|
1 CD -
8-557533 - (c) 2010
|
|
THE ROBERT
CRAFT COLLECTION - The Music of Arnold
Schoenberg - Volume 12 |
|
|
|
|
|
|
|
Arnold
SCHOENBERG (1874-1951) |
String
Quartet No. 3, Op. 30 (1927)
|
|
|
30' 50"
|
|
|
-
I. Moderato
|
|
8' 33" |
|
1 |
|
-
II. Adagio
|
|
8' 49" |
|
2 |
|
-
III. Intermezzo |
|
7' 11" |
|
3 |
|
-
IV. Rondo
|
|
6' 18" |
|
4 |
|
String
Quartet No. 4, Op. 37 (1936) |
|
|
33' 51" |
|
|
-
I. Allegro molto; Energico
|
|
8' 58" |
|
5 |
|
-
II. Comodo |
|
7' 21" |
|
6 |
|
-
III. Largo |
|
8' 55" |
|
7 |
|
-
IV. Allegro
|
|
8' 37" |
|
8 |
|
Phantasy
for Violin with Piano
Accompaniment, Op. 47 (1949)
|
|
|
10' 10" |
9 |
|
|
|
|
String
Quartet No. 3, Op. 30
FRED SHERRY
STRING QUARTET
- Jennifer Frautschi, Violin
- Jesse Mills, Violin
- Richard O'Neill, Viola
- Fred
Sherry, Cello
|
String Quartet
No. 4, Op. 37
FRED SHERRY
STRING QUARTET
- Leila Josefowicz, Violin
- Jesse Mills, Violin
- Paul Neubauer, Viola
- Fred Sherry, Cello
|
Phantasy for
Violin with Piano, Op. 47
Rolf
Schulte, Violin
Christopher
Oldfather, Piano |
|
|
|
|
|
Luogo
e data di registrazione |
|
American
Academy of Arts and Letters, New
York (USA):
- 1/2 June 2007 (Op. 30)
- 19/20 October 2009 (Op. 37)
- 20 November 2005 (Op. 47)
|
|
|
Registrazione:
live / studio |
|
studio |
|
|
Producer |
|
Philip Traugott
|
|
|
Editing |
|
Tim
Martyn (Opp. 30, 37, 47)
|
|
|
Engineer |
|
Tim
Martyn (Opp. 30, 47)
Kevin Boutote (Op. 37)
|
|
|
NAXOS Edition |
|
Naxos - 8.557533
| (1 CD) | LC 05537 | durata 74'
51" | (c) 2010 | DDD |
|
|
KOCH previously
released |
|
Nessuna
|
|
|
Cover |
|
A
Sea Ghost by George
Frederick Watts (1817-1904) - (©
Trustees of the Watts Gallery,
Compton, Surrey, UK / The
Bridgeman Art Library)
|
|
|
Note |
|
-
|
|
|
|
|
While Schoenberg’s
final two string quartets inhabit
atonal sound worlds, the Third
draws on Classical forms such as
theme-and-variations, minuet and
sonata-rondo, its unsettling
opening movement recalling a
fairytale picture, ‘The
Ghostship’, its Adagio a
movement of spiritual depth and
beauty. Schoenberg was
particularly pleased with his Fourth
String Quartet, which
follows a creative logic of
continual development and
variation derived from the music
of Bach and Mozart, Beethoven,
Brahms and Wagner. The Phantasy
is a virtuosic peroration for
violin with commentary from the
piano, a prime example of
Schoenberg’s avowed aim to write
‘really new music which, as it
rests on tradition, is destined to
become a tradition’.
String Quartets Nos. 3 and 4 •
Phantasy for Violin with Piano
Accompaniment
The best way to understand Arnold
Schoenberg is through direct
experience with his music.
However, his words on the subject
of music, his libretti, as well as
his paintings open up new areas of
thought. Schoenberg’s own
programme notes on the Third
and Fourth Quartets are
fascinating, at times
inexplicable, self-probing, and
indispensable pieces of writing.
These notes, for a private
recording in Los Angeles, 1936,
were written in English, his
adopted language. Following are
excerpts with my own sparse
commentary.
The four string
quartets I have published had
at least five or six
predecessors. The habit of
composing so many string
quartets had gradually arisen.
As a child of less than nine
years, I had started composing
little and, later, larger
pieces for two violins, in
imitation of such music as I
used to play with my teacher
or with a cousin of mine. When
I could play violin duets of
Viotti, Pleyel and others, I
imitated their style. Thus I
progressed in composing in the
measure I progressed in
playing.
