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Brahms Piano Quartet Op. 25 Orchestrated by Arnold Schönberg

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Brahms Piano Quartet Op. 25 Orchestrated by Arnold Schönberg SCHÖNBERG ACCOMPANIMENT TO A CINEMATOGRAPHIC SCENE BRAHMS PIANO QUARTET OP. 25 ORCHESTRATED BY ARNOLD SCHÖNBERG Netherlands Philharmonic Orchestra Marc Albrecht VIOLIN 1 Joost Cransberg CLARINET JOHANNES BRAHMS (1833-1897) Vadim Tsibulevsky Maaike-Merel van Baarzel Rick Huls settled in 1934 with his family in Los from masters and the way one can for performance by small ensembles. Saskia Viersen Judith Wijzenbeek Harrie Troquet (E-fl at clarinet) Schönberg between Piano Quartet Op. 25 Marina Malkin Berdien Vrijland Herman Draaisma (bass clarinet) Angeles, where he accepted a position apply these lessons without loss of However, these arrangements also Henrik Svahnström Nicholas Durrant Orchestrated by Arnold Schönberg Angela Skala Merel van Schie BASSOON two cultures as lecturer at the University of Southern personality.” had another purpose: Schönberg was Anuschka Franken Susan Brinkhof California and later at the University of convinced that a small ensemble would Ingrid van Dingstee CELLO Margreet Bongers 1 Allegro 14. 12 Chrisiaan Lascae Christiaan Louwens Jaap de Vries (double bassoon) “Where I am, there is German culture,” California (UCLA). Despite the above- Schönberg considered it vitally do far more justice to the structure Mascha van Sloten Jan Bastiaan Neven 2 Intermezzo - Allegro ma non troppo 8. 26 Marina Waterman Atie Aarts FRENCH HORN thus spoke the German author and mentioned remark by Thomas Mann, important to study the techniques and “aesthetic content” of the music. 3 Andante con moto 9. 44 Armand Gouder de Beauregard Anjali Tanna Wouter Brouwer Nobel Prize winner Thomas Mann on Los Angeles must have seemed like a of other composers in order to thus “Indeed, it is possible in this way to Melissa Ussery Rik Otto Sergei Dovgaliouk 4 Rondo alla zingarese - Presto 9. 10 Hike Graafl and Carin Nelson Stef Jongbloed his arrival in the United States. At the diff erent planet to a composer such penetrate more deeply into the hear and assess modern orchestral Irene Nas Mariet van Dijk Wim van den Haak Philip Dingenen Sebastian Koloski end of the 1930’s, the rise of National as Arnold Schönberg. Therefore, it is true content of their music – and works – stripped of all sound eff ects ARNOLD SCHÖNBERG (1874-1951) Pascale Went TRUMPET Socialism in Europe led to a veritable not surprising that he rediscovered his he believed the best way to do unleashed by the orchestra, and of VIOLIN 2 Marjolein Meijer Gertjan Loot Mintje van Lier Jeroen Botma exodus of leading academics and feelings for an old passion: the music of this was by arranging the original all sensory aids. This invalidates the Guillaume Serpenti DOUBLE BASS Marc Speetjens 5 Begleitmusik zu einer Lichtspielszene 8. 58 Jos Schutjens Luis Cabrera Martin artists struggling to escape the clutches Johannes Brahms. compositions. Throughout the history general allegation that this music owes (Accompaniment to a cinematographic scene) Joanna Trzcionkowska Joo Seara TROMBONE of the Nazis. Many sought refuge in of music, examples can be found its eff ects merely to its more or less Jarmila Delaporte Julien Beijer Gerard Peters Heleen Veder Erik Spaepen Wim Hendriks the USA; and in Los Angeles this led In his famous essay, Brahms, The of this method of ‘studying’, and rich and glossy instrumentation, and Cynthia Briggs Sorin Orcinschi Matyas Veer Vanessa Damanet Iurii Gavryliuk eventually to a genuine European Progressive (1947), Schönberg describes Schönberg was no exception to the does not possess all the properties that Mikail Makhtin Dobril Popdimitrov TUBA colony consisting mainly of artists, how Brahms was a far greater rule. Together with a number of like- have to this day characterized good Ilka van der Plas Gabriel Barbalau David Kutz Saskia Schröeder who found new work in the American innovator in the fi eld of music than minded composers, he had founded music; melodies, richness of harmony, Monica Vitali FLUTE TIMPANI Total playing time: 51. 