Schoenberg's Sheen

Started by karlhenning, April 12, 2007, 07:35:28 AM

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Lisztianwagner

About Schönberg's Von Heute auf Morgen (but not strictly related only to this work): I said in a previous post that it left me a little puzzled that the opera was a comedy, because the mood sounded anything but light; in fact, the text is simple, though rather interesting and witty with a light tone; but on the contrary the music is far more complex, profound and serious; the atmosphere depicted is quite haunting and thrilling, full of tensions, anxieties and strong, violent emotions which seem to reveal what is truly hidden inside the inner being, bringing out much more than what the actions simply show on the staging and what is simply said by the characters; a bit too dissonant and strident for what should be a comedy that the composer himself described as a cheerful to funny, sometimes even comic opera ("Es ist eine heitere bis lustige, manchmal sogar - ich hoffe wenigstens - komische Oper.") . The comic element sounds to lie in the structure, because of the presence of semblances of closed-form pieces, recitative and arioso passages, use of rhythms and melodies as stretched as possible into a linear outline, parodies of waltz and jazz as well as of the wagnerian tenor more than in the tense, deep atmosphere itself created by the dodecaphonic music; as a matter of fact, I have the impression that the free use of dissonances, sometimes very sharp and raw, can hardly help to describe a light-hearted mood; maybe a satirical, shrewdly parodic intent instead.

Is really the twelve-tone method that can't fit comedy or it was comedy that wasn't precisely Schönberg's thing?
"Tradition is not the worship of ashes, but the preservation of fire." - Gustav Mahler

Mandryka



The Schoenberg trio here, with Kremer a couple of Hagens, predictably, gets a big thumbs up from me.
Wovon man nicht sprechen kann, darüber muss man schweigen

Karl Henning

Quote from: Mandryka on December 01, 2022, 01:20:50 PM

The Schoenberg trio here, with Kremer a couple of Hagens, predictably, gets a big thumbs up from me.


Nice!
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Todd



Hoooooo-boy.  I bought this download just because, but man, now I'm kicking myself for not buying it earlier.  I've got several versions, including by some big-name conductors - Boulez, Kubelik, Sinopoli, and my heretofore fave Rattle - but Salonen just sort of laps them.  I always equate Salonen the conductor with precise, clear direction, and I primarily associate him with more modern music, where he excels.  (That written, his Mahler 3 is monumentally great, and his Bruckner 4 ain't none too shabby.)  He brings the precision and clarity, but he adds intensity, vitality, and theatricality to this live recording.  When he needs to deliver lush beauty, he can, but when he needs to ramp up the tension and power, he delivers and then some.  All throughout the much swifter sounding than the timing suggests performance, he will back the singer perfectly, and then rip through tuttis with abandon.  This more than his recording of Ligeti's Le Grand Macabre shows off his operatic bona fides.  Also all throughout, I hear the influence of Wagner more clearly than normal, and multiple operas make their influence known - whiffs of Tristan, Meistersinger, Gotterdammerung can be heard - and Strauss is in there, too.  Clearly, Salonen should write his own opera and then conduct it, but surely an Elektra can be delivered.  And a Ring.  I know he was going to lead one, but it got cancelled.  That must be rectified ASAP. 

There are nits to pick.  The sound can be too congested in the loudest passages, some choral singing, while off the charts in excitement and tautness, may not be the clearest, and maybe some of the singers sound less than pristinely perfect at times.  But this is a live recording, so that doesn't matter. 

I have not been this jazzed about a Schoenberg recording since picking up the Diotima's recording of the quartets and before that probably Kent Nagano's mind-numbingly great recording of Die Jakobsleiter.  This recording is just all kinds of ass kicking great.  A late year purchase of the year, I tell you what.
The universe is change; life is opinion. - Marcus Aurelius, Meditations