It is the
first and second movements of
the third string quartet, and
the first and last movements
of the fourth which resemble
catalogued forms in only a few
respects. Not only does the
order of appearance of their
functional constituents
(themes, melodies, units,
motives and other structural
elements) differ from the
conventional, but also whether
they are repeated, elaborated
or abandoned seems to depend
on different factors. The
methods which provide for
coherence and
comprehensibility, (that is,
the methods by which the
functional constituents
connect, add, introduce,
contrast, juxtapose and
prepare for fluent
continuity), also depend on
different factors.
The words
inside the parentheses and the
ideas which these words represent
are cause for many questions of
meaning, much study and
reflection.
String Quartet No. 3, Op. 30
Moderato
Although it has been suggested by
various musicians that the first
movement of the Third Quartet
is patterned after the Schubert A
minor Quartet, Schoenberg
seems to disagree, as noted above
and by what follows:
As a little boy I was
tormented by a picture of a
scene of a fairytale “Das
Gespensterschiff”, (The
Ghostship) whose captain had
been nailed through the head
to the topmast by his
rebellious crew. I am sure
that this was not the program
of the first movement of the
third string quartet. But it
might have been,
subconsciously, a very
gruesome premonition which
caused me to write this work,
because as often as I thought
about this movement, that
picture came to my mind.
Adagio
The temptation to
classify this movement as
theme and variations in
combination with an
alternative form is
understandable, because not
one of the many repetitions of
the main theme and its
alternative appear unchanged.
These changes are very
far-reaching, they even
involve the internal
organization, modify the order
of some details, and combine
them with others. On the other
hand the form of theme and
variation is very strict and
would not admit farreaching
structural deviations.
Accordingly, if a comparison
with one of the catalogued
forms is advisable, its
similarity to a Rondo form
offers a better prospect for
classification.
This movement
is a piece of great beauty and
depth and it reminds this writer
and cellist of the Andante
of Mozart’s Divertimento, K.
563, with its variations
within variations. I believe that
many stimuli enter one’s mind and
are reborn as inspiration.
Intermezzo
As already mentioned,
this, and also the fourth
movement can easily be defined
as catalogued forms. They are
rondo forms. In fact, the form
of Minuet and Trio and
recapitulation of the Minuet
is also a Rondo form, and this
especially was extended to a
larger form by Beethoven’s
repetition of the Trio and by
Schumann’s addition of a
second Trio.
Although the
form is like its classical
counterpart, the rhythmic and
thematic variety mark it as a
further adventure in the realm of
the Tanzschritte of Op.
29.
Rondo
This form is identical
with the so-called Sonata-Rondo.
In all of
music there may not be a rondo so
full of invention, disguised
thematic returns and extended
codas (except, perhaps, the fourth
movement of Beethoven’s Ninth).
It is perhaps not so
surprising to find in a
contemporary composition so
many variations of the main
themes, whereas in classic
compositions, as a rule, the
recognizability of the theme
is a principle. But our modern
ear does not like so many
unchanged repetitions, and
accordingly, if in the Rondo,
a theme has to appear so often
and a composer has to depend
on so little thematic
material, the scarcity of this
economy must be balanced by
far-reaching changes of
whatever material is at hand.
This is
especially poignant given our own
music’s use of repetition.
String Quartet No. 4, Op. 37
Allegro molto; Energico
[The first violin’s
opening phrase] can rightfully
be called the main theme,
because of its frequent
recurrences, some of which one
might be inclined to consider
as recapitulations in the
manner of the sonata form.
Here
Schoenberg cites some subordinate
themes and brief elaborations of
previous material which he
selected:
for similar reasons
and in order to function like
landmarks, as guides in a
complicated organization,
where recognition is
obstructed by continuous
variations.
This
movement, not the first of the Third
Quartet, is patterned on the
old sonata form. Schoenberg only
mentions in passing the extended
section of “impetuoso”
solos and does not mention the
variations of texture at all.
Comodo
This comodo is closely
related to the Intermezzo
type. It is an A-B-A form. Its
B section brings new thematic
material, but has otherwise a
certain resemblance to a Durchführung
(elaboration) because it
combines its own themes with
the preceding ones, in many
ways.
This material is now shifted
into every direction of the
musical space, before a
recapitulation of the first
group occurs.
This recapitulation erects the
structure in a manner quite
different from the beginning,
thereby still including
combinations with the material
of the B section.
A
concert-goer mentioned that he
heard this movement as a Hollywood
production number with dancers and
singers. Schoenberg has noted the
“fancy” instrumentation when
describing a subordinate theme:
whose sonority is
produced by the lightning
flashes of harmonics which
accompany a cantabile on the
G-string of the first violin.
A repetition in the cello is
clothed in an even richer
color.
The trio
section must be called wildly
variable!
Largo
The form is an A-B-A-B
with a modulatory elaboration
inserted before the recurrence
of the B section. It begins
with a recitative played in
unison of the same pitch of
all the four strings.
