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CHAN 10285 X CHAN 10285 Cover.Qxd 14/9/06 11:33 Am Page 1 CHAN 10285 Cover.qxd 14/9/06 11:33 am Page 1 CHAN 10285 X CHAN 10285 BOOK.qxd 14/9/06 11:41 am Page 2 Arnold Schoenberg (1874–1951) Pelleas und Melisande, Op. 5* 43:20 Symphonic Poem for Orchestra after the Drama by Maurice Maeterlinck 1 Ein wenig bewegt – Zögernd – 11:18 2 Sehr rasch – 8:50 3 Langsam – 7:27 Lebrecht Music & ArtsLebrecht Photo Library 4 Sehr langsam 15:43 Piano Concerto, Op. 42† 20:21 5 I Andante – 4:31 6 II Molto allegro – 2:39 7 III Adagio – 6:40 8 IV A tempo giocoso (moderato) 6:29 TT 63:45 Amalie Malling piano† Scottish National Orchestra* Edwin Paling leader Matthias Bamert* Danish National Symphony Orchestra/DR† Michael Schønwandt† Arnold Schoenberg, self-portrait, 1910 3 CHAN 10285 BOOK.qxd 14/9/06 11:41 am Page 4 Golaud encounters the strange waif-like girl, Piano Concerto, Op. 42 Schoenberg: Pelleas und Melisande/Piano Concerto Mélisande, whom he later takes for his bride. In October 1933 Schoenberg, under The following exposition contains the increasing harassment from the Nazis, important motive of ‘Fate’ (a rising major embarked for America with his wife and baby Pelleas und Melisande, Op. 5 sonority; the strings are often divided into seventh and a falling major triad) and themes daughter. He would never again return to It was Richard Strauss who suggested Maurice several desks and the wind produce massive associated with Golaud and Mélisande; later a Europe. Though he never entirely adjusted to Maeterlinck’s symbolic drama Pelléas et supporting harmonies, adding weight and subsidiary theme depicting Golaud’s his adopted country, which he regarded as a Mélisande as the basis for an opera to Arnold density to the elaborate scoring. When the half-brother Pelléas is heard. The concluding musical backwater, he attained a measure of Schoenberg in 1902 – apparently unaware composer conducted the first performance section conveys in music of great lyrical security as Professor at the University of that Debussy had already completed his opera in Vienna in 1905 the work met with a beauty Mélisande’s awakening love for Pelléas. California, while in time his Hollywood home on the same subject. In the event, Schoenberg mixed reception, but when it was played in The second part (‘Fountain scene’) is a (opposite that of Shirley Temple!) became a rejected the idea of an opera, choosing Berlin in 1911 the critic of the journal scherzo-like movement incorporating three meeting place for other European refugees, instead to write an extended symphonic poem Signale, Ludwig Karpath, was positively episodes: the loss of Mélisande’s wedding among them Thomas Mann. If America had based on Maeterlinck’s play. This, his first hostile, calling it ‘a fifty-minute-long protracted ring in the fountain, the scene between Pelléas virtually no impact on Schoenberg’s work for orchestra, was completed in 1903 wrong note’ – a strangely short-sighted and Mélisande at the castle window, and the compositions, several of his wartime works do and his pupil Alban Berg stated that he reaction to music whose post-Wagnerian descent of Golaud and Pelléas into the sinister reveal his reactions to events in Europe, most considered it a symphony in four linked lyricism gave little indication of the radical vaults of the castle; here Schoenberg obviously his 1942 setting of the Ode to movements, and indeed, the overall development through atonalism and later introduces a new orchestral device – glissandi Napoleon Bonaparte, Byron’s bitter, construction follows the symphonic pattern of dodecaphony that Schoenberg would soon for two trombones, adding a macabre touch impassioned condemnation of tyranny and sonata form first movement, scherzo, adagio follow. Pelleas und Melisande is a transitional to the music. The adagio is a poignant warfare. and finale. When he started work on Pelleas, work and although its roots are in late evocation of the parting of the lovers, and A more stoical response to contemporary Schoenberg had recently completed the first nineteenth-century romanticism and its basic here their themes are interwoven in a upheavals is contained in the piano concerto part of his vast cantata Gurrelieder, and tonality is D minor, its use of fourths in the movement of great beauty and intensity. The Schoenberg composed immediately after the the orchestra he was now writing for was counterpoint and the whole-tone harmonies final section portrays the death of Mélisande Ode. Though the work is in no real sense only marginally smaller than the enormous indicate the composer’s move towards in a deeply moving threnody recalling earlier ‘programme’ music, the composer wrote instrumental apparatus needed for atonalism. themes. Mélisande, having given birth to her down ‘a few explanatory phrases’ (which he Gurrelieder – quadruple woodwind, eighteen Schoenberg does not attempt to follow child, dies, grieving not only for Pelléas, slain never published) to characterise the four brass (including eight horns), two harps, six Maeterlinck’s drama in detail, neither is this by her jealous husband, Golaud, but also for sections, written to be played without a timpani (two players), a large array of ‘programme music’ in the Straussian sense, the misunderstanding that led to the final break: percussion and a specified string section of but each of the four sections portrays a mood tragedy. Life was so easy (Andante); suddenly hatred broke sixty-five players. These forces are deployed to or emotion. The first begins with an out (Molto allegro); a grave situation was created achieve the maximum orchestral colour and introduction (‘In the forest’); it is here that © John Nicole (Adagio); but life goes on (Giocoso). 