04 Emmy Stoel-Mourits Hanspeter Spannring Theun van Nieuwburg fi lm industry. These include such most music connoisseurs realized. He in 1918 the “Verein für musikalische polyphony, structural perfection, Coleman Willis Margreet Niks illustrious names as the actress Marlene even saw a direct line leading from Privatauff ührungen” (society for private architecture, etc.” Ellen Vergunst (piccolo) PERCUSSION VIOLA Nando Russo Dietrich, the directors Ernst Lubisch and Mozart and Brahms, to himself. “This music performances) with the objective Janos Konrad OBOE Hans Zonderop Laura van der Stoep Hans Meijer Paul Lemaire Fritz Lang, and the composers Erich will not help [...] to appreciate my of performing new compositions on Odile Torenbeek Rob Bouwmeester Martin Baai Wolfgang Korngold and Franz Waxman. music, but to understand Mozart. And a weekly basis. But the society could Avi Malkin Anita Janssen (English horn) Netherlands Philharmonic Orchestra Stephanie Steiner PIANO Arnold Schönberg also fl ed Austria and, it will teach young composers what not aff ord to hire a large symphony Margrietha Isings Jonathan Waleson Conducted by Marc Albrecht following a brief sojourn in Boston, are the essentials that one has to learn orchestra, so they arranged the music English Brahms in Technicolor quartet Der Tod und das Mädchen. However, the question remains whether Futuristic fi lm music Therefore, Schönberg was lost to The Begleitmusik is similar to a work Netherlands Orchestra/Netherlands Chamber In Arnold Schönberg’s case, the Brahms indeed would have included Hollywood. A deliberate action? Back such as Erwartung and can be regarded Orchestra since the beginning of the But the opposite could also occur. And composer’s intentions make good trombone glissandi, a xylophone and a After Arnold Schönberg arrived in Los in 1929/1930, Schönberg had already as a psychogram of three diff erent Philharmonic 2011/2012 season. thus between May and September 1937, reading: “To remain strictly in the glockenspiel, as does Schönberg in the Angeles, it was of course inevitable that received a commission from the moods: “Threatening danger,” “Fear,” Schönberg penned an orchestral version style of Brahms and not to go farther ‘Technicolor’ fi nale of his version of the Hollywood would attempt to interest publisher Heinrichshofen to deliver and “Catastrophe.” Although the Orchestra Two of the Netherlands Philharmonic of the Piano Quartet in G minor by than he himself would have gone had quartet. him in the fi lm music genre. After a ‘fi lm score’: Begleitmusik zu einer work is written for a cinema theatre Orchestra’s most important trademarks Johannes Brahms. In a letter to Alfred he lived today. To watch carefully all hearing a radio broadcast of the string Lichtspielscene (Accompaniment to a orchestra, it includes an extensive The Netherlands Philharmonic are its inviting programming and Frankenstein, music critic of the San the laws Brahms obeyed – and not But more interesting than the colourful sextet Verklärte Nacht (Transfi gured cinematic scene). Although the work percussion section. The première took Orchestra is one of the most its accessible concert presentation. Francisco Chronicle, dated March 1939, to violate them – which are known exterior is the manner in which Night), Irving G. Thalberg, director of refl ected the customs of the silent place in Frankfurt in 1930, without versatile cultural organisations in The Everyone is welcome to a Netherlands Schönberg gave three reasons for this only to musicians educated in his Schönberg attempts to penetrate into the Metro-Goldwyn-Mayer Studios, movie – in which the cinema orchestras, an accompanying fi lm, under Hans Netherlands. The orchestra organises Philharmonic Orchestra concert, orchestration. The fi rst was personal: environment.” In a certain sense, we the nucleus of the music. Brahms’ asked Schönberg to write the music for pianists and organists used standard Rosbaud. Several months later, Otto a diverse concert program in The Royal both experienced concert-goers “I like the piece.” But the other two have to admit that Schönberg is right technique for creating larger structures a fi lm version of the novel The Good pieces of music to illustrate a particular Klemperer also conducted the work in Concertgebouw Amsterdam and is and newcomers alike. The musicians were more of a practical nature: here. Not a single note in the work did from the development and variation Earth by Pearl S. Buck. However, the scene or express a particular emotion – Berlin. Schönberg’s idea was not carried a welcome guest on foreign stages guarantee an exceptional listening “It is seldom played. It is always very he alter, and the fi rst three movements of small motivic cells fascinated conditions laid down by Schönberg Schönberg’s score could not be used out until 1973, when three fi lms were and festivals. The orchestra is also experience thanks to the enthusiasm badly played, because the better the in the orchestral version of the quartet Schönberg no end, and was the were entirely contradictory to the as it was for fi lm, as there was no made – to accompany the music – by the accompaniment orchestra for the with which they share their passion pianist, the louder he plays, and you can indeed be considered a further main reason why he called Brahms a usual for a movie score. In addition to possibility of adapting the music to the Jean-Marie Straub, Jan W. Morthenson, Dutch National Opera. The Netherlands for music with the audience. The hear nothing from the strings. I wanted development of Brahms’ orchestral ‘modern’ and
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