{"id":3471,"date":"2024-12-12T09:54:30","date_gmt":"2024-12-12T09:54:30","guid":{"rendered":"http:\/\/meumon.synology.me\/museu\/?p=3471"},"modified":"2025-03-25T09:36:08","modified_gmt":"2025-03-25T09:36:08","slug":"schonberg-arnold","status":"publish","type":"post","link":"http:\/\/meumon.synology.me\/museu\/schonberg-arnold\/","title":{"rendered":"Sch\u00f6nberg, Arnold. 1874-1951"},"content":{"rendered":"

M\u00fasica<\/a>\u00a0 \u00a0Compositors<\/a><\/p>\n

Romanticisme 1898-1908<\/a>\u00a0 \u00a0Expressionisme 1909-1920\u00a0<\/a> \u00a0 Serialisme 1921-1933\u00a0<\/a> \u00a0 \u00a0USA 1934-1951<\/a><\/p>\n

\n

Joventut i obres de romanticisme tard\u00e0 1898-1908<\/h2>\n

Neix el 1874 en una fam\u00edlia jueva Ashkenazy a la Obere Donaustra\u00dfe 5 del districte de Leopoldstadt a Viena. El pare, d’origen hongar\u00e8s, tenia una botiga de sabates, la mare, procedent de Praga, professora de piano. Quan va morir el pare va haver de deixar els estudis i treballar d’administratiu a un banc, dedicant-se a la m\u00fasica i la filosofia els vespres.
\nVa ser pr\u00e0cticament autodidacta, rebent nom\u00e9s classes de contrapunt d’Alexander Zemlinsky que dirigia una orquestra d’aficionats.<\/p>\n

1897<\/strong>: Quartet en D<\/a>, que ser\u00e0 acceptat per ser interpretat. Zemlinksy en mostrar\u00e0 un esborrany a Barhms, a qui S admirava.<\/p>\n

El 1898 es converteix al luteranisme. Sobreviu dirigint corals i orquestrant operetes [i si aquest ofici li va servir per aprendre?] per\u00f2 ja comen\u00e7a a abandonar l’harmonia i el 1908 deixar\u00e0 la tonalitat. Quan s’interpreten en p\u00fablic les seves primeres obres el p\u00fablic reacciona malament.<\/p>\n

1898<\/strong>: Zwei ges\u00e4nge Op.1<\/a><\/p>\n

1899<\/strong>: 4 Lieder, op. 2<\/a> , 6 Lieder, op. 3<\/a>, Verkl\u00e4rte Nacht<\/strong><\/a> op.4., inicialment rebutjada.<\/p>\n

El 1901 es casa amb Mathilde, la germana de Zemlinsky, amb qui tindr\u00e0 dos fills. Aniran a viure a Berlin on viuen com poden ajudats per Richard Strauss. El 1903 tornen a Viena. Es guanyar\u00e0 la vida donant classe d’harmonia i contrapunt, el 1904 Anton Webern i Alban Berg seran deixebles seus.<\/p>\n

1902<\/strong>: Pelleas und Melisande<\/a>, op. 5. A partir dde l’obra de teatre simbolista de Maurice Maeterlinck (1893), que va ser apreciada per Strindberg i Rilke i que tamb\u00e9 va inspirar Debussy, Faur\u00e9, Jean Sibelius i and Mel Bonis. M\u00e9lisande [reina?] ha escapat d’una matrimoni infeli\u00e7 i ha perdut la corona en un rierol. Golaud, net del rei Ark\u00ebl, la troba i es casen. Per\u00f2 al cap d’un temps M\u00e9lisande s’enamora del germ\u00e0 de Golaud, P\u00e9lleas. Sospitant, els fa espirar pel seu fill i els descobreix besant-se. Mata P\u00e9lleas i fereix M\u00e9lisande, que morir\u00e0 al cap de poc despr\u00e9s de donar llum a una nena molt petita. No s’indica l’\u00e8poca, tret corrent dels drames simbolistes.<\/p>\n

1903<\/strong>: 8 Lieder per a soprano<\/a>, op. 6.<\/p>\n

1903<\/strong>: Gurrelieder<\/a> (orquestrat el 1910). Basat en un cicle de poemes de l’escriptor dan\u00e8s Jacobsen sobre una llegenda medieval que canta l’amor del rei Waldemar amb la seva amant Tove. La reina Hedwig la far\u00e0 matar, per gelosia. Waldemar blasfema maleint D\u00e9u per haver perm\u00e8s aquesta trag\u00e8dia.\u00a0 Torment espiritual i mort. Al final Waldewar s’aixecaran de les tombes, en una meva de renovaci\u00f3 c\u00f2smica.<\/p>\n

1904<\/strong>: Quartet de corda no. 1<\/a>, re menor, op. 7, 6 Lieder amb orquestra, op. 8<\/a> . [recorda Mahler]<\/p>\n

1906<\/strong>: Simfonia de cambra n\u00fam. 1<\/a>, op. 9. [op.10 1908, op.11 1909] 2 Balladen, op. 12<\/a>.<\/p>\n

