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1 CD -
8-557534 - (c) 2013
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THE ROBERT
CRAFT COLLECTION - The Music of Arnold
Schoenberg - Volume 13 |
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Arnold
SCHOENBERG (1874-1951) |
String
Quartet No. 1, Op. 7 (1904/5)
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46' 43"
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I. Nicht zu rasch
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13' 41" |
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1 |
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II. Kräftig
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12' 28" |
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2 |
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III. Mässig |
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11' 56" |
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3 |
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IV. Mässig
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8' 38" |
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4 |
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Verklärte
Nacht, Op. 4 (1899) |
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27' 28" |
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I. Sehr langsam
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6' 19" |
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5 |
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II. Breiter |
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7' 52" |
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6 |
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III. Sehr breit und langsam
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5' 53" |
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7 |
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IV. Etwas bewegt
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7' 24" |
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8 |
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Four
Canons (from Thirty Canons)
(1905-1949)
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3' 22" |
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I. Canon XIX |
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1' 09" |
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9 |
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II. Canon XXV |
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0' 52" |
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10 |
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III. Canon XXVII |
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0' 37" |
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11 |
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IV. Canon XXVIII |
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0' 45" |
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12 |
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String
Quartet No. 1, Op. 7
FRED SHERRY
STRING QUARTET
- Leila Josefowicz, Violin
- Jesse Mills, Violin
- Hsin.Yun Huang, Viola
- Fred
Sherry, Cello
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Verklärte Bacht,
Op. 4
FRED SHERRY
STRING SEXTET
- Leila Josefowicz, Violin
- David Chan, Violin
- Paul Neubauer, Viola
- Yura Lee, Viola
- Fred Sherry, Cello
- Michael Nicolas,
Cello
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Four Canons
(from Thirty Canons)
FRED
SHERRY STRING
QUARTET
- Leila
Josefowicz, Violin
- Jesse Mills, Violin
- Hsin-Yun Huang, Viola
- Fred Sherry, Cello
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Luogo
e data di registrazione |
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American
Academy of Arts and Letters, New
York (USA):
- 4/6 October 2012 (Opp. 7, Four
Canons)
- 2/3 January 2012 (Op. 4)
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Registrazione:
live / studio |
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studio |
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Producer |
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Philip Traugott
(Opp. 7, Four Canons)
Tichard Price (Op. 4)
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Engineer &
Editor
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Tim
Martyn
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Assistant
engineer
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Brian
Losch
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NAXOS Edition |
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Naxos - 8.557534
| (1 CD) | LC 05537 | durata 77'
33" | (c) 2013 | DDD |
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KOCH previously
released |
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Nessuna
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Cover |
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Moonlight
by Felix Edouard Vallotton
(1865-1925) - (Musee d'Orsay,
Paris, France / The Bridgeman Art
Library)
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Note |
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There are a number
of points of similarity between
Schoenberg’s String Quartet
No. 1, Op. 7 and Verklärte
Nacht, Op. 4, both technical
and structural. They were also
important works in the composer’s
life, Verklärte Nacht
being - in his own estimation -
the first tone poem ever written
for chamber ensemble. Both works
provoked scandals but both also
pointed the way decisively toward
future development, not least the
quartet, which was a pivotal
composition in Schoenberg’s career
and one that enshrines an
intriguing ‘private programme’.
String Quartet No 1, Op 7 •
Verklärte Nacht, Op 4 • Four
Canons
I am probably the last
of the modern composers who
has occupied himself with
tonal harmony in the sense of
the oldest masters. –
Arnold Schoenberg (1)
Verklärte
Nacht and the First
String Quartet, written by
the last of the great tonal
masters and the first of the great
twelve-tone masters, have a number
of similarities: both pieces, in D
minor with codas in D major, are
based on programmatic elements and
unfold in a more or less
uninterrupted flow; each underwent
extensive cuts by the composer
before arriving at their final
lengths; and they were given their
premieres by the Rosé Quartet, who
were persuaded to perform them by
Gustav Mahler. Schoenberg noted
another similarity when discussing
the First Quartet: “Again,
as with Verklärte Nacht,
parts of understandable smoothness
could not calm down the public or
reassure them.(2)
String Quartet No 1 in D minor,
Op 7 (1904/05)
“The supreme commander had ordered
me on a harder road. (3)
Schoenberg’s statement defines the
change that took place between Op
4 and Op 7. The new
road of composition consisted of
the invention of families of
themes which derive from each
other and have great modulatory
possibilities. Schoenberg’s
contrapuntal innovations expanded
upon Wagner’s practice of
combining leitmotifs; the younger
composer fashioned new themes out
of subsidiary material and allowed
them to coexist by the use of
variation and transformation. It
is the malleability of these
themes which enables the harmonic
changes which propel the first
quartet through its exploration of
so many expressive subtleties.