People would rather believe than know - E.O. Wilson

Propaganda death ensemble - Tom Araya

Lisztianwagner

#924
Quote from: Todd on December 06, 2022, 03:18:20 PM

Hoooooo-boy.  I bought this download just because, but man, now I'm kicking myself for not buying it earlier.  I've got several versions, including by some big-name conductors - Boulez, Kubelik, Sinopoli, and my heretofore fave Rattle - but Salonen just sort of laps them.  I always equate Salonen the conductor with precise, clear direction, and I primarily associate him with more modern music, where he excels.  (That written, his Mahler 3 is monumentally great, and his Bruckner 4 ain't none too shabby.)  He brings the precision and clarity, but he adds intensity, vitality, and theatricality to this live recording.  When he needs to deliver lush beauty, he can, but when he needs to ramp up the tension and power, he delivers and then some.  All throughout the much swifter sounding than the timing suggests performance, he will back the singer perfectly, and then rip through tuttis with abandon.  This more than his recording of Ligeti's Le Grand Macabre shows off his operatic bona fides.  Also all throughout, I hear the influence of Wagner more clearly than normal, and multiple operas make their influence known - whiffs of Tristan, Meistersinger, Gotterdammerung can be heard - and Strauss is in there, too.  Clearly, Salonen should write his own opera and then conduct it, but surely an Elektra can be delivered.  And a Ring.  I know he was going to lead one, but it got cancelled.  That must be rectified ASAP. 

There are nits to pick.  The sound can be too congested in the loudest passages, some choral singing, while off the charts in excitement and tautness, may not be the clearest, and maybe some of the singers sound less than pristinely perfect at times.  But this is a live recording, so that doesn't matter. 

I have not been this jazzed about a Schoenberg recording since picking up the Diotima's recording of the quartets and before that probably Kent Nagano's mind-numbingly great recording of Die Jakobsleiter.  This recording is just all kinds of ass kicking great.  A late year purchase of the year, I tell you what.

Great review! Salonen's recording of the Gurrelieder has been in my to-listen list for a while, I would be very curious to listen to his performance; he did an excellent job with Schönberg's Piano Concerto and the Violin Concerto.
"Tradition is not the worship of ashes, but the preservation of fire." - Gustav Mahler

relm1

Quote from: Todd on December 06, 2022, 03:18:20 PM

Hoooooo-boy.  I bought this download just because, but man, now I'm kicking myself for not buying it earlier.  I've got several versions, including by some big-name conductors - Boulez, Kubelik, Sinopoli, and my heretofore fave Rattle - but Salonen just sort of laps them.  I always equate Salonen the conductor with precise, clear direction, and I primarily associate him with more modern music, where he excels.  (That written, his Mahler 3 is monumentally great, and his Bruckner 4 ain't none too shabby.)  He brings the precision and clarity, but he adds intensity, vitality, and theatricality to this live recording.  When he needs to deliver lush beauty, he can, but when he needs to ramp up the tension and power, he delivers and then some.  All throughout the much swifter sounding than the timing suggests performance, he will back the singer perfectly, and then rip through tuttis with abandon.  This more than his recording of Ligeti's Le Grand Macabre shows off his operatic bona fides.  Also all throughout, I hear the influence of Wagner more clearly than normal, and multiple operas make their influence known - whiffs of Tristan, Meistersinger, Gotterdammerung can be heard - and Strauss is in there, too.  Clearly, Salonen should write his own opera and then conduct it, but surely an Elektra can be delivered.  And a Ring.  I know he was going to lead one, but it got cancelled.  That must be rectified ASAP. 

There are nits to pick.  The sound can be too congested in the loudest passages, some choral singing, while off the charts in excitement and tautness, may not be the clearest, and maybe some of the singers sound less than pristinely perfect at times.  But this is a live recording, so that doesn't matter. 

I have not been this jazzed about a Schoenberg recording since picking up the Diotima's recording of the quartets and before that probably Kent Nagano's mind-numbingly great recording of Die Jakobsleiter.  This recording is just all kinds of ass kicking great.  A late year purchase of the year, I tell you what.


How does this one compare with my favorite, Deutsches Symphonie-Orchester Berlin & Riccardo Chailly, with fantastic soloists, precision, and mystical air?  Salonen is also excellent in Beethoven, his No. 7 is such a thrilling interpretation...a very, very fine conductor.

Todd

Quote from: relm1 on December 07, 2022, 05:38:15 AMHow does this one compare with my favorite, Deutsches Symphonie-Orchester Berlin & Riccardo Chailly

I have not heard that version.
The universe is change; life is opinion. - Marcus Aurelius, Meditations

People would rather believe than know - E.O. Wilson

Propaganda death ensemble - Tom Araya

Lisztianwagner

It has finally arrived, Schönberg's Harmonielehre! ;D That's the Italian translation I've got:



Out of curiosity, has anyone read the book yet? How is Schönberg's prose?
"Tradition is not the worship of ashes, but the preservation of fire." - Gustav Mahler

Lisztianwagner

Are there any fans of the monodrama Erwartung?

