Book contents
- Richard Strauss in Context
- Composers in Context
- Richard Strauss in Context
- Copyright page
- Contents
- Figures
- Notes on Contributors
- Preface
- Note on Translation
- Part I Family, Friends, and Collaborators
- Part II Career Stations
- Part III Cultural Engagement and Musical Life
- Part IV Professional and Musical Contexts
- Part V In History
- Part VI Artifacts and Legacy
- Chapter 31 Publishers and Editions
- Chapter 32 Letters
- Chapter 33 In Performance
- Chapter 34 Influence
- Chapter 35 2001: A Space Odyssey and Beyond
- Chapter 36 Scholarly Directions
- Further Reading
- Appendix: Letters Bibliography
- Index
Chapter 34 - Influence
from Part VI - Artifacts and Legacy
Published online by Cambridge University Press: 08 October 2020
- Richard Strauss in Context
- Composers in Context
- Richard Strauss in Context
- Copyright page
- Contents
- Figures
- Notes on Contributors
- Preface
- Note on Translation
- Part I Family, Friends, and Collaborators
- Part II Career Stations
- Part III Cultural Engagement and Musical Life
- Part IV Professional and Musical Contexts
- Part V In History
- Part VI Artifacts and Legacy
- Chapter 31 Publishers and Editions
- Chapter 32 Letters
- Chapter 33 In Performance
- Chapter 34 Influence
- Chapter 35 2001: A Space Odyssey and Beyond
- Chapter 36 Scholarly Directions
- Further Reading
- Appendix: Letters Bibliography
- Index
Summary
This chapter brings Strauss’s music into constructive dialogue with Hollywood film, via the persona of Erich Korngold. It examines Korngold’s historical connection with Strauss through the former composer’s operas and concert works, before exploring the ways in which Strauss can be heard in the film scores by Korngold and his contemporaries in the 1930s and 40s. The use of one particular Straussian harmonic trait – third-related triadic sequences (of both octatonic and hexatonic variety) – is highlighted in Korngold’s scores and traced in more recent film, including in the output of John Williams. Williams’s use of what Frank Lehman calls "chromatically modulating cadential resolutions" can also be found in Strauss and Korngold. The chapter concludes by suggesting that hearing Strauss in Korngold and Williams is just one way of constructing a Straussian Text, one that reveals the power of seeking to encounter Strauss’s music in varied and surprising contexts.
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- Richard Strauss in Context , pp. 311 - 319Publisher: Cambridge University PressPrint publication year: 2020