Schoenberg
cites two measures of the
aforementioned insertion and
writes:
In six measures a
climax is reached by
semicontrapuntal elaboration
and development of the
contents of these two
measures, which is dissolved
into a segment, bridging and
introducing the recapitulation
of the B section. The
deviation from the first
formulation of this part is
far-reaching, because of the
difference in purpose. The
first time it served as a
lyric contrast to the dramatic
outbursts of the recitative,
which it had to overcome by
virtue of its intrinsic
warmth. The second time, when
the insertion of the section
has already reduced the
tension of the beginning, its
purpose is to prepare for an
ending.
The striking
opening Largo unison gives way to
a B section which explores one
theme Schoenberg described as:
A cantabile melody
formulated in the form of a
period, antecedent followed by
a consequent, very simple and
regular, comprising six
measures.
This theme’s
elaborations and diminutions lead
back to the recitative which is
now followed by a
compressedrecapitulation of the B
section.
Allegro
This Allegro contains
a great abundance of thematic
material because every
repetition is varied
far-reachingly and gives birth
to new formulations.
The scholar,
performer or listener can analyze
the fourth movement but we must
follow Schoenberg’s ineluctable
and creative logic.
From Schoenberg’s letter to
Elizabeth Sprague Coolidge, August
3, 1936: “I am very content with
the work and think it will be much
more pleasant than the third.
But—I believe always so.”
Phantasy for Violin with Piano
Accompaniment
Here, as in the String Trio,
the master wrote quickly; the
violin part was composed between 3
and 22 March 1949. An explanation
of how he prepared to compose is
given in answer to a question from
Julius Bahle, albeit not about the
Phantasy. “Unnameable
mental image of sounding and
moving space, of a form with
characteristic relationships; of
moving masses whose shape is
unnameable and not amenable to
comparison.”
Josef Rufer wrote in his The
Works of Arnold Schoenberg:
“During the course of the violin
part, the row forms which are
being used, as well as those which
are planned for the piano part,
are noted in red, green or black
pencil.”
I hear this piece as a virtuosic
peroration for violin, with
commentary from the piano
accompaniment. In addition, I
sense Schoenberg’s assimilation of
old music:
My teachers were in
the first place, Bach and
Mozart; in the second place,
Beethoven, Brahms and Wagner.
My originality comes from the
fact that I immediately
imitated everything good that
I ever saw. Even if I did not
see it first in the works of
others.
And I may say this: often
enough, I saw it first in my
own work. For I did not merely
stick to what I had seen; I
took it over in order to
possess it, and it led to
something new… I lay claim to
the merit of having written
really new music which, as it
rests on tradition, is
destined to become a
tradition.
In 1949
Schoenberg wrote an epilogue for
the string quartet programme
notes. I feel this epilogue
applies to all of his later music.
It looks as if the
time has come, when
audienceswill listen to my
music with more favor
andkindness. This seems to me
the given momentalso to do
something in my favor.
For years,
instead of studying my
scoresand trying to find out
who I am, one has tried toget
rid of the problems I possibly
might offer, by stamping me
with a trade-mark. The 12
Tone Constructor, The Atonalist.
Whatever I might have to
present, good or bad,
beautiful or ugly, soft or
harsh, true or false, was of
no concern.
I
have often enough explained
that the method of composing
with twelve tones is only a
matter of organization and
what displeases many listeners
are the dissonances and the
absence of a
constantly-present tonality.
It looks as if today’s
listeners are not enough
afraid of such evils and are
ready to accept such
meaningless noises as the
murder and mystery stories of
the radio use for background
illustration. That such
nonsense is possible is the
result of the audiences
failing to question “what did
he say” but instead being
satisfied of recognizing a
style, mannerism, “how did he
say it”, atonality.
Today, atonality is tolerated
by all radio listeners, on
condition that it would not
try to say anything sensible,
anything trying to move your
soul, to touch your feelings.
The fact of the use of the
twelve tones was now made
public by pupils and friends
of mine, and when in 1933 I
came to America I could not
change my trade-mark. Laymen,
musicians, newspapermen and
critics whom I met, wanted me
to write a lecture and give it
in several places, though I
was sure of the immaturity of
the attempts to explain, at
this time, properly the
problems involved in this
method. I was of course only
capable to deliver a
superficial explanation, a
description, of the methods of
distribution of the twelve
tones. I was always aware of
this imperfection, and this is
why I gave to the lecture the
title Method of
Composing with Twelve Tones!
I was convinced, that in
emphasizing composing - method
of composing - I had created a
splendid isolation between my
inquisitive tormentors and
myself.
If one knows what
composing means, one would, in
my opinion, know how to avoid
such silly questions.
Fred Sherry
|
|