Arnold Schoenberg - Verklärte Nacht, Op. 4 (1899)
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- Опубликовано: 4 окт 2024
- Arnold Franz Walter Schoenberg or Schönberg (13 September 1874 - 13 July 1951) was an Austrian composer, music theorist, and painter. He was associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School. With the rise of the Nazi Party, Schoenberg's works were labelled degenerate music, because they were modernist, atonal and what even Paul Hindemith called "sonic orgies" and "decadent intellectual efforts" (Petropoulos 2014, 94-95). He emigrated to the United States of America in 1934.
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Verklärte Nacht in D minor, Op. 4 (1899) for String Sextet
Wiener Streichsextett:
Erich Hoebarth, Peter Matzka (violin); Thomas Riebl, Siegfried Fuerhlinger (viola); Rodolf Leopold, Susanne Ehn (cello)
Verklärte Nacht (Transfigured Night), Op. 4, is a string sextet in one movement composed by Arnold Schoenberg in 1899. Composed in just three weeks, it is considered his earliest important work. It was inspired by Richard Dehmel's poem of the same name, combined with the influence of Schoenberg's strong feelings upon meeting the sister of his teacher, Alexander von Zemlinsky, Mathilde Zemlinsky [Wikidata] (1877-1923), whom he married in 1901. The movement can be divided into five distinct sections which refer to the five stanzas of Dehmel's poem; however, there are no unified criteria regarding movement separation.
The work was premiered on 18 March 1902 in the Vienna Musikverein by the Rosé Quartet with Arnold Rosé and Albert Bachrich (violins), Anton Ruzitska (viola), and Friedrich Buxbaum (cello), extended by Franz Jelinek (second Viola) and Franz Schmidt (second cello).
The British premiere of the sextet was on 23 of January 1914 at the Bechstein Hall in the presence of the composer. It was played by the London String Quartet: Albert Sammons, Thomas Petre, Harry Waldo Warner and Warwick Evans, who were joined by James Lockyer on viola and Cedric Sharpe on cello.
The string orchestra version had its premiere in the English city of Newcastle upon Tyne in December 1924, conducted by Schoenberg's champion and former student Edward Clark.
Verklärte Nacht was controversial at its 1902 premiere. This was due to the highly advanced harmonic idiom, although Schoenberg did receive praise for his inventiveness. The work employs a richly chromatic language and often ventures far from the home key, though the work is clearly rooted in D minor. A particular point of controversy was the use of a single 'nonexistent' (that is, uncategorized and therefore unpermitted) inverted ninth chord, which resulted in its rejection by the Vienna Music Society. Schoenberg remarked "and thus (the work) cannot be performed since one cannot perform that which does not exist".
Some unfavorable reaction was also due to the use of Dehmel's poem as inspiration, questioning the viability of setting its themes to music, or being concerned about the situation of the woman in the story.[18] The poem's content was considered improper for its failure to criticize (and possibly even its glorification of) premarital sex, and Schoenberg's lush harmonic treatment of the material further brought the work towards indecency in the minds of the Viennese.
Richard Dehmel himself was favorably impressed by Schoenberg's treatment of the poem, writing, "I had intended to follow the motives of my text in your composition, but soon forgot to do so, I was so enthralled by the music."
Was für ein wunderbares Manuskript! Ich danke Ihnen sehr, daß Sie uns Schönbergs Handschrift gegeben haben.
Thank you very much!!! This beuatiful piece was the topic of my master thesis. It has es very special form, inspired by the poem of Dehmel, but in the same time independent of the poem. It is "absolute music". Schönberg himself has analysed it many years later and was astonished about the structural complexity of his own masterpiece.
Very interesting to see the crossed out notes.
There were a few pages crossed out.
_Transfigured Night_
Two people are walking through a bare, cold wood;
the moon keeps pace with them and draws their gaze.
The moon moves along above tall oak trees,
there is no wisp of cloud to obscure the radiance
to which the black, jagged tips reach up.
A woman's voice speaks:
"I am carrying a child, and not by you.
I am walking here with you in a state of sin.
I have offended grievously against myself.
I despaired of happiness,
and yet I still felt a grievous longing
for life's fullness, for a mother's joys
and duties; and so I sinned,
and so I yielded, shuddering, my sex
to the embrace of a stranger,
and even thought myself blessed.
Now life has taken its revenge,
and I have met you, met you."
She walks on, stumbling.
She looks up; the moon keeps pace.
Her dark gaze drowns in light.
A man's voice speaks:
"Do not let the child you have conceived
be a burden on your soul.
Look, how brightly the universe shines!
Splendour falls on everything around,
you are voyaging with me on a cold sea,
but there is the glow of an inner warmth
from you in me, from me in you.
That warmth will transfigure the stranger's child,
and you bear it me, begot by me.
You have transfused me with splendour,
you have made a child of me."
He puts an arm about her strong hips.
Their breath embraces in the air.
Two people walk on through the high, bright night
in other words, this piece describes the experience of being a сuсk. yikes...
@@garrysmodsketches Lol... I suppose so.
That was beautiful
gorgeous
Simply wonderful! Well played as well
Thank you, a beautiful score!
Great piece!
I love it!
Wunderschöne und detaillierte Interpretation dieser atonalen doch perfekt komponierten Streichsextetts im veränderlichen Tempo mit seidigen Tönen beider Violinen, milden Tönen beider Bratschen und tiefen Tönen beider Violoncelli. Die intime und perfekt entsprechende Miteinanderwirkung zwischen den sechs Virtuosen ist wahrlich ergreifend. Wunderbar vom Anfang bis zum Ende!
Verklärte Nacht ist nicht atonal.
Schoenberg’s genius.