Which music has the most angst, and centers around it? What about music with:
lots of angst
contemplativeness
transcendence
world-weariness "Weltschmerz"
lack of refinement, self-control, completely indulgent
grandiose
makes you want to zone out and daydream
complexity
nostalgic longing?
(even non-classical suggestions are welcome).
Thanks.
Quote from: GGGGRRREEG on October 01, 2008, 05:13:43 PM
What about music with lots of angst, plus contemplativeness, transcendence, world-weariness "Weltschmerz", and nostalgic longing?
Beethoven?
Quote from: Josquin des Prez on October 01, 2008, 05:35:12 PM
Beethoven?
what by Beethoven? ???
i don't hear any of that at all.
Quote from: GGGGRRREEG on October 01, 2008, 05:41:04 PM
what by Beethoven? ???
i don't hear any of that at all.
::) ::) ::) :'(
Quote from: GGGGRRREEG on October 01, 2008, 05:41:04 PM
what by Beethoven? ???
i don't hear any of that at all.
>:( ::) :-[ :-X >:D :'(
Well, he doesn't exaggerate it quite like other composers do, but that's okay, because given the time period in which he worked, you could only go so far. There's a reason why no one wrote the Rite of Spring back then. I want complete lack of restraint as well......
Schubert, he seems like he would be a whiner.
Quote from: Philoctetes on October 01, 2008, 05:57:00 PM
Schubert, he seems like he would be a whiner.
The Unfinished Symphony is a favorite! 8)
Anything new, though, that I haven't heard? A new composer? There has to be someone I'm overlooking......
Quote from: GGGGRRREEG on October 01, 2008, 06:03:43 PM
The Unfinished Symphony is a favorite! 8)
Anything new, though, that I haven't heard? A new composer? There has to be someone I'm overlooking......
Problem is, you're asking for several attributes that don't necessarily tie together. Angst and transcendence, complete lack of restraint and world-weariness all at once? At different parts of a composition, sure, and the obvious example is Mahler. But you knew that already.
Quote from: Sforzando on October 01, 2008, 06:10:10 PM
Problem is, you're asking for several attributes that don't necessarily tie together. Angst and transcendence, complete lack of restraint and world-weariness all at once? At different parts of a composition, sure, and the obvious example is Mahler. But you knew that already.
You guessed it! ;)
But, really, is there anything else by other composers close to that? Probably 20th century or any contemporary composers that I may have overlooked......
The closest thing I've found is Gorecki's 3rd Symphony, although there's not much angst. World-weariness and transcendence could nearly describe the whole symphony..... i haven't heard anything else yet by him that equals the impact of that symphony. (i've heard this mentioned in two other places, somewhere on the internet, btw, so i'm not the only one who sees a resemblance)
What about in popular music? Anything underground?
Quote from: GGGGRRREEG on October 01, 2008, 05:41:04 PM
what by Beethoven? ???
I don't know, his entire late period? Did that rock offer proper lodging? ;D
Quote from: GGGGRRREEG on October 01, 2008, 05:55:57 PM
Well, he doesn't exaggerate it quite like other composers do
I don't recall you ever mentioning exaggeration or excess, merely, that the adjectives you listed be present. And they are.
Quote from: GGGGRRREEG on October 01, 2008, 05:55:57 PMThere's a reason why no one wrote the Rite of Spring back then.
It was Stravinsky who referred to the Grosse Fugue as "eternally modern". Not that i necessarily agree with him. I dislike modernity with all my being, and i think Beethoven was much better then that, but i can see why most people consider his late works to be the first breakthrough in the development of modern art (as erroneous that interpretation may be. Modern art is a
distortion of what Beethoven and his self proclaimed followers were attempting to do).
Seriously Greg, you need to get over the whole modernist zealotry. There's much more to art then perversion and decadence.
Quote from: Josquin des Prez on October 01, 2008, 06:48:15 PM
I don't know, his entire late period? Did that rock offer proper lodging? ;D
I don't recall you ever mentioning exaggeration or excess, merely, that the adjectives you listed be present. And they are.
