Started by karlhenning, April 12, 2007, 07:35:28 AM
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Quote from: Lisztianwagner on October 31, 2022, 02:12:22 PMCrosspost from WOAYLTN:Some thoughts about Von Heute auf Morgen: I listened to this opera for the first time and I really appreciated it, it isn't one of Schönberg's most famous works (a bit unfairly in my opinion), but it is an absolutely remarkable composition, very thrilling and intriguing, especially for what concerns the music and the use of the voices. As a matter of fact, the libretto is simple and generic, not particularly profound, witty and moved, although it is based on a quite interesting argument like the relationship between outwardnes and inwardness, appearance and substance, what is supposed to be modern that often reveals itself, in several aspects of life, merely ephemeral and frail, literally passing from today to tomorrow, and so it can be seen as a sort of ironic critics of some social tendencies; but nonetheless it is masterfully completed and deepened by the music. In fact, if the text has a light-hearted tone, the music is more complex, absolutely beautiful, suggestive and captivating, as well as immediately recognizable as schönbergian in its density of the contrapuntal lines, where all the sections, following the developments of the series (it was the first opera composed with the dodecaphonic method), are brilliantly combined and juxtaposed in continuous transformations to elaborate thick, but clear and solid textures; in the great variety of the timbres and orchestral colours, that gives the impression to have a huge amount of expressive possibilities to use, but also in the use of dissonances and harmonic contrasts to evoke haunting atmospheres, full of tensions and strong emotions, creating in this way a musical weaving which goes beyond and deeper than what the action simply shows and what is simply said; indeed in this opera, Schönberg's music, in its rhythmic flexibility, breaking and moving the inner plot, in its flowing on vivid colours and timbral inventiveness, seems to be really able to express the unconscious and to bring out the deep, true feelings hidden inside the characters, who reveal through the melodies much more than what they actually do on the staging. Anyway, at the same time, this quality puzzles me a little, if it is thought that, in the intention of the composer, the opera should be a comedy, but if I hadn't known it, I would have never called it a comic opera; honestly the mood sounds anything but light, on the contrary, it sounds sharp, tense and restless; but on the other hand, it results to be shrewd and humorous in the parodies created.
Quote from: k a rl h e nn i ng on October 31, 2022, 02:46:17 PMMost interesting. I don't believe I have heard the piece. Thanks, Ilaria!
Quote from: Mandryka on November 16, 2022, 08:50:35 AMSchoenberg wrote a preface for the 1924 edition of Webern's op 9 bagatelles. Can anyone help me find a copy of it in English or French ? Free and online!
Quote from: DaveF on November 16, 2022, 10:42:40 PMI guess that the passage quoted on UE's website: https://www.universaledition.com/anton-webern-762/works/6-bagatellen-794 is probably not the whole preface, although a 3½-minute work might call for a similarly brief introduction.
Quote from: Mandryka on November 17, 2022, 08:19:06 AMMust say, even though it's a Schoenberg thread, I'm very much enjoying Webern at the mo.
Quote from: k a rl h e nn i ng on November 17, 2022, 08:02:00 AMI think I may have read the whole. Perhaps it is included in the anthology Style and Idea.
Quote from: Jo498 on November 18, 2022, 03:21:27 AMLiterally, "Wehleidigkeit" does not mean self-pity (that would be "Selbstmitleid" that is a both literal and a common German word). It rather means the opposite of toughness, being overly sensitive to pain and quick to complain. I am not sure about an idiomatic translation. self-pity is often given but being "whiny" is probably closer. "wehleidig" would be more often used for sensitive children who cry easily but are not really old enough to exhibit or cultivate real self-pity. A child that could be comforted quickly could still be described as wehleidig because it is so easily moved to crying or complaining. For adults both features are often more closely related.
Quote from: Mandryka on November 17, 2022, 07:47:21 AMAnd here it isThough the brevity of these pieces is a persuasive advocate for them, on the other hand that very brevity itself requires an advocate.Consider what moderation is required to express oneself so briefly. You can stretch every glance out into a poem, every sigh into a novel. But to express a novel in a single gesture, a joy in a breath - such concentration can only be present in proportion to the absence of self-pity.These pieces will only be understood by those who share the faith that music can say things that can only be expressed by music.These pieces can face criticism as little as this - or any - belief.If faith can move mountains, disbelief can deny their existence. And faith is impotent against such impotence.Does the musician know how to play these pieces, does the listener know how to receive them? Can faithful musicians and listeners fail to surrender themselves to one another?But what shall we do with the heathen? Fire and sword can keep them down; only believers need to be restrained.May this silence sound for them.Arnold SchoenbergModling, June 1924
Quote from: Mandryka on November 18, 2022, 07:04:27 AMhypersensitivity.
Quote from: Jo498 on November 19, 2022, 05:33:29 AMThis sounds a bit too neutral or medical/technical (there is also a literal translation "Überempfindlichkeit"). Wehleidig does have negative connotation, although maybe not as strong as self-pity. I think Schoenberg's point is that the condensation of emotion into one gesture requires such a discipline, toughness and absence of self-pity. One needs to be tough in cutting away everything non-essential.
Quote from: k a rl h e nn i ng on November 19, 2022, 05:36:09 AMInteresting, indeed.
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