Personally, I think Erwartung is absolutely a masterpiece, a very introspective, thrilling and beautifully suggestive work, of an extraordinary expressive incisiveness, so tense and dramatic, that it definitely sounds like it can bring out, truly and vividly, all the profound, strong emotions hidden in the depth of the unconscious. It shows dense, complex but incredibly inventive textures because of the combinations of rich, fluctuating orchestral colours, striking harmonic contrasts and angular rhythms, quite asymmetrical in their disposition, while the melodic cells are never repeated, but always different, continuously transformed and developed; tonality is dissolved, giving a sense of formal disintegration, but at the same time the structure is recomposed rigorously and with precision, with an order which is a sort of prelude of dodecaphony; the atmosphere evoked is absolutely immersive and captivating, alternating glimpses of apparent calmness, yet so anxious and restless, with hautingly overwhelming parts growing in such harsh and strident, but powerful climaxes; there's also a very impressive use of the timbres, explored in all the pitches with the most varied instruments as well as a superb use of the voice, so frightful and anguishing in its expressiveness of the human feelings, but completely able to mesmerize.
I sometimes like comparing this monodrama to the love duet in the second act of Tristan und Isolde: they are both set in a nocturnal landscape, with two lovers waiting to meet each other and with a music which reveals much more than what the characters do and say on the staging, describing their deepest and intimate thoughts; but while in Wagner's scene there's an endless, intense passion, which can realize itself only through the night, that hides and protects Tristan and Isolde, and transfigures itself into a sublime, ecstatic dimension, in Schönberg's piece passion becomes very tormented, desperate and neurotic, full of anxieties and even delusions (during the night that is not benevolent and protective anymore, but grim and dark), before calming down, all hopes broken, and melting in the finale in nuances of extremely timbral brilliance. Those works don't have the same subjects, inspirations and intents, as a matter of fact, both of them have similarities, but many more differences, there's not anything Romantic in Schönberg anymore; Isolde is not exactly losing her mind (and of course, Tristan is not dead when the lovers finally meet) like Schönberg's woman, but nonetheless it is interesting to notice that, after drinking the love potion, she burns for irrational desire and her mind is now in a dreamy, unreal dimension far from reality, without awareness of the surrounding world: she doesn't care either for dangers, for Melot's betrayal or Marke's anger, because now nothing but Tristan has importance for her, and even after they have been caught, she continues to act as if only she and Tristan exist, no one else. It is really fascinating how the female characters are psichologically developed, both in Wagner and in Schönberg, since as a matter of fact, both works are connected to psychoanalysis in some ways (although Wagner's opera a bit less directly).
"Tradition is not the worship of ashes, but the preservation of fire." - Gustav Mahler

relm1

Quote from: Lisztianwagner on February 12, 2023, 11:14:50 AMAre there any fans of the monodrama Erwartung?

