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Die Altenberg-Lieder Sind Vorläufer Der Großen Opernfresken Bergs

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Die Altenberg-Lieder Sind Vorläufer Der Großen Opernfresken Bergs Drei Orchesterstücke Op.6 Altenberg Lieder Op.4 - Sieben frühe Lieder CHRISTIANE IVEN soprano HY BRID MU LTICHANNEL A L B A N B E R G Orchestre Philharmonique de Strasbourg MARC ALBRECHT Alban Berg (1885 – 1935) Drei Orchesterstücke, Op. 6 (Three pieces for orchestra) 1 Präludium 4. 51 2 Reigen 5. 38 3 Marsch 10. 02 Altenberg Lieder, Op. 4 (Fünf Orchesterlieder nach Ansichtskartentexten von Peter Altenberg) (Five Orchestral Songs to Picture-Postcard Texts by Peter Altenberg) 4 Seele, wie bist du schöner 2. 42 5 Sahst du nach dem Gewitterregen den Wald 1. 24 6 Über die Grenzen des All 1. 33 7 Nichts ist gekommen 1. 29 8 Hier ist Friede 4. 07 Sieben frühe Lieder (Seven early songs) 9 Nacht (Carl Hauptmann) 3. 54 10 Schilflied (Nikolaus Lenau) 2. 11 11 Die Nachtigall (Theodor Storm) 2. 16 12 Traumgekrönt (Rainer Maria Rilke) 2. 52 13 Im Zimmer (Johannes Schlaf) 1. 14 14 Liebesode (Otto Erich Hartleben) 1. 52 15 Sommertage (Paul Hohenberg) 1. 49 Johann Strauss (1825 – 1899) 16 Wein, Weib und Gesang 11. 43 Christiane Iven, soprano Orchestre Philharmonique de Strasbourg conducted by Marc Albrecht Recording venue: Palais de la Musique et de Congrès, Strasbourg, France (Frühe Lieder, 1/2007; Orchesterstücke, Altenberglieder, Wein, Weib und Gesang, 1/2008) Recording producer: Wolfram Nehls Balance engineer: Philipp Knop Editing: Wolfram Nehls Surround Mix: Philipp Knop & Wolfram Nehls Total playing time: 59.46 Biographien auf Deutsch und Französisch finden Sie auf unserer Webseite. Pour les versions allemande et française des biographies, veuillez consulter notre site. www.pentatonemusic.com Alban Berg The Three Orchestral Pieces were writ- Three Orchestral Pieces, Op. 6 ten as a reaction to this criticism. They were the means for the student to emancipate n a letter dating from June 14, 1913, himself from the principles of his teacher, IAlban Berg wrote as follows to his for- while at the same time assuring him that mer teacher, Arnold Schoenberg: “[…] But he would remain true to his teachings. Berg I must thank you both for your censure had accepted the lesson and even decided and for all I have received from you, well to dedicate the score of the new work to aware that it was meant well – in my best Schoenberg on the occasion of the latter’s interests. Neither do I need to tell you, dear 40th birthday. At first, he had thought to Herr Schoenberg, that the great pain this quickly compose a “cheerful suite”. However, has caused me guarantees my heeding it took him two years to complete, as he the censure. And if I manage to succeed in wished to write works “in the required form, my good intention, then this pain too will of normal length, rich in thematic transfor- have lost its bitterness and be relegated mation and free of any new affectations”. to those memories, which despite the What kind of connections to other feelings of despondency they awaken in works can be found in this composition? me – as certainly, whenever you talk to me Even though Alban Berg always perse- seriously, presenting me with the unspar- vered in denying this, he must have had ing truth – are yet full of intense, if grave, Schoenberg’s Five Orchestral Pieces in beauty.” This remarkable and grim letter mind at the time. However, the affinity to followed an argument between the two Mahler’s work is far more conspicuous. One musicians that had taken place a few days can hear this in his use of the banal, the previously concerning two of Alban Berg’s highly trivial, the march rhythms and the compositions. Schoenberg was unhappy characteristically expressionist style of the with the Altenberg Lieder, Op. 4 and the Second Viennese School. The three pieces Four Pieces for Clarinet and Piano, Op. 5. form a cycle and bear the evocative titles He had sharply criticized the inadequate of Präludium, Reigen and Marsch (Prelude, development of the themes, their basically Round Dance and March). Theodor Adorno pessimistic character, as well as their Franco- described this as the “most complicated of impressionist tonal colours. scores in existence”. The composition of the pieces preceded the orchestration of the had not had sufficient time to master the opera Wozzeck. Thus the orchestral strength complicated technical difficulties of the is unusually large: quadruple woodwinds, 6 score, only the first two pieces were actually horns, 4 trumpets, 4 trombones, 1 tuba, an performed. The première of the complete extensive percussion section, 1 celesta, 2 work finally took place in Oldenburg in 1930, harps… under conductor Johannes Schüler. On further observation, one notices that the work unites all the elements of a four-movement symphony. The Präludium can be considered the first movement, the Alban Berg Reigen both as a Scherzo and a slow move- Altenberg