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Wagnerskt Orgelbrus CG9010 Självständigt arbete, kyrkomusik, 15 hp Kandidatprogram, musiker, kyrkomusik 2021 Institutionen för klassisk musik (KK) Handledare: Incca Rasmusson Ludvig Käll Wagnerskt orgelbrus Att transkribera Richard Wagners musik för orgel Till dokumentationen hör följande inspelning: Morgenpracht inspelad i Sankt Görans kyrka Sammanfattning I orgeltranskriberingens historia så har Richard Wagners musik fått en särställning genom organisten Edwin H. Lemares massiva transkriptionsarbete. I det här arbetet undersöks hur Lemares transkriptionskonst är utformad och hur hans metoder kan appliceras på eget transkriptionsarbete. Lemares och andras transkriptioner jämförs med Wagners originalpartitur för att metoder och verktyg ska kunna observeras. Dessa appliceras på en egen transkription, vars skapelseprocess redogörs för. Detta arbete visar att Lemare använder sig av en metodisk teknik som i stora drag grundar sig på det klangliga resultatets slutliga kvalitet. I det här arbetet beskrivs denna teknik relativt ingående, för att om möjligt bidra med insikter och metoder för den av transkriptioner intresserade. Nyckelord: Wagner, Lemare, transkription, orgel, Parsifal, orkester, Gesamtkunstwerk, opera, musikdrama Innehållsförteckning 1 Inledning och bakgrund ..................................................................................................... 1 5.1 Richard Wagners musik ............................................................................................. 1 5.2 Om Wagner-transkription .......................................................................................... 2 5.3 Om Edwin Lemare ..................................................................................................... 3 5.4 Syfte ........................................................................................................................... 3 2 Metod ............................................................................................................................... 4 2.1 Val av stycke .............................................................................................................. 5 2.2 Studier i transkription ................................................................................................. 5 2.3 Transkriptionen .......................................................................................................... 6 3 Resultat ............................................................................................................................. 7 3.1 Val av stycke .............................................................................................................. 7 3.2 Studier i transkription ................................................................................................. 8 3.3 Transkriptionen ........................................................................................................ 11 3.4 Sammanfattning ....................................................................................................... 15 4 Diskussion ........................................................................................................................ 16 Referenser ................................................................................................................................. 19 Bilaga 1 – Morgenpracht - Transkription .................................................................................... 1 Inledning och bakgrund Att transkribera är aldrig att komponera, däremot är det att skapa något nytt. Att transkribera är som Herbert F. Ellingford beskriver i sin bok The Art of Transcribing for the Organ: ... arranging a musical composition for a combination of instruments or voices other than that for which it was originally composed ...1 Den som väljer att transkribera bör ha avsikten att göra en så god återgivning av originalet som är möjligt på det instrument som transkriptionen är avsedd för – annars skulle man snarare valt att komponera. Ellingford skriver dock vidare: ”Try to reproduce the spirit of the score – not the letter.”2 För orgelinstrumentet finns ett stort bibliotek transkriptioner. Bland all den musik som lämpat sig för en överföring till orgel, har Richard Wagners musik fått en särskild plats i och med organisten Edwin Henry Lemare. I det här arbetet beskrivs den process som utgör tillkomsten av en transkription från orkesterpartitur till orgelnot. Stycket som valts för transkribering är ett parti ur första akten av Richard Wagners sista stora musikdrama Parsifal, fullbordat 1882.3 Det valda parti har inget givet namn av tonsättaren själv. Den kommer här att kallas Morgenpracht (Morgonprakt), ett uttryck hämtat ur sångpartiet, och används för att transkriptionen överhuvudtaget ska kunna namnges. För att göra en rättvis, och på praxis och god transkriptionstradition grundad transkription, söker jag mig till redan existerande transkriptioner av Wagner-musik. Jag djupdyker i verk av den mest välkända personen inom Wagner-transkriptionskonsten, nämligen Edwin Henry Lemare (1865–1934), för att studera hur man kan gå till väga för att göra en transkription. 