Korngold’s style

Generous spirit: Korngold’s all-embracing melodies, rich textures, harmonic sophistication and long-sustained dramatic intensity hold an instantly recognisable personality, influenced by Puccini, Strauss and the early ballets of Stravinsky (above). His orchestration is likewise full-blooded, glistening with percussion and keyboard instruments.

‘Motif of the Cheerful Heart’: Korngold’s signature motif, invented in his teens, is two interlocked rising fourths and a rising fifth: optimistic and, yes, cheerful. He used it in most of his works in one form or another, but the Violin Concerto’s opening theme transforms it, breaking its heart on the top note.

Landscapes and dreamscapes: Korngold was adept at creating atmosphere, building tension in film scores and operas alike. He can absorb the listener in the heady, claustrophobic quality of the Venetian setting in Violanta, or Bruges in the dream sequence of Die tote Stadt, replete with shadowy corners, church bells and a religious procession. Technical wizardry: With Vienna’s finest performers at his disposal, Korngold became accustomed to writing for virtuosos. His Violin Sonata was intended for Carl Flesch and

Artur Schnabel, his operatic leading roles were conceived for singers such as Maria Jeritza, Lotte Lehmann, Jan Kiepura and Richard Tauber.