1907<\/strong>:\u00a0 Friede auf Erden, op. 13<\/a>.<\/p>\n

Richard Strauss i Mahler reconeixen el seu talent. El darrer li donar\u00e0 suport. S d’entrada no era entusiasta de Mahler, per\u00f2 despr\u00e9s de la tercera simfonia el venerar\u00e0.<\/p>\n

\n

Expressionisme 1908-1920<\/h2>\n

Amb les classes amb prou feines sobreviu. Mahler l’ajudar\u00e0 a pagar el lloguer i li seguir\u00e0 donant suport p\u00fablicament, quan s’executen les seves primeres obres plenes de disson\u00e0ncies, tot i confessar que no l’acaba d’entendre .<\/p>\n

Coneix els pintors Oskar Kokoschka i Gerstl. Es posa a pintar seriosament. La seva dona t\u00e9 una aventura amb Gerstl i fuig amb ell per\u00f2 al cap d’uns mesos torna. Gerstl es suicida. Fa una exposici\u00f3 de pintura. Coneix Kandinsky amb qui mantindr\u00e0 una amistat tota la vida.
\n(G) Primera crisi. En pintura li mancava t\u00e8cnica, per\u00f2 sentia que seguia la seva consci\u00e8ncia (tal com pretenien els expressionistes), de manera m\u00e9s espont\u00e0nia que amb la m\u00fasica.<\/p>\n

1908<\/strong>:\u00a02 Lieder , op. 14<\/a>. 15 Gedichte aus Das Buch der h\u00e4ngenden G\u00e4rten<\/a> de Stefan George, op. 15. Quartet de Corda no. 2<\/a>, en Fa sostingut menor (amb Soprano), op. 10.<\/p>\n

(G) A les 15 can\u00e7ons de Das Buch der h\u00e4ngenden G\u00e4rten, per primer cop hi ha disson\u00e0ncia que no serveixen per resoldre a un altre acord. I aix\u00ed desapareix l’harmonia tonal.\u00a0 Ni el m\u00fasic, ni el poeta busquen simpatia, o evocar un \u00e8xtasi.
\nQuartet no.2. “This quartet consists of four thematically related movements which successively reflect the transformation of his style, but do not further it… The incorporation in the trio of the scherzo of the popular melody O du lieber Augustin, the words of which end with the tag \u2018Alles ist hin\u2019, would fit this interpretation [la crisi de la fuga de la seva dona], as would the George poems set for soprano voice in the two later movements, the first a prayer for divine solace after earthly struggles, the second a vision of the spirit\u2019s journey to ethereal realms. Although Schoenberg\u2019s choice of subject for his next vocal works was to be directed towards human insights, he evidently recognized already that his ultimate aim was religious.”<\/p>\n

1909<\/strong>: 3 St\u00fccke per a Piano<\/a>, op. 11.\u00a0 F\u00fcnf Orchesterst\u00fccke<\/a>, op. 16. Erwartung per a Soprano i orquestra, op. 17<\/a>.<\/p>\n

“These made possible swifter transformations and more abrupt contrasts than music had hitherto known. Moreover dissonance\u2019s new independence permitted, at least in an orchestral context, unprecedented simultaneous contrasts. It is not only novelty of expression in itself but the power to bring seemingly irreconcilable elements into relation that gives the music its visionary quality, far beyond that of the painted \u2018visions\u2019.
\nFor a time Schoenberg believed that by following the dictates of expression he would be able to renounce motivic features as well as tonality. The last two pieces in opp.11 and 16 to be written, the final piece in each set, show the direction of his thinking. The orchestral piece centres on a continuously evolving melodic line with no clear expository stage; the piano piece relies for coherence as much on dynamics and texture as on pattern. From this point two possibilities suggested themselves. One was to devise ideas that were complete in themselves and required no development. This held no lasting attraction for a composer of Schoenberg\u2019s imaginative fecundity. He composed two tiny pieces for chamber ensemble and part of a third early in 1910, and the next year six equally minute piano pieces which he published as op.19; thereafter he left this line of thought to Webern. For Schoenberg the way forward lay in the construction of large forms on the basis of a text. This allowed him scope to build on the experience of opp.11 and 16. Immediately after the instrumental pieces he composed in the astonishingly short time of 17 days the half-hour monodrama Erwartung.”
\n(Erwartung i Gl\u00fcckliche Hand estan influides per l’obra d’Otto Weininger Geschlecht und Charakter, que identifica el tret femen\u00ed com a passiu, mares o prostitutes, i el mascul\u00ed com a inclinat al geni. L’obra va tenir un impacte en Wittgenstein.)<\/p>\n