1.1 Richard Wagners musik När det kommer till Richard Wagners musik som mestadels består av operor eller musikdramer, står man inför ett partitur som består av ett flöde av musik. Traditionella former med recitativ och arior är uteslutna, framför allt i de senare verken. I verk som Parsifal, 1 Ellingford, 1922, s. vi 2 Ellingford, 1922, s. 3 3 Schwarm, 2014 1 Niebelungens Ring och Mästersångarna från Nürnberg pågår ett ständigt flöde av recitativartade melodier, beledsagade av en ytterst komplex harmonik. Detta är en del av ett koncept som Wagner själv benämnde ”Gesamtkunstwerk” – en konstform vari alla konstformer blir en sammanblandad enhet. Bildkonst (sceneri), teater, musik och poesi bildar en syntes. I ett sådant verk underkastas musiken dramat och får på så vis ett mindre egenvärde.4 I Folke H. Törnbloms omfattande bok Wagner5, beskrivs Wagners idéer sålunda: Kardinalfelet i den gamla operan ansåg Wagner vara, att ett uttrycksmedel, musiken, gjorts till ändamål, medan det verkliga ändamålet, dramat, degraderades till medel.6 Wagner tyckte även, enligt Törnblom, att den klassiska arian är ”den mest ofruktbara av alla former.”7 I och med denna något annorlunda och visionära konstform, allkonstverket – även av Wagner kallat ”das Kunstwerk der Zukunft [framtidens konstverk]”8 – uppkommer utmaningar då man vill hantera material ur ett sådant verk för uppförande, arrangemang eller transkription. Hur framför man delar ur en opera, när den inte ens har delar, utan är en enda lång ”ord-tonmelodi”9? 1.2 Om Wagner-transkription Förspel och orkestrala mellanspel och liknande verkar höra till de stycken som ofta transkriberas. Exempel på detta är förstås Edwin Lemares transkriptioner av ett stort antal av Richard Wagners orkestrala verk. Till dessa hör exempelvis ouvertyren till Die Meistersinger, förspel till första och tredje akterna ur både Parsifal och Lohengrin och Valkyrieritten. Det finns även transkriptioner av episoder som innehåller sångstämma, ibland tagna mitt ur en akt. Ett exempel är A. Herbert Brewers orgelversion av Walthers Preislied ur Die Meistersinger von Nürnberg.10 Ett annat är Edwin Lemares orgelversion av Karfreitagszauber ur Parsifal, ursprungligen ett stort parti där mästerlig orkestrering varvas med sångpartier som delas mellan två sångare. Richard Wagner själv gjorde en egen orkesterversion av stycket, för konsertant uppförande.11 4 Cook, 1998 5 Törnblom, 1942 6 Törnblom, 1942, s. 81 7 Ibid, s. 81 8 Ibid, s. 79 9 Ibid, s. 84 10 Brewer, 1912 11 Wagner, 1884 2 1.3 Om Edwin Lemare Edwin Lemare (1865–1934), den brittisk-amerikanske virtuose organisten och tonsättaren, framförallt känd för sina transkriptioner, fullbordade hela 23 transkriptioner av Wagner-verk. Nästa kompositör på listan över Lemares transkriptioner, är Antonin Dvorak med 12 kompositioner.12 Richard Wagners verk stod med andra ord klart i centrum för Lemares transkriptionsproduktion. Lemare ska ha kommit i kontakt med Wagners musik genom att under sin studietid ha hört uppföranden av Wagners musikdramer, och genom besök i Bayreuth13, Wagnerkonstens hemvist med sin berömda teaterbyggnad ”Festspielhaus” som Wagner låtit uppföra för uruppförandet av Ringen under 1870-talet.14 Sverker Jullander, organist och professor vid Luleå tekniska universitet samt Göteborgs universitet, skriver i sin avhandling Transcription as the Performer’s Strategic Tool: The Case of Edwin Lemare and the Organ15: In 1894, he visited Bayreuth, where he became fascinated with the voluminous, organ-like depth of the orchestral sound, caused by a combination of Wagner’s instrumentation and the special acoustic qualities of the Festspielhaus.16 Det är alltså möjligt att Lemare såg en särskild orgelmässig kvalitet i Wagners musik och klangideal vid sitt besök i Bayreuth, och därför lade stor vikt vid att transkribera hans verk. Lemares relation till Wagners sista verk tycks ha varit särskilt intimt, då han fick tillstånd av Wagners änka Cosima att uppföra första akten av Parsifal med orgel och sångare i St Margaret’s Church.17 Han ska ha spelat direkt ur orkesterpartituret, vilket tydligt visar på hans unika förmågor som organist och musiker.18 1.4 Syfte Syftet med detta arbete är att fördjupa mina färdigheter i orgeltranskription, samt att möjligen bidra till metodutveckling inom transkriptionskonsten, med utgångspunkt i Edwin Lemares Wagner-transkriptioner. Vidare är arbetet inriktat på att undersöka och
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