The Music of Arnold Schoenberg, Vol. 4
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CD Details
Composer: Arnold SchoenbergPerformer: Helen Vanni
Performer: Glenn Gould
Performer: Ellen Faull
Edition: Music CD
Format: Import
CD Release Date: 2008-02-04
Music Label: Sony Bmg Europe
Soundtracks:
Music CD 1
- Songs (2) for voice & piano, Op. 1: 1. Dank
- Songs (2) for voice & piano, Op. 1: 2. Abschied
- Songs (4) for voice & piano, Op. 2: 1. Erwartung
- Songs (4) for voice & piano, Op. 2: 2. Schenk mir deinn goldenen Kamm
- Songs (4) for voice & piano, Op. 2: 3. Erhebung
- Songs (4) for voice & piano, Op. 2: 4. Waldsonne
- The Book of the Hanging Gardens, cycle of songs (15) for voice & piano, Op. 15: 1. Unterm Schutz von dichten Bl?ttergr?nden
- The Book of the Hanging Gardens, cycle of songs (15) for voice & piano, Op. 15: 2. Hain in diesen Paradiesen
- The Book of the Hanging Gardens, cycle of songs (15) for voice & piano, Op. 15: 3. Als Neuling trat ich ein in dein Gehege
- The Book of the Hanging Gardens, cycle of songs (15) for voice & piano, Op. 15: 4. Da meine Lippen reglos sind und brennen
- The Book of the Hanging Gardens, cycle of songs (15) for voice & piano, Op. 15: 5. Saget mir, auf welchem Pfade
- The Book of the Hanging Gardens, cycle of songs (15) for voice & piano, Op. 15: 6. Jedem Werke bin ich f?rder tot
- The Book of the Hanging Gardens, cycle of songs (15) for voice & piano, Op. 15: 7. Angst und Hoffen wechselnd mich beklemmen
- The Book of the Hanging Gardens, cycle of songs (15) for voice & piano, Op. 15: 8. Wenn ich heut nicht deinen Leib ber?hre
- The Book of the Hanging Gardens, cycle of songs (15) for voice & piano, Op. 15: 9. Streng ist uns das Gl?ck und spr?de
- The Book of the Hanging Gardens, cycle of songs (15) for voice & piano, Op. 15: 10. Das sch?ne Beet betracht ich mir im Harren
- The Book of the Hanging Gardens, cycle of songs (15) for voice & piano, Op. 15: 11. Als wir hinter dem bebl?mten Tore
- The Book of the Hanging Gardens, cycle of songs (15) for voice & piano, Op. 15: 12. Wenn sich bei heiliger Ruh in tiefen Matten
- The Book of the Hanging Gardens, cycle of songs (15) for voice & piano, Op. 15: 13. Du lehnest wider eine Silberweide
- The Book of the Hanging Gardens, cycle of songs (15) for voice & piano, Op. 15: 14. Sprich nicht immer von dem Laub
- The Book of the Hanging Gardens, cycle of songs (15) for voice & piano, Op. 15: 15. Wir bev?lkerten die abend-d?stern Lauben
- Pieces (3) for piano, Op. 11: 1. M??ige Viertel
- Pieces (3) for piano, Op. 11: 2. M??ige Achtel
- Pieces (3) for piano, Op. 11: 3. Bewegte Achtel
- Pieces (5) for piano, Op. 23: 1. Sehr langsam
- Pieces (5) for piano, Op. 23: 2. Sehr rasch
- Pieces (5) for piano, Op. 23: 3. Langsam
- Pieces (5) for piano, Op. 23: 4. Schwungvoll. M??ige Viertel
- Pieces (5) for piano, Op. 23: 5. Walzer
- Little Pieces (6) for piano, Op. 19: 1. Leicht, zart
- Little Pieces (6) for piano, Op. 19: 2. Langsam
- Little Pieces (6) for piano, Op. 19: 3. Sehr langsam
- Little Pieces (6) for piano, Op. 19: 4. Rasch, aber leicht
- Little Pieces (6) for piano, Op. 19: 5. Etwas rasch
- Little Pieces (6) for piano, Op. 19: 6. Sehr langsam
- Suite for Piano, Op. 25: Pr?ludium. Rasch
- Suite for Piano, Op. 25: Gavotte. Etwas langsam nicht hastig - Musette. Rascher - Gavotte da capo
- Suite for Piano, Op. 25: Intermezzo
- Suite for Piano, Op. 25: Menuett. Moderato - Trio - Menuett da capo
- Suite for Piano, Op. 25: Gigue. Rasch
- Pieces (2) for piano, Op. 33: M??ige Viertel, Op. 33a
- Pieces (2) for piano, Op. 33: M??ig langsam, Op. 33b
Music reviews of The Music of Arnold Schoenberg, Vol. 4
Music Review: Sch?nberg: Songs and Dances...
Rating: 5 Stars
.
Highlights of this two disc set include the art-nouveau songs (Opp. 1-2), the expressionistic Piano Pieces (Op. 11), and the neo-baroque Suite for Piano (Op. 25).
The striking thing about Sch?nberg's songs is their immediate mnemonic quality. That is to say, the tunes are really catchy and easy to remember. This too may be said of the lieder of Schubert, Wolf, and possibly Mahler; but who remembers any lieder of Brahms or Strauss--not to mention Reger or Pfitzner? Perhaps this is where Sch?nberg's essentially Viennese characteristic is apparent.
The piano writing in Sch?nberg's songs is quite poised and idiomatic in the contemporaneous vein of late-Brahms, Debussy, and Skryabin, but with Sch?nberg's distinctive verve. Chromatic harmony is extended in the post-Wagnerian manner, but the melodies remain tonal (at least until Opp. 14-15 of 1908).
As one may imagine with Glenn Gould, the piano work in these songs is given the dominant voice. GG chose vocalists who were adequate to the art, but compliant with his wishes for the realization. The recordings of Opp. 1-2 were made in 1964-65, and when compared with the Kontrapunkt issue of 1989, the timings are pretty well "in the ballpark." Schoenberg: Complete Lieder
(The Bryn-Julson/Oppens issue of 1991 seems a little brisk.)
Cabaret Songs / Book of Hanging Gardens
The piano writing of Op. 1 (1898) is very heavy and Brahmsian but with