It was Stravinsky who referred to the Grosse Fugue as "eternally modern". Not that i necessarily agree with him. I dislike modernity with all my being, and i think Beethoven was much better then that, but i can see why most people consider his late works to be the first breakthrough in the development of modern art (as erroneous that interpretation may be. Modern art is a distortion of what Beethoven and his self proclaimed followers were attempting to do).
Seriously Greg, you need to get over the whole modernist zealotry. There's much more to art then perversion and decadence.
I updated my list, so it's more specific.
I've listened to the Grosse Fugue twice- the first time I liked it, the second time, those repeating rhythms just got to me and started annoying the heck out of me.
The 9th Symphony I've also listened to two or three time, and it did nothing but bore me, painfully.
Once you have a bad experience with a composer, it's hard to get yourself to repeat what may be another bad experience. (not to say i'd give give up on him)
I don't get hte last part of the post. What was he attempting to do?
Quote from: Josquin des Prez on October 01, 2008, 06:48:15 PM
There's much more to art then perversion and decadence.
There is?
You've been listening to the wrong Beethoven. The Ninth is long and architecturally less concise than the Fifth, for one thing. For most of the attributes on your list, I would seek out some of his piano sonatas, especially the last three. I would also look up the Sibelius Seventh, if you haven't already, along with several other of his symphonies, and the Brahms Symphonies Nos 3 and 4, and also J.W. Kalliwoda's Fifth Symphony (CPO album, with Das Neue Orchester and conductor Christoph Spering), which is like Schubert except with genuine tragedy afoot. Langgaard's late works. Rachmaninov.
Oh ... and Wagner.
Quote from: Brian on October 01, 2008, 07:25:39 PM
You've been listening to the wrong Beethoven. The Ninth is long and architecturally less concise than the Fifth, for one thing. For most of the attributes on your list, I would seek out some of his piano sonatas, especially the last three. I would also look up the Sibelius Seventh, if you haven't already, along with several other of his symphonies, and the Brahms Symphonies Nos 3 and 4, and also J.W. Kalliwoda's Fifth Symphony (CPO album, with Das Neue Orchester and conductor Christoph Spering), which is like Schubert except with genuine tragedy afoot. Langgaard's late works. Rachmaninov.
Oh ... and Wagner.
Good recommendations, thanks.
Beethoven's last 3 sonatas- i'll check those out.
Sibelius 7th- listened t oonce, didn't like it. I'll try again.
Brahms 3 and 4- some of my favorite symphnoies, for a long time now :)
J.W. Kalliwoda's Fifth Symphony- ooh, this one sounds new.
Laangard- i've heard a little of him which i liked, but i don't think it was anything late......
Rachmaninov- hmmmmmmm i do see a bit of that in him, but to me he's somewhat refined and doesn't have the huge "punch" in his music- it laments, but doesn't die.
"Weltschmerz" can not be translated as "world-weariness".
Quote from: M forever on October 01, 2008, 07:36:46 PM
"Weltschmerz" can not be translated as "world-weariness".
then wikipedia must be wrong. What is a better translation?
http://en.wikipedia.org/wiki/Weltschmerz
No, Wikipedia is always right. I must be wrong then.
Getting back to the OP, Wagner is the composer that first comes to my mind.
IMO the Passacaglia from Shostakovich VC1 matches the criteria you have stipulated.
Quote from: GGGGRRREEG on October 01, 2008, 05:13:43 PM
Which music has the most angst, and centers around it? What about music with:
lots of angst
contemplativeness
transcendence
world-weariness "Weltschmerz"
lack of refinement, self-control, completely indulgent
grandiose
makes you want to zone out and daydream until you stare into another dimension, and see heaven
complexity
nostalgic longing?
(even non-classical suggestions are welcome).
Thanks.
