Composer: Arnold Schoenberg
Performer: Sara Jakubiak
Orchestra: Bergen Philharmonic Orchestra
Conductor: Edward Gardner
Audio CD
Number of Discs: 1
Format: FLAC (tracks)
Label: Chandos
Size: 1.07 GB
Recovery: +3%
Scan: yes
Pelleas und Melisande, Op. 5
01. Die ein wenig bewegt
02. Ein wenig bewegter – Heftig
03. Sehr warm, in breiter Bewegung
04. Lebhaft – Etwas zuruckhaltend – Wieder lebhaft
05. Sehr rasch
06. Sehr langsam
07. Sehr langsam, gedehnt.
08. Langsam
09. Ein wenig bewegter – Etwas bewegter
10. Viel rascher; beschleunigend
11. Sehr langsam – Etwas langsamer
12. In gehender Bewegung
13. Breit – Langsam – Nach und nach wieder ins Tempo
Erwartung, Op. 17
14. Scene 1 – Hier himein?
15. Scene 2 – Ach! Nur der Mond
16. Scene 3 – Ash! Nur der Mond
Scene 4
17. Er ist auch nicht
18. Das Mondlicht
19. Es ist noch da
20. Oh, es ist heller Tag
21. Nein, das ist doch
22. Du siehst wieder dort
23. Oh! Nicht einmal
24. Liebster, Liebster
Written only six years apart, these two works share a common narrative of frustrated love, and the concept of the forest as a metaphor for the subconscious mind. Musically they are wildly different, however; Pelleas, which Schoenberg wrote in his late twenties, is the epitome of his late romantic style, indebted to Richard Strauss. Erwartung (his first work for the stage) was written after his conversion to atonality. Maurice Maeterlinck’s play Pelleas et Melisande fired the imaginations of several of the greatest composers of the time. Debussy began writing his opera almost immediately after its publication in 1892, and within a decade or so Faure and Sibelius had created elaborate incidental scores for different stage productions of the play. Schoenberg composed his tone poem in 1902 – 03, for a large-scale (Straussian) orchestra. Schoenberg seems to have put himself into a state of free association to write Erwartung, which he completed in just seventeen days in August 1909. ‘In Erwartung, the aim is to represent in slow motion everything that occurs during a single second of maximum spiritual excitement, stretching it out to half an hour’, he wrote. Not only the first solo opera, this is perhaps also the first cinematic one.