Schoenberg also mentions
Beethoven’s Eroica Symphony
as the formal model for the
development of this large-scale
work. The First Quartet is the
work of an idealistic and
optimistic young man (his
brother-in-law Zemlinsky’s
description) at work and play in a
field which included the music of
Mozart, Beethoven, and Brahms as
well as Reger, Wagner, Liszt,
Schubert and others. In his
fertile ear he absorbed as much
from these masters as he added
ideas of his own invention.
Usually taking morning
walks, I composed in my mind
forty to eighty measures
complete in almost every
detail. I needed only two or
three hours to copy down these
large sections from memory.
(4)
A one-page
text glued to the back cover of
Schoenberg’s 1904–1905 sketchbook
has been identified as a private
programme for the piece. Below is
an example from the first section:
(1) a) Revolt, Defiance;
b) Longing; c) Rapture.
(2) a)
Dejection; Despair; Fear of
being engulfed; unaccustomed
feelings of love, desire to be
wholly absorbed. b)
Comfort, Relief (She and He) c)
New outbreak; Dejection,
Despair; and d) Transition to
(3)
Struggle of all the motives with
the determination to begin a new
life. e) Mild disagreement
In 1940, when
Leonard Stein asked about this
programmatic description,
Schoenberg replied, “One does not
tell such things anymore! (5)
The composer
wrote in 1937: “[The] First String
Quartet played an important rôle
in the history of my life. On the
one hand the scandals provoked by
it were so widely reported the
world over that I was known at
once to a considerable part of the
public. Of course I was primarily
regarded as the Satan of
modernistic music; but, on the
other hand, many of the
progressive musicians became
interested in my music and wanted
to know more about it.”
[Schoenberg reported Mahler’s
remark after seeing the score to
the First Quartet:] “I have
conducted the most difficult
scores of Wagner; I have written
complicated music myself in scores
of up to thirty staves and more;
yet here is a score of not more
than four staves, and I am unable
to read them.(6)
Schoenberg felt that the First
Quartet represented a new
direction in that it was more
purely musical and that it set in
motion the formal ideas that would
be picked up in his next
composition, the Chamber
Symphony, Op 9, which he
considered to be his first mature
work.
Verklärte Nacht, Op 4 (1899)
Verklärte Nacht
(Transfigured Night) represents a
departure from the accepted forms
of chamber music in the
straitlaced Vienna of 1899, and it
is, in Schoenberg’s estimation,
the first tone poem for a chamber
ensemble. In 1950 the composer
stated that “[Verklärte Nacht]
does not illustrate any action or
drama, but was restricted to
portray nature and to express
human feelings. (7) With that
caveat in mind, he described with
musical examples (not shown here)
how the Dehmel poem was reflected
in the work. For instance, the
opening theme, “Promenading in a
park,” leads to the extension of
that theme, “in a clear, cold
moonlit night” to the section
where “the woman confesses a
tragedy to the man in a dramatic
outburst.” Inevitably, “A
climactic ascension, elaborating
the motif, expresses her
self-accusation of her great sin.”
Further along, “the voice of a man
speaks, a man whose generosity is
as sublime as his love” and in the
second part, “Harmonics, adorned
by muted runs, express the beauty
of the moonlight” lead to a
secondary theme introduced “above
a glittering accompaniment.”
Sentiments such as the “warmth
that flows from one of us into the
other” are illustrated with new
themes. Finally, “A long coda
section concludes the work. Its
material consists of themes of the
preceding parts, all of them
modified anew, so as to glorify
the miracles of nature that have
changed this night of tragedy into
a transfigured night.”
Much of the music is tonal and in
distinct keys, but, as the
composer noted, “There were
already some passages of unfixed
tonality which may be considered
premonitions of the future.(8)
The history of Schoenberg’s music
is dotted with harsh and unjust
treatment by audiences and
critics. The composer noted that
“It shall not be forgotten that
[Verklärte Nacht], at its first
performance in Vienna [1903], was
hissed and caused riots and fist
fights.” But he went on to say
that “very soon it became very
successful, (9) and the piece was
eventually embraced as one of the
composer’s greatest achievements.
Schoenberg revisited the score of
Verklärte Nacht in 1917 for the
first string orchestra
transcription and again in 1943
for the second, in which
subtleties of orchestration were
changed and, as in the 1935
transcription of Op 9 for full
orchestra, he translated the
German markings into Italian and
provided metronome markings for
the various sections of the piece.