TRISTAN UND ISOLDE You won't find a better candidate to fit the bill!
marvin
Quote from: GGGGRRREEG on October 01, 2008, 05:13:43 PM
(even non-classical suggestions are welcome).
Except for transcendence, Roxy Music's dirge "A Song for Europe" fits all your requirements. When Bryan Ferry starts singing in French (after English and Latin), it's completely over-the-top 8)
I sent you a low quality mp3 to sample. If you're not familiar with Roxy Music, I should warn you that Ferry's vocal stylings can be an acquired taste--but give him a chance.
Sarge
Quote from: M forever on October 01, 2008, 08:11:26 PM
No, Wikipedia is always right. I must be wrong then.
;D ;D
Quote from: GGGGRRREEG on October 01, 2008, 07:38:30 PM
then wikipedia must be wrong. What is a better translation?
http://en.wikipedia.org/wiki/Weltschmerz
M's being M. Ignore him. The Schöffler-Weis dictionary defines
Weltschmerz as world-weariness. So does Leo, the online German dictionary. But of course weariness doesn't mean tired in this sense, but rather pessimism or a hopeless feeling:
a sentimental pessimism or melancholy over the state of the world.
Sarge
Quote from: Sergeant Rock on October 02, 2008, 02:24:18 AM
Except for transcendence, Roxy Music's dirge "A Song for Europe" fits all your requirements. When Bryan Ferry starts singing in French (after English and Latin), it's completely over-the-top 8)
I sent you a low quality mp3 to sample. If you're not familiar with Roxy Music, I should warn you that Ferry's vocal stylings can be an acquired taste--but give him a chance.
Sarge
Hm, you did? Well, sounds interesting. :)
Quote from: marvinbrown on October 02, 2008, 12:56:37 AM
TRISTAN UND ISOLDE You won't find a better candidate to fit the bill!
marvin
I'm going to have to listen to that again. Went through it once a few years ago....... only familiar with the ending right now, which leaves me speechless every time I listen.
Quote from: Sergeant Rock on October 02, 2008, 03:05:55 AM
M's being M. Ignore him. The Schöffler-Weis dictionary defines Weltschmerz as world-weariness. So does Leo, the online German dictionary. But of course weariness doesn't mean tired in this sense, but rather pessimism or a hopeless feeling: a sentimental pessimism or melancholy over the state of the world.
Sarge
:)
Schönberg, ofcourse!
Begleitmusik zu einer Lichtspielszene (Drohende Gefahr, Angst, Katastrophe) opus 34 / 1929/30
Quote from: Josquin des Prez on October 01, 2008, 06:48:15 PM
II dislike modernity with all my being, [...]. Modern art is a distortion of what Beethoven and his self proclaimed followers were attempting to do).
Seriously Greg, you need to get over the whole modernist zealotry. There's much more to art then perversion and decadence.
Debussy, Ravel, Bartok, Enescu, Prokofiev, Shostakovich, Stravinsky --- pervert and decadent? ???
Quote from: GGGGRRREEG on October 02, 2008, 03:08:18 AM
Hm, you did?
Yeah, to your gmail addy that's in your profile. Did you get it?
Sarge
Quote from: pjme on October 02, 2008, 03:15:19 AM
Schönberg, ofcourse!
Begleitmusik zu einer Lichtspielszene (Drohende Gefahr, Angst, Katastrophe) opus 34 / 1929/30
And Berg, of course: the Three Pieces, Wozzeck, the Lyric Suite, the Violin Concerto.
Quote from: Josquin des Prez on October 01, 2008, 05:35:12 PM
Beethoven?
No, I don't hear
Angst in
Beethoven. A stylized manner of struggle, yes. That music of
Beethoven's which sings to me most directly (something of a different matter to the
music I like best axis), the emotional tone is a great distance from
Angst.
The first movement of the
Shostakovich Tenth? Probably too much force and drive/purpose for it to fall within the category of
Angst.
Quote from: pjme on October 02, 2008, 03:15:19 AM
Schönberg, ofcourse!