Personally, I think Erwartung is absolutely a masterpiece, a very introspective, thrilling and beautifully suggestive work, of an extraordinary expressive incisiveness, so tense and dramatic, that it definitely sounds like it can bring out, truly and vividly, all the profound, strong emotions hidden in the depth of the unconscious. It shows dense, complex but incredibly inventive textures because of the combinations of rich, fluctuating orchestral colours, striking harmonic contrasts and angular rhythms, quite asymmetrical in their disposition, while the melodic cells are never repeated, but always different, continuously transformed and developed; tonality is dissolved, giving a sense of formal disintegration, but at the same time the structure is recomposed rigorously and with precision, with an order which is a sort of prelude of dodecaphony; the atmosphere evoked is absolutely immersive and captivating, alternating glimpses of apparent calmness, yet so anxious and restless, with hautingly overwhelming parts growing in such harsh and strident, but powerful climaxes; there's also a very impressive use of the timbres, explored in all the pitches with the most varied instruments as well as a superb use of the voice, so frightful and anguishing in its expressiveness of the human feelings, but completely able to mesmerize.
I sometimes like comparing this monodrama to the love duet in the second act of Tristan und Isolde: they are both set in a nocturnal landscape, with two lovers waiting to meet each other and with a music which reveals much more than what the characters do and say on the staging, describing their deepest and intimate thoughts; but while in Wagner's scene there's an endless, intense passion, which can realize itself only through the night, that hides and protects Tristan and Isolde, and transfigures itself into a sublime, ecstatic dimension, in Schönberg's piece passion becomes very tormented, desperate and neurotic, full of anxieties and even delusions (during the night that is not benevolent and protective anymore, but grim and dark), before calming down, all hopes broken, and melting in the finale in nuances of extremely timbral brilliance. Those works don't have the same subjects, inspirations and intents, as a matter of fact, both of them have similarities, but many more differences, there's not anything Romantic in Schönberg anymore; Isolde is not exactly losing her mind (and of course, Tristan is not dead when the lovers finally meet) like Schönberg's woman, but nonetheless it is interesting to notice that, after drinking the love potion, she burns for irrational desire and her mind is now in a dreamy, unreal dimension far from reality, without awareness of the surrounding world: she doesn't care either for dangers, for Melot's betrayal or Marke's anger, because now nothing but Tristan has importance for her, and even after they have been caught, she continues to act as if only she and Tristan exist, no one else. It is really fascinating how the female characters are psichologically developed, both in Wagner and in Schönberg, since as a matter of fact, both works are connected to psychoanalysis in some ways (although Wagner's opera a bit less directly).

I think your post represents the very best of this forum.  Here's why.  I own this work on the Chandos/Bergen album.  I didn't think much of it partially because I'm a very big fan of Pelleas und Melisande.  Your analysis made me revisit the work and see it in a completely different light.  I was completely enamored with it so thank you for having me revisit this and seeing it in a different light.

Lisztianwagner

#930
Quote from: relm1 on February 12, 2023, 04:40:47 PMI think your post represents the very best of this forum.  Here's why.  I own this work on the Chandos/Bergen album.  I didn't think much of it partially because I'm a very big fan of Pelleas und Melisande.  Your analysis made me revisit the work and see it in a completely different light.  I was completely enamored with it so thank you for having me revisit this and seeing it in a different light.
You're very kind, thank you very much, I'm very glad my post helped you to improve your opinion about Erwartung! That's what the forum should be for, after all, helping to discover music by sharing our impressions and thoughts. :)
I'm a big fan of Pelleas und Melisande too, by the way; I don't know the Chandos/Bergen recording you mentioned, but I'll check it out.
"Tradition is not the worship of ashes, but the preservation of fire." - Gustav Mahler

Lisztianwagner

Quote from: relm1 on February 12, 2023, 04:40:47 PMI own this work on the Chandos/Bergen album.  I didn't think much of it partially because I'm a very big fan of Pelleas und Melisande. 
Oh, now I've got which recording you meant, it's Gardner's performance! An absolutely outstanding one, both for Pelleas and for Erwartung.
"Tradition is not the worship of ashes, but the preservation of fire." - Gustav Mahler

Atriod

Quote from: Lisztianwagner on June 10, 2022, 04:49:32 PMI listened to Schoenberg's Wind Quintet some weeks ago for the first time, (since I haven't got a recording of that work), and I absolutely fell in love with it, it's a magnificent composition in 12-tone technique, very thrilling, expressive and beautifully mesmerizing, of an almost overwhelming inventiveness; all the sections, both in the expositions and in the developments and the recapitulations, are brilliantly transposed, combined and juxtaposed, to create an impressive, elaborated contrapuntal weaving, maybe not very simple to follow in its rather mazy textures, but clear, precise and solid as the themes stand out accurately and lead the melodic lines like an Ariadne's thread. I love the contrasts in the movements, sometimes with tense, deep atmospheres, sometimes sharp and restless, as well as the great exploration of the timbres and dynamics given by the combination of the woodwinds, whose expressive possibilities are used in a captivating orchestration.
I also listened to Greissle's flute/piano arrangement, which is marvelous too; maybe it's not equal to the original composition, but the fine use of the piano with its colorful, varied timbral lines wonderfully replaces the woodwinds (clarinet, bassoon, horn and oboe), without loosing the beauty of the work.