Lieder, Op. 4 ment, and in the Marsch all previous themes are once again taken up. The Reigen evokes lban Berg wrote the Altenberg Lieder the novel of the same name by Arthur Ain the summer of 1912, directly before Schnitzler, and its slow waltz is reminiscent composing the above-mentioned Three of Vienna just before the downfall of the Orchestral Pieces. The première, which took empire in the First World War. In analytical place on March 31, 1913, provoked an enor- works, the orchestration of the Marsch is mous scandal. Within the five songs, Alban often described as “organized chaos”. Here, Berg combined the power of a large orches- several themes and musical forms are com- tra with a delicate compositional structure bined, reminiscent of the tragic shades of and the restricted duration of a Lied. The Gustav Mahler’s Symphony No. 6. The tre- texts were selected from a volume of poems mendous dynamics and the explosive beats dating from 1911, entitled Neues Altes of the percussion, which continue until the (= ancient novelties). last chords, anticipate to a certain extent In these pieces, the composer entered the death of Wozzeck. the world of expressionism, thus finally Although the composition was com- breaking away from the style of Schumann pleted in time for Schoenberg’s birthday, or Brahms, who had inspired his first works. the première did not actually take place Should one call this an aesthetic sever- until June 5, 1925 in Berlin, under the baton ance? Certainly not. It is not so much a of Anton Webern. However, as the orchestra new tone-language (in the sense of a transition from Romanticism through Post- trated within just a minute. Romanticism to Expressionism) as a new There is a twelve-tone chord at the form of in-depth treatment leading to the beginning of the song Über die Grenzen same goal, i.e. subjectivity. The Altenberg des All (= past the borders of the universe), Lieder are the precursors to Berg’s major which again symbolizes the loneliness of opera ‘frescos’. The composer deliberately a woman. “Leben und Traum vom Leben chose the extremely concise texts of the – plötzlich ist alles aus” (= life and dream postcards sent to young ladies by the poet of life – suddenly all is finished) – this Peter Altenberg, otherwise known as “the “Sprechgesang” (= spoken lines within the Socrates of the Viennese coffee-houses”, in song) forms a peculiar contrast to the mel- an attempt to flatter and seduce them. The ody, which is unexpected and unsettling. fragmentary texts reveal a good deal about In the following Nichts ist gekommen the life of this Bohemian, about the simple (= nothing came), the lengthy phrasing of yet sophisticated existence of the dilettante. the orchestra appears to be interrupted by They paint a precise character portrait as sharp, yet extremely delicate sounds. Here, well as a description of the poet’s soul. Berg was working with the model of the The Lied Seele, wie bist du schöner (= oh “Klangfarbenmelodie” (= tone-colour mel- soul, how much more beautiful you are…) ody), i.e. the wondrous ensemble-playing commences with an orchestral prologue. of the most varied tonal colours, ranging Crystal-clear sounds develop, culminat- between that of the piccolo flute to the ing in a thunderous tutti, after which the double bassoon. vocalist begins singing pianissimo. The The song cycle concludes with the text appears only in fragments, takes on piece Hier ist Friede (= here is peace), in form and expresses the unhappiness of a which it says: “Here I cry my heart out about woman, who gives free rein to her feelings everything”. In this twelve-tone passacaglia, in her song. Here, Berg is increasingly dis- the obsessive feelings of the woman are tancing himself from the influence of Mahler expressed implacably. Due to the sumptu- that had so characterized his previous works. ous orchestration, once again reminiscent of In Sahst du nach dem Gewitterregen Mahler, the song feels more like an operatic (= did you see after the thundery shower?), aria than a Lied. the entire sensuality of the text is concen- Alban Berg (1885 – 1935) viously dedicated the works, which were of Seven early songs for voice and orchestra a cheerful and peaceful nature, to his future 1/ Nacht. 2/ Schilflied. 3/ Die Nachgall. wife, Helene Nahowski. The influence of the 4/ Traumgekrönt. 5/ Im Zimmer. songs written by Gustav Mahler, who had 6/ Liebesode. 7/ Sommertage. died seventeen years previously, is clearly evident in the compositions of all three Auf geheimem Waldespfade “Viennese” composers. Thus straightaway in Schleich’ ich gern im Abendschei the first song, Nacht (= night), one seems An das öde Schilfgestade, to hear the interjection O gib acht! Gib acht! Mädchen, und gedenke dein! (= oh, pay attention! Pay attention!) from the song Um Mitternacht (= at midnight), (On secret paths within the woods, which Mahler included in his Symphony I love to steal to reed-grown shore, No.
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