Begleitmusik zu einer Lichtspielszene (Drohende Gefahr, Angst, Katastrophe) opus 34 / 1929/30
Perfect!
Erwartung, as well, I should think.
(http://cover6.cduniverse.com/CDUCoverArt/Music/Large/superd_1013147.jpg)
Hindemith's Sancta Susanna and Mörder, Hoffnung der Frauen
Prokofiev's Fiery angel
Dallapicola's Il prigioniero
After : La torture par l'espérance ("Torture by Hope") from the collection Nouveaux contes cruels by the French writer Auguste Villiers de l'Isle-Adam and from La Légende d'Ulenspiegel et de Lamme Goedzak by Charles de Coster. Dallapiccola composed Il prigioniero in the period of 1944-1948.The work contains seven parts and lasts about 50 minutes.
Shostakovich seems to be the obvious closest match to what you are saying... Symphony no.10 (or any of the late symphonies), string concertos...
QuoteNo, Wikipedia is always right. I must be wrong then.
;D
Quote from: Guido on October 02, 2008, 09:02:00 AM
Shostakovich seems to be the obvious closest match to what you are saying... Symphony no.10 (or any of the late symphonies), string concertos...
Certainly the blistering
passacaglia from the
Eighth Symphony. Though, again: is it
Angst? There's a pretty serious mega-simplification, if we take any of the major works, with their mercurial variety of tone and gesture, and just slap the posterboard label
Angst on them.
Quote from: canninator on October 02, 2008, 12:45:17 AM
IMO the Passacaglia from Shostakovich VC1 matches the criteria you have stipulated.
A fine suggestion.
Quote from: karlhenning on October 02, 2008, 09:11:41 AM
Certainly the blistering passacaglia from the Eighth Symphony. Though, again: is it Angst? There's a pretty serious mega-simplification, if we take any of the major works, with their mercurial variety of tone and gesture, and just slap the posterboard label Angst on them.
Of course. He listed a few other words and descriptors which I thought also fitted Shostakovich though. But there's only going to be one Mahler (a composer whose appeal still eludes me... :-[)
Largely on the same page, Guido. I've lately come to like the Mahler Ninth Symphony a good deal, but that's still exceptional for me among the symphonies.
Quote from: pjme on October 02, 2008, 03:15:19 AM
Schönberg, ofcourse!
Begleitmusik zu einer Lichtspielszene (Drohende Gefahr, Angst, Katastrophe) opus 34 / 1929/30
Some Schoenberg does, some doesn't. I don't think the Piano Concerto, for example, is very intense, to me. Same with Pierrot Lunaire.
There's lots of sides to Schoenberg that hint at categories I've listed..... same as Berg.
As for Shostakovich...
Quote from: karlhenning on October 02, 2008, 04:29:31 AM
The first movement of the Shostakovich Tenth? Probably too much force and drive/purpose for it to fall within the category of Angst.
That's one of things that won me over, at least. There's something about this movement, the first movement of the 6th and the 8th which is just special to listen to in the car while driving at night. I think they fit the descriptions pretty well, although I'm guessing you see something something else to see in them, rpboably. Same for the
Quote from: karlhenning on October 02, 2008, 10:28:52 AM
b]Mahler Ninth Symphony[/b]
Just took another listen to the Prelude to Tristan und Isolde, after maybe two years. ;D
But yeah, EXACTLY what I'm looking for, Marvin's completely right.