I was hoping you'd written a description of the Wind Quintet, as I mentioned on the previous page of your post I owned the Robert Craft recording and always enjoyed it. Today I received the CD of London Sinfonietta and it too is great and reinvigorated my appreciation for this piece, your description is absolutely spot on. I listened to another famous classical era composer's chamber music for winds and nearly as soon as it was over I'd pretty much forgot what I had listened to. The Schoenberg on the other hand was still echoing in my head!

Lisztianwagner

Quote from: Atriod on May 27, 2023, 04:50:55 PMI was hoping you'd written a description of the Wind Quintet, as I mentioned on the previous page of your post I owned the Robert Craft recording and always enjoyed it. Today I received the CD of London Sinfonietta and it too is great and reinvigorated my appreciation for this piece, your description is absolutely spot on. I listened to another famous classical era composer's chamber music for winds and nearly as soon as it was over I'd pretty much forgot what I had listened to. The Schoenberg on the other hand was still echoing in my head!
Thank you very much! I agree, Schönberg's music is always able to leave a strong, beautifully haunting impression when listened and the Wind Quintet makes no exception, such an awesome, spellbinding work! Atherton/London Sinfonietta is my favourite version, but Craft's recording is wonderful too (it also includes great performances of the Chamber Symphony No. 2 and Die gluckliche Hand).
"Tradition is not the worship of ashes, but the preservation of fire." - Gustav Mahler

Cato

Concerning the Gurrelieder from Esa Pekka Salonen:

Quote from: relm1 on December 07, 2022, 05:38:15 AMHow does this one compare with my favorite, Deutsches Symphonie-Orchester Berlin & Riccardo Chailly, with fantastic soloists, precision, and mystical air?  Salonen is also excellent in Beethoven, his No. 7 is such a thrilling interpretation...a very, very fine conductor.

Under the "Concert" topic, I was just recalling his skill in conducting this work in a performance I heard in June 2018 in London with the same orchestra: it was brilliant, with the only caveat that the tenor at that performance was not quite on the same level as everyone else.  I do not recall who he was at the moment.

Quote from: Lisztianwagner on February 13, 2023, 03:35:13 AMYou're very kind, thank you very much, I'm very glad my post helped you to improve your opinion about Erwartung! That's what the forum should be for, after all, helping to discover music by sharing our impressions and thoughts. :)

I'm a big fan of Pelleas und Melisande too, by the way; I don't know the Chandos/Bergen recording you mentioned, but I'll check it out.


Erwartung grabs your unconscious, shakes it silly, and then kicks it around the room for good measure!

I used to have my German IV students translate the text, and then we would watch a Metropolitan Opera performance of it with Jessye Norman.

I still recall one student at the end sitting back in his chair and breathing out heavily.

I asked: "What's wrong?"

He said: "That opera!  It was so...intense, it was exhausting!"   8)

Schoenberg succeeds in creating a Musical Diagram of The Woman's psyche, i.e. the counterpoint under the spoken-sung words is not counterpoint: it is her seething, distorted unconscious expressed in sound, a disturbed mind full of murderous anger, unrequited or betrayed love, vengeance, guilt, and denial.

"Meet Miss Ruth Sherwood, from Columbus, Ohio, the Middle of the Universe!"

- Brian Aherne introducing Rosalind Russell in  My Sister Eileen (1942)

Atriod

Quote from: Cato on May 29, 2023, 05:08:07 AMConcerning the Gurrelieder from Esa Pekka Salonen:

Under the "Concert" topic, I was just recalling his skill in conducting this work in a performance I heard in June 2018 in London with the same orchestra: it was brilliant, with the only caveat that the tenor at that performance was not quite on the same level as everyone else.  I do not recall who he was at the moment.

Gurre-Lieder is a top absolute must see work for me. Like Mahler 8 I can't imagine getting the full effect of it at home.

QuoteErwartung grabs your unconscious, shakes it silly, and then kicks it around the room for good measure!

I used to have my German IV students translate the text, and then we would watch a Metropolitan Opera performance of it with Jessye Norman.

I still recall one student at the end sitting back in his chair and breathing out heavily.

I asked: "What's wrong?"