Erwartung: “The single character in this piece is an unnamed woman. Full of fear and apprehension, she is wandering through a forest at night in search of her lover. The only dramatic event, her discovery of his murdered body, occurs at a fairly early stage; the rest of her monologue passes from recollection of their love, through jealousy to a sense of reconciliation born of exhaustion. As the composer remarked, the whole drama may be understood as a nightmare, but the point is immaterial because the reality explored is purely psychological. There is no realistic time scale: past and present co-exist and merge in the woman\u2019s mind as terror, desire, jealousy and tenderness cut across one another in confused association. Traditional tonal order could scarcely have met the demands of such a subject: Schoenberg\u2019s extraordinary score depends to a considerable extent upon a rationality beyond conscious control. True, various unifying factors are observable, such as fixed pitch elements that turn upon a vestigial D minor (his favourite key throughout his life, whether in tonal, freely pantonal or serial composition) and a number of motivic figures that recur time and again, especially at the beginning of phrases. But since these are short, widely scattered and quickly submerged in the stream of continuous development their contribution to coherence at surface level is small; the music can scarcely be called athematic, but it goes further in that direction than any other work of Schoenberg. The monologue falls into several lengthy paragraphs which provide the clearest structural feature, but even here divisions are blurred and larger changes of mood disrupted by innumerable contradictory emotions. Beyond a certain point nothing can impinge upon the dreamlike continuum of musical images.”
\nThe musicologist Charles Rosen has said that Erwartung, along with Berg’s Wozzeck and Stravinsky’s The Rite of Spring, is among the “impregnable” “great monuments of modernism.<\/p>\n

El 1910 es dedica a escriure el tractat\u00a0Harmonielehre<\/strong> i a orquestrar els Gurre-Lieder. Fracassa a l’hora d’obtenir una pla\u00e7a a l’Akademie f\u00fcr Musik i el 1911 se’n va a Berlin. Amb dificultats al comen\u00e7ament, comen\u00e7a a ser conegut.<\/p>\n

1910<\/strong>: Die gl\u00fcckliche Hand per a cor i orquestra<\/a>, op. 18.<\/p>\n

“The main action symbolizes this situation. The man loves a woman who deserts him for a rival, but seems to return to him. In the mistaken belief that he has won her he finds strength to withstand his enemies and inspiration for artistic creation. His resulting work is symbolized by a trinket; it excites envy, but he recognizes it as meretricious. The woman plays him false and the cycle is complete. Although the style of the music is close to that of Erwartung, Schoenberg reintroduces features that he had temporarily set aside, to meet the more varied action and the wider implications of the text. Clear formal divisions reassert themselves: recapitulatory reminiscence plays an important part in the later stages of the action and there are correspondences between the flanking choral scenes, where exact imitation reappears. There is also a new element, barely hinted at in the works of 1909: the use of parody to characterize such situations as the metal working and the woman\u2019s fickleness.”<\/p>\n

1911<\/strong>: Sechs Kleine Klavierst\u00fccke<\/a>, op. 19. Herzgew\u00e4chse per a Soprano<\/a>, op. 20.<\/p>\n

1912<\/strong>: Pierrot lunaire<\/a>, op. 21<\/p>\n

Basat en poemes d’Albert Giraud. (WK)Pierrot lunaire consists of three groups of seven poems. In the first group, Pierrot sings of love, sex and religion; in the second, of violence, crime, and blasphemy; and in the third of his return home to Bergamo, with his past haunting him. Schoenberg, who was fascinated by\u00a0numerology, also makes great use of seven-note\u00a0motifs\u00a0throughout the work, while the ensemble (with\u00a0conductor) comprises seven people. The piece is his opus 21, contains 21 poems, and was begun on March 12, 1912. Other key numbers in the work are 3 and 13: each poem consists of 13 lines (two four-line verses followed by a five-line verse), while the first line of each poem occurs three times (being repeated as lines 7 and 13).
\n(G) Parody assumes a very important role in Pierrot lunaire. This work, composed in 1912, before the framing choral scenes of Die gl\u00fcckliche Hand, consists of 21 poems set for speaker and chamber ensemble. Schoenberg had employed melodrama before in the summer wind narrative of the Gurre-Lieder. His highly stylized use of the speaking voice, for which he notated relative pitches as well as exact rhythms, proved an ideal vehicle for the Pierrot settings, which were conceived in what he described as a light, ironic\u2013satirical tone. The rather modish verses, by turns grotesque, macabre or consciously sentimental, provide the occasion for presenting, with the detachment that the protagonist in Die gl\u00fcckliche Hand failed to achieve, human activity as a shadow play in which menace and absurdity are on a level. The focus shifts at random, as in a dream, between the lunatic activities of the clown, impersonal scenes, the poet in the first person and the self-absorbed artist, who is not spared. Within his new style Schoenberg parodies the characteristics of a great range of genre pieces, very often retaining the ghost of their formal layout as well. In music the lines dividing ironic from direct reference are often hard to detect. The peculiar fascination of Pierrot lunaire lies in this ambiguity. The nightmare imagery of some of the poems might scarcely be admissible without ironic distancing, yet the music often strikes with authentic horror. Mockery constantly shades into good humour, exaggerated pathos into the genuinely touching. A decade later Schoenberg was to rediscover his sympathy for the world that he was now determined to leave behind him. For the moment, however, he was set on other things.<\/p>\n