Also, I've been obsessed with this video for a couple of months now:
http://www.youtube.com/watch/v/6XlmJtnzwkY
Quote*
Tristan und Isolde is also notable for its use of harmonic suspension -- a device used by a composer to create musical tension by exposing the listener to a series of prolonged unfinished cadences, thereby inspiring a desire and expectation on the part of the listener for musical resolution.[12] While suspension is a common compositional device (in use since before the Renaissance), Wagner was one of the first composers to employ harmonic suspension over the course of an entire work. The cadences first introduced in the Prelude are not resolved until the finale of Act 3, and, on a number of occasions throughout the opera, Wagner primes the audience for a musical climax with a series of chords building in tension -- only to deliberately defer the anticipated resolution. One particular example of this technique occurs at the end of the love duet in Act 2 ("Wie sie fassen, wie sie lassen...") where Tristan and Isolde gradually build up to a musical (perhaps sexual) climax, only to have the expected resolution destroyed by the dissonant interruption of Kurwenal ("Rette Dich, Tristan!"). The long-awaited completion of this cadence series arrives only in the final Liebestod, during which the musical resolution (at "In des Welt-Atems wehendem All") coincides with the moment of Isolde's death.[13]
Oh yes, if you haven't heard Wagner, that's where to go!
Quote from: karlhenning on October 02, 2008, 10:28:52 AM
Largely on the same page, Guido. I've lately come to like the Mahler Ninth Symphony a good deal, but that's still exceptional for me among the symphonies.
Yes, this one has struck me the most too, especially the first movement (as Luke said it would!). I've been trying my best with the rest, but it's not sticking... I'll keep trying though - next on the listening pile is Das Lied Von Der Erde. There must be a reason that there's 20 people on this forum with Mahler in their screen name!
Quote from: Guido on October 02, 2008, 02:24:37 PM
Oh yes, if you haven't heard Wagner, that's where to go!
Absolutely! Tristan und Isolde is remarkable in that regard. The torment that Tristan goes through at the opening of the 3rd Act as he is waiting for Isolde's ship to arrive is utterly unbearable. The music echoes this, it is dark and profound, I find myself transfixed, drawn into Tristan's emotional pain which never seems to end. This goes on for quite some time, there is no salvation, if that is not angst I do not know what is!
The whole opera is built of the idea of forbidden love and passion, two forbidden lovers whose sexual attraction for each other are so strong that it can only be consummated in death- what a terrifyingly exhausting concept! Tantric sex anyone??
marvin
Quote from: Guido on October 02, 2008, 02:24:37 PM
Oh yes, if you haven't heard Wagner, that's where to go!
I've heard a few other of his operas, only once each, so I'm just not familiar enough with his music- but yeah, saying I don't know any of his music is pretty much the truth. 8)
Quote from: Guido on October 02, 2008, 02:29:13 PM
Yes, this one has struck me the most too, especially the first movement (as Luke said it would!). I've been trying my best with the rest, but it's not sticking... I'll keep trying though - next on the listening pile is Das Lied Von Der Erde. There must be a reason that there's 20 people on this forum with Mahler in their screen name!
Das Lied is hard for me- despite it being known as one of his heaviest and angstful works! :o
The last movement I've forced myself to listen to several times about a month ago, and it did grow on me. The hard part is listening to the squeaky oboe and the offbeat, jerky rhythms.... The other movements I haven't grown to like because I just haven't listened to much.....
As for the 9th, I don't know what to say. Maybe keep in mind that the Adagio is divided up into two seperate parts which alternate, and have their own motives? And..... don't let the repetition of the motives get to you, and also, remember, the ending is supposed to be LONG..... it's like death, or fading into the afterlife or whatever. I'm sure you already know all that, but keeping tall that in mind helped very much during my first week of listening to it (i listened about 5 days straight while spending hours trying to do something in the same forest are in Final Fantasy 7). Good memories...... ;D
Quote from: marvinbrown on October 02, 2008, 03:25:53 PM
Absolutely! Tristan und Isolde is remarkable in that regard. The torment that Tristan goes through at the opening of the 3rd Act as he is waiting for Isolde's ship to arrive is utterly unbearable. The music echoes this, it is dark and profound, I find myself transfixed, drawn into Tristan's emotional pain which never seems to end. This goes on for quite some time, there is no salvation, if that is not angst I do not know what is!