He said: "That opera!  It was so...intense, it was exhausting!"  8)

Schoenberg succeeds in creating a Musical Diagram of The Woman's psyche, i.e. the counterpoint under the spoken-sung words is not counterpoint: it is her seething, distorted unconscious expressed in sound, a disturbed mind full of murderous anger, unrequited or betrayed love, vengeance, guilt, and denial.


Early on in my introduction to Wozzeck I found Paul Daniel's English version helped me wrap my head around this complex opera. Now I of course prefer this in German but still occasionally listen to parts of Daniel's to refamiliarize myself with sections. I imagine your students got a lot out of it translating it for themself, for me this sort of appreciation heightens when I can get as much information about these complex works.

Lisztianwagner

Quote from: Cato on May 29, 2023, 05:08:07 AMErwartung grabs your unconscious, shakes it silly, and then kicks it around the room for good measure!

I used to have my German IV students translate the text, and then we would watch a Metropolitan Opera performance of it with Jessye Norman.

I still recall one student at the end sitting back in his chair and breathing out heavily.

I asked: "What's wrong?"

He said: "That opera!  It was so...intense, it was exhausting!"  8)

Schoenberg succeeds in creating a Musical Diagram of The Woman's psyche, i.e. the counterpoint under the spoken-sung words is not counterpoint: it is her seething, distorted unconscious expressed in sound, a disturbed mind full of murderous anger, unrequited or betrayed love, vengeance, guilt, and denial.
Cool, your students were very lucky, what a great way to study German!

I can perfectly share the feeling, Erwartung is such a deeply overwhelming composition for the dramatic tension expressed, evocative power and psychological profundity, that it completely captures and impresses the listener; it masterfully depicts, both through the music and the Sprechgesang, the inner development of the character and all her fear, anxiousness, jealousy, delusions till the final tragic loss of hope, immersed into an surreal, distorted atmosphere. What a piece!
I haven't watched a performance of Erwartung yet, but I can easily imagine it is a far more striking experience, opera becomes definitely more powerful when it is seen.
"Tradition is not the worship of ashes, but the preservation of fire." - Gustav Mahler

Lisztianwagner

Quote from: Atriod on May 29, 2023, 07:31:04 AMGurre-Lieder is a top absolute must see work for me. Like Mahler 8 I can't imagine getting the full effect of it at home.
Completely agree; just listening to those works at home is absolutely astounding, but watching them live, feeling the music, must be absolutely an experience beyond words.
"Tradition is not the worship of ashes, but the preservation of fire." - Gustav Mahler

Karl Henning

Quote from: Atriod on May 29, 2023, 07:31:04 AMGurre-Lieder is a top absolute must see work for me. Like Mahler 8 I can't imagine getting the full effect of it at home
I was very lucky to hear it both out at Tanglewood and in Symphony Hall.
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Lisztianwagner

#939
About Schönberg's Prelude Op. 44, I think it is definitely the most interesting movement of the Genesis Suite and certainly worth knowing, very fascinating as it can brilliantly work as a single piece too; it is a marvelous composition in the twelve-tone style, angular and strident for the abundant use of dissonances, irregular rhythms and the abrupt changes of dynamics, but at the same time beautifully tense, expressive and captivating; it shows a great variety of colours, sometimes dazzling and aggressive, sometimes dense and profound as well as tenuous and rarefied for the constantly mutable timbres that create mesmerizing, striking contrasts; the textures are quite fragmented, with often the thematic lines splitted among the instruments, but so the timbral richness and the rigorous development of the contrapuntal structure stand out very clearly and effectively. Although the Prelude is described as "The Earth was without form", the atmosphere isn't chaotic, because of the sense of unity and orderly forms of the dodecaphonic method, instead it sounds more to depict an amorphous, undefined dimension, but extremely vital and full of an untamed power, evoked by tremoli and thrills of strings and woodwinds, the clash of gong at the beginning and the outbursts of fiery, powerful climaxes, which rapidly grow in intensity and then suddenly fade away. The chorus, which is introducted in the final sections, gives an impression of something mystical and ethereal, very far, but approaching more and more vigorously; its ending in pianissimo is very particular and interesting, since it closes the piece with a chord of octaves in C, a perfectly consonant chord, as if it anticipates the imminent arrival of order.
"Tradition is not the worship of ashes, but the preservation of fire." - Gustav Mahler