Sehr langsam becomes Grave,
quarter (crotchet) = 46, etwas
bewegter becomes Poco più mosso,
quarter (crotchet) = 72, etc. In
order to “go the distance” in the
preparation of Verklärte Nacht,
the musicians on this recording
consulted the Richard Birnbach
first edition (score and parts),
the 1917 and 1943 transcriptions,
the critical edition, and the
autograph with its surprising
number of bars that were cut by
the composer. We also listened,
with deep attention, to
Schoenberg’s 1928 truncated
recording of the 1917
transcription. It was decided that
the changes in Schoenberg’s
attitude towards this piece were
not inconsistencies, but instead
proved that there is a vast amount
of room for interpretation inside
this fascinating score.
Four Canons from Thirty Canons
(1905–1949)
Schoenberg wrote: “Brahms’s mental
gymnastics were certainly not of
an easy-going sort. We know that
it was his habit on his Sunday
excursions in the Wienerwald to
prepare ‘enigmatic canons’ whose
solutions occupied his companions
for several hours. Subsequently I
was stimulated to try also the
difficult types of canons. There
were some which required much
work… (10)
Canon XIX (March 12, 1934)
Schoenberg’s annotation: “If none
of the four singers has forgotten
his clefs it should go together,
but alas there is a hindrance: the
people do not seem to be quite
together. Every now and then—or do
they have to? - one sings twice as
fast, or twice or four times as
slow. How they yet come together -
this is the puzzle.” What follows
is one line of music with no clef
and no time signature.
Canon XXV (1938) Four-part
infinite double canon at the
octave.
Canon XXVII (June 7, 1943)
Four-part mirror canon.
Canon XXVIII (March 1945)
Four-part infinite canon at the
unison. Schoenberg presented this
canon to the conductor Artur
Rodzinsky on the birth of his son,
Richard, sung to the text “I am
almost sure, when your nurse will
change your diapers, she will not
sing you one of my George Songs,
nor of my Second String Quartet;
but perhaps she stills you: Sleep,
Richard, Sleep! Dein Vater hat
dich lieb!” The final two bars are
the melody of a well-known
lullaby.
Verklärte Nacht is more
widely appreciated by the general
listener than any other work by
Schoenberg. In 1937 Schoenberg
wrote:
This work has been
heard, especially in its
version for orchestra, a great
many times. But certainly
nobody has heard it as often
as I have heard this
complaint: ‘If only he had
continued to compose in this
style!’
The
answer I gave is perhaps
surprising. I said ‘I have not
discontinued composing in the
same style and in the same way
as at the very beginning. The
difference is only that I do
it better now than before; it
is more concentrated, more
mature. (11)
Most
Schoenbergians agree that the
techniques which the composer
employed in his early works are
the same used in his later music,
but with a different affect and
effect. Schoenberg did not
reinvent counterpoint or melody to
compose his later music. One only
needs to hear his Third
and Fourth String Quartets
to understand this.
The Janus figure Arnold Schoenberg
could just as easily hear back
into musical history as he could
take steps forward into his own
musical future. The evidence that
Schoenberg did not chart this
journey was written in 1950, one
year before his death:
I am embarrassed to
say that until a few years ago
I had not become aware of my
age and was still considering
myself as the young composer
who had not yet ceased to do
youthful nonsense. Thus I have
not had the chance to watch
the development of my
personality. (12)
Fred Sherry
(1) - Arnold Schoenberg, ‘Tonality
and Form, 1925’, in Style and
Idea, Ed. Leonard Stein,
University of California Press,
1984, p. 256.
(2) - Ibid., ‘How one becomes
lonely, 1937’, p. 84.
(3) - Ibid., ‘On Revient Toujours,
1948’, p. 109.
(4) - Ibid.,
‘Heart and Brain in Music, 1946’,
p. 61.
(5) - Joseph Auner, A
Schoenberg Reader, Yale
University Press, 2003, pp. 48-49.
(6) - Schoenberg, Op. cit., ‘How
One Becomes Lonely, 1937’, p. 42.
(7) - Arnold Schoenberg,
‘Programme notes to a recording’,
in Self-Portrait, Ed.
Nuria Schoenberg, Belmont Music
Publishers, 1988, pp. 119–123.
(8) - Schoenberg, ‘My Evolution,
1949’, in Style and Idea,
p. 67.
(9) - Schoenberg, ‘Programme notes
to a recording’, in Self-Portrait,
p. 123.
(10) - Schoenberg, ‘Heart and
Brain In Music, 1949’, in Style
and Idea, p. 67.
(11) - Ibid., ‘How One Becomes
Lonely, 1937’, p. 30.
(12) - Ibid., ‘My Technique and
Style, 1950’, p. 110.
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