The whole opera is built of the idea of forbidden love and passion, two forbidden lovers whose sexual attraction for each other are so strong that it can only be consummated in death- what a terrifyingly exhausting concept! Tantric sex anyone??
marvin
Marvin, or anyone else,
Quote
Wagner was one of the first composers to employ harmonic suspension over the course of an entire work
Obviously, after wondering where the heck Mahler got his harmonic ideas from, this is definitely the place. I'm just wondering, where did he get the idea to keep on using those harmonic suspensions so much? Is it really true that there's no work before this one where they're used nearly as much?
I mean, that B maj with the added C#, which goes back to B is one of the main ideas that Mahler takes up, except compared to the very limited amount of Wagner I've heard, he uses more distant modulations- very frequently mixing major and minor, etc. which is almost as magical as the harmonic suspension.
Quote from: GGGGRRREEG on October 02, 2008, 03:45:39 PM
Das Lied is hard for me- despite it being known as one of his heaviest and angstful works! :o
The last movement I've forced myself to listen to several times about a month ago, and it did grow on me. The hard part is listening to the squeaky oboe and the offbeat, jerky rhythms.... The other movements I haven't grown to like because I just haven't listened to much.....
I don't think angst is really the word for Das Lied, I must say..... whatever, I'm surprised you have difficulty with the 'squeaky oboe' here, though, given that you're such a Penderecki/Xenakis type of listener ???
Josquin, why are you so hostile to "modernity"? And what "modern" composers? Schoenberg, Berg, Webern? Stockhausen, Carter, Boulez?
Copland? Do you really think that only the music of past centuries is any good? How much late 20th or early 21 century music have you heard? How about Philip Glass, John Adams, John Corigliano, Thomas Ades, Kaaia Saariaho etc, who have been widely performed in our time and with considerable success?
All music of the past was once modern. Beethoven was a radical, Avant-Garde composer once. Many found his music baffling. And Berlioz, Wagner, Bruckner, Mahler, Richard Strauss, Bruckner, Stravinsky, Debussy, Bartok, etc.
There were those who condemned Monteverdi for his innovations.
I don't mind angst in music if it's done well. Mahler, Schoenberg etc are masters of it. But the problem with Mahler is that it's so easy for conductors to exaggerate his hyperemotionalism and turn some people off to his music. If they show a little restraint and also empahsize the more positive elements in Mahler it's a good idea.
Quote from: GGGGRRREEG on October 01, 2008, 05:13:43 PM
Which music has the most angst, and centers around it? What about music with:
lots of angst
contemplativeness
transcendence
world-weariness "Weltschmerz"
lack of refinement, self-control, completely indulgent
grandiose
makes you want to zone out and daydream
complexity
nostalgic longing?
I'm surprised that Mahler made such a late showing on this thread if we're searching out music with the above qualities.
Quote from: lukeottevanger on October 02, 2008, 10:00:15 PM
I don't think angst is really the word for Das Lied, I must say
Nor me. I mean, nor I.
[ Well, both
nor me and
nor I, I suppose. ]
Quote from: Superhorn on October 03, 2008, 07:10:40 AM
Josquin, why are you so hostile to "modernity"? And what "modern" composers? Schoenberg, Berg, Webern? Stockhausen, Carter, Boulez?
Copland? Do you really think that only the music of past centuries is any good? How much late 20th or early 21 century music have you heard? How about Philip Glass, John Adams, John Corigliano, Thomas Ades, Kaaia Saariaho etc, who have been widely performed in our time and with considerable success?
All music of the past was once modern. Beethoven was a radical, Avant-Garde composer once. Many found his music baffling. And Berlioz, Wagner, Bruckner, Mahler, Richard Strauss, Bruckner, Stravinsky, Debussy, Bartok, etc.
There were those who condemned Monteverdi for his innovations.
I don't mind angst in music if it's done well. Mahler, Schoenberg etc are masters of it. But the problem with Mahler is that it's so easy for conductors to exaggerate his hyperemotionalism and turn some people off to his music. If they show a little restraint and also empahsize the more positive elements in Mahler it's a good idea.