4 5 CHAN 10285 BOOK.qxd 14/9/06 11:41 am Page 6 The references to Schoenberg’s life in pre-Nazi Though there is a degree of virtuoso Hans Leygraf at the Staatliche Hochschule für Guest Conductor and Garry Walker is Vienna and to the coming of the Second display, the piano part is essentially an Musik und Theater in Hanover and Georg Associate Conductor. The Orchestra gives more World War are self-evident. obbligato one, with the instrument accorded Vásárhelyi at the Jutland Academy of Music, than 130 performances each year in Scotland, When the Piano Concerto was premiered on pride of place in the dazzlingly inventive as well as with Alfred Brendel. A winner of appears regularly at the Edinburgh 6 February 1944, by Eduard Steuermann and orchestral texture. The opening Andante, with several prizes and scholarships, she has International Festival and the BBC Proms, and the NBC Symphony Orchestra under Leopold its relaxed, Viennese waltz lilt and subtle performed across Europe, North America has toured abroad through Austria, Croatia, Stokowski, the composer Virgil Thomson wrote rhythmic dislocations, is followed by a and in Japan and worked particularly closely Slovakia and Spain. It has recorded a varied in the New York Herald Tribune: ferocious Molto allegro characterised by with the soprano Henriette Bonde-Hansen, range of works, including film soundtracks The expression of the work is romantic, and obsessively reiterated rhythms and grotesque flautist Janne Thomsen, pianist Hans Pålsson, such as Titanic, Superman, Star Wars, Jaws uncommonly full of feeling, as is Schoenberg’s textures (garish, screeching high woodwind cellist Morten Zeuthen and the Esbjerg and Vertigo. way, and the best Viennese tradition. and percussion, eerily muted brass). The third Ensemble, among others. Her wide-ranging The Orchestra’s education programme And though the concerto is based on a section, Adagio, beginning with a sombre repertoire includes Kuhlau’s Piano Concerto, continues to develop musical talent and twelve-note series, announced at the outset polyphonic passage for orchestra alone, rises Op. 7 and Grieg’s Piano Concerto, Op. 16 appreciation by working with people of all (E flat, B flat, D, F, E, C, F sharp, G sharp, to the work’s most violent climax before the which she has recorded for Chandos with the ages and abilities throughout Scotland, and C sharp, A, B, G), it is far less forbidding, even tension is dissipated in a brief cadenza, Danish National Symphony Orchestra and has earned the Orchestra the Royal at first hearing, than many of Schoenberg’s preparing for the cheerful, almost catchy Michael Schønwandt. In 1981 Amalie Philharmonic Society’s prestigious Education serial compositions. Many of the tunes are theme of the finale (built on an inverted form Malling was appointed professor of piano at Award. The Royal Scottish National Orchestra distinctly singable, with frequent hints of of the basic twelve-note series). Here the the Royal Danish Music Academy in was recently awarded a Classic FM ‘Red F’ traditional harmony (the very opening, for gaiety is shot through with tenderness, regret Copenhagen. award for outstanding contribution to instance, suggests successively B flat major and a touch of Mahlerian parody. Schoenberg classical music in 2002, through its and C major/minor, and there are intermittent recalls both the concerto’s graceful opening Considered one of Europe’s leading symphony recording, performance, education and flirtations with C throughout); and the style of and the grave Adagio theme before a grand orchestras, the Royal Scottish National outreach work. piano writing, with its frequent octave (and typically romantic) apotheosis of the Orchestra (formerly the Scottish National doublings, often looks back to the nineteenth opening melody. Orchestra) was formed in 1891 as the Scottish Matthias Bamert is Principal Conductor of the century, especially in the Brahmsian textures, Orchestra, and was awarded the Royal West Australian Symphony Orchestra and both rich and delicate, of the first section. The © Richard Wigmore Patronage in 1991. Many conductors have Associate Guest Conductor of the Royal formal structure, too, draws on traditional contributed to its success, including Karl Philharmonic Orchestra.
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