I recorded this with the Bruckner Orchestra in Linz on the ASV label....You're lucky to do it live! I don't know some of these words....
Good job! Thanks for posting! :)
awesome
so nice
Hitchcock had the great Bernard Herman compose a piece performed in THe Man Who Knew Too Much. But that piece was important for an effect of the use of cymbals in the plot. This Korngold piece is at the spiritual heart of the extraordinay film The Constant Nymph, Both the film and piece are exquisite.
rossharmonics Not so, ross. Herrmann was invited to compose a work for the Royal Albert Hall sequence in The Man Who Knew Too Much, but declined and instead used Arthur Benjamin's Storm Clouds Cantata, which was composed for the original 1934 film, also directed by Hitchcock. Herrmann expanded the 3-minute cantata to nine minutes, and also re-orchestrated it.
klscomus Interesting. In the film, they show a poster for the performance, which says, if I remember correctly, that it is by Hermann. Thus I was misled. Thanks for the info.
You are welcome, ross.
Gertrude Slojinsky Thanks. I hadn't seen the film in a while and my memory was faulty.
I was expecting Errol Flynn to leap onto the stage!
I love this, and I can't find it.
pajewa What can't you find specifically?
Very swooney. Lovely Korngold.
Ah Say not so! Another love will cheer you.
The sun will rise as bright tomorrow morn.
The birds will sing, though I no longer near you
must lie forlorn, lie forlorn.
When I am in my grave, the flowers blowing
shall make you garlands twenty times as sweet.
Beauty will live Ah though I must sleep
unknowing beneath your feet, must sleep beneath your feet.
The beginning of the song here sounds very much like the beginning of the song "Yours and Mine" sung by Eleanor Powell (actually overdubbed by Marjorie Lane) in the film "Broadway Melody of 1938".
This sounds like it was written by a god
Thank you for posting this! I've had the Korngold album for over 30 years and never could understand the lyrics to "Tomorrow." Last week it was on TMC and I recorded it. When I played it back I used closed caption to view the lyrics, pausing every few seconds so I could type them on my phone. It still gives me goosebumps to listen to the music, and I am a Korngold FREAK. (I also would like to know if the conductor and soprano are related.)
It was.
Korngold was a film composer but had a pedigree similar to many of the great composers; like Mozart, he was a child prodigy. His music inspired John Williams's fanfare for Star Wars.
Korngold: Forced to leave his beloved Vienna because he was a Jew. Composed some of the best Hollywood scores ever and then got shuttled to the side by Goldwyn-Mayer. Returned to Vienna after the war and everything "serious" was 12 tone music. 3 times musically exiled.
Re: your into. The cello concerto was also part of a movie score and was give an opus number. What is the difference between the two?
Thank you so much for your inquiry and input!
Korngold’s Cello Concerto, Op. 37, does indeed owe its antecedents to a film score from the 1946 movie Deception, starring Bette Davis and Claude Rains. However, there is an important distinction: the concert work extends and adds to the material used in the motion picture. More precisely, Korngold took the theme(s) used in the film and, from them, realized a sweeping, one-movement work for cello and orchestra, expanding the material into a 13-minute composition. In a similar fashion, his Violin Concerto, Op. 35, includes themes from Another Dawn, Juarez, Anthony Adverse, and The Prince and The Pauper. The difference in the instance of Tomorrow, Op. 33 is that it is extracted in its entirety from The Constant Nymph as it appears in the film; unlike the concerti mentioned earlier, it is not an expansion, realization, recomposition, etc. The description of the video is accurate; I hope this helps.
Incidentally, I’m sure you are aware that many motion pictures will use concert works, frequently as what’s called “source music,” music in the background or coming from a source on screen (e.g., a radio, string quartet, piano, etc.). For example, one might hear Mozart at an elegant dinner party and Chopin at a parlor recital while other action occurs. However, for an example - in reverse - of what Korngold has done with the cello and violin concerti, we need to look no further than his colleague, Miklos Rosza. At director Billy Wilder’s urging, he took his Violin Concerto, Op. 23 (composed in 1953) and used themes from that concert work in the 1970 movie The Private Life of Sherlock Holmes, for which he wrote the score.
I want to express my appreciation for raising the initial question, as other thoughtful and erudite auditors, such as yourself, may have been pondering a similar query. I am grateful for the opportunity to resolve any uncertainties or misapprehensions. Thank you once again.
Note: I had to post the lyrics in two posts.
sometimes i miss that maria callas didn´t found the korngolds songs....
Introduction sounds like a passage from Parsifal
Actually sounds a bit like Holst ....
As a follow up to my comment below, I’ve heard it said among some of these so-called ‘serious musicians’ regarding this outstanding composer that his works contain more ‘Korn’ than ‘gold.’ Everyone’s entitled to their opinion, I suppose. For the most part, I think that criticism is somewhat unfair, if not exactly the opposite.
For a composer such as Korngold, the ultimate tribute is to be copied. You have only to listen to any modern orchestral film music to know that Korngold set the standard for what film music should be.
If the above were true, then have all the great movie composers used Korngold as the takeoff point for all of their music? Think John Williams as prime example.
Who wrote the lovely lyrics?
lark005 I forget the name of the novelist but you can easily google it. The song was set to music by Erich Korngold for the movie THe Constant Nymph. The composer in the story is working on this piece throughout the film and it is central to the plot. The novel is also called The Constant Nymph. The film was out of circulation for decades. Since it's rerelease just a few years ago, it became one of my favorite movies. Joan Fontaine said it was her favorite role. I can see why. However, she has several other films where she turns in a stellar performance as well - Rebecca, Suspicion, and Letter from an Unknown Lady. This piece is so central to the story that the novelist had to write the lyrics rather than just talk about a song without having the lyrics in the text.
rossharmonics Thanks for the info. Korngold has always been one of my favorite composers.
The lyrics are altered from those in the film. The change is significant. In the film they are sung in the first person, "When I am gone...when I am in my grave..." And the consequence is that the birds will still be singing, and that the flowers will make garlands "twenty times as sweet."
Life will go on, beauty will live, and you will find another.
Mr. Fowler, please see my lengthy reply to a discussion you had with Judi Paparozzi above. You are entirely correct on all counts.
Good performance...but why alter Margaret Kennedy's lyric, changing "thou" and "thy" to "you" and "your"?
Lyrics correspond to the published song version, an extended variant of the original heard in the movie.
Overblown and lacking musical taste. I switched off when the celestial choir came on. Korngold never learnt that less is more and supreme technical competence cannot ennoble kitsch. That said, I appreciate quite a few of his real works.
Not everyone understands musical beauty
"Kitsch!" said the unknown who set himself upon a musical throne. Would that you had been there to correct Mahler and Strauss in their assessment!
Sometimes it takes re-hearing and even re-training of the ear to move past the biases we learn in music classes, even such compelling notions as "less is more." Korngold was a true master of the subtleties within (& despite?) "excess."
A rather arrogant opinion of this piece. At least he's kind enough to appreciate some of Korngold's "real" works. One must remember that this was written by Korngold for a movie that the writer would find overblown and lacking in taste...and therefore appropriate
It's too bad you couldn't just go with it and ride the wave to shore.