He likes the 2nd Viennese, but that's about as far as he goes for some reason. Don't even talk with thim about minimalism. ;D
An opera that is chock full of angst and sheer terror is Prokofiev's harrowing "The Fiery Angel". This is without a doubt the weirdest, most disturbing opera ever written. It's like a horrible nightmare set to music.
In 16th century Germany, Renata is a profoundly disturbed young woman and a religious mystic obsessed with her chilhood experiences of an angel of fire which was her "imaginary" companion. She is determined to find his human form on earth, and becomes involved with sorcery and the blackest of black magic.
She is tormented by demons, which may be either real or imagined.
Her panic attacks are depicted in the most hair-raising music you have ever heard.
Ruprecht, a wandering knight errant, meets her and falls desperately in love with her, and also gets involved with black magic and demonology. He's desperately in love with her, but she tolerates him only as a friend, and they have a sick, tormented relationship.
Eventually, Renata retires to a convent, but the nuns are being disturbed by weird, demonic incidents. An inquisitor is brought in for an exorcism, but it goes horribly out of control, and the nuns become demonized. The inquisitor sentences Renata to be tortured and burnt at the stake.
The Cds with Gergiev and Neeme Jarvi conducting respectively on Phillips and DG may be hard to find, and the original mono recording from the 50s sung in French is available from arkivmusic.com. I'm not sure about the DVD. Try it if you dare- but be warned ; this may actually cause nightmares !
Angst in music? For me Bartok's Piano Concerto 1 feels like the racing heartbeat of a full fledged panic attack! Mahler's 6th also is filled with anxiety (I'm surprised no one has mentioned that one).
When I was very young, Schumann's Knecht Rupert seemed like the most foreboding piece imaginable. It was the background for my nightmares. ;)
Quote from: Superhorn on October 04, 2008, 07:16:50 AM
An opera that is chock full of angst and sheer terror is Prokofiev's harrowing "The Fiery Angel". This is without a doubt the weirdest, most disturbing opera ever written. It's like a horrible nightmare set to music.
In 16th century Germany, Renata is a profoundly disturbed young woman and a religious mystic obsessed with her chilhood experiences of an angel of fire which was her "imaginary" companion. She is determined to find his human form on earth, and becomes involved with sorcery and the blackest of black magic.
She is tormented by demons, which may be either real or imagined.
Her panic attacks are depicted in the most hair-raising music you have ever heard.
Ruprecht, a wandering knight errant, meets her and falls desperately in love with her, and also gets involved with black magic and demonology. He's desperately in love with her, but she tolerates him only as a friend, and they have a sick, tormented relationship.
Eventually, Renata retires to a convent, but the nuns are being disturbed by weird, demonic incidents. An inquisitor is brought in for an exorcism, but it goes horribly out of control, and the nuns become demonized. The inquisitor sentences Renata to be tortured and burnt at the stake.
The Cds with Gergiev and Neeme Jarvi conducting respectively on Phillips and DG may be hard to find, and the original mono recording from the 50s sung in French is available from arkivmusic.com. I'm not sure about the DVD. Try it if you dare- but be warned ; this may actually cause nightmares !
I've been watching this video a few times the last few days:
http://www.youtube.com/watch/v/MgDTLHnMKRM
It was weird to be able to follow it so closely, since I'm familiar with the 3rd Symphony. It's like, "I've never heard this before!" And then I hum along and anticipate what comes next, and there it is! :D
But Prokofiev isn't a composer whose idiom is "angstful", I don't think. It sounds too confident, too mischievous.... he wasn't a guy who was always worried excessively, and bad stuff didn't bother him too much, and this is reflected in his music (heck, at the end of his life, he kept on writing operas he thought the government might like, but they didn't, so he just kept on writing anyways ;D ).
The closest things in his output I can think of that could be described as "angstful" would be the second theme of the first movement of the 7th sonata, and a few others, like maybe some of the sixth sonata or the second piano concerto.... but even then.......
I guess the word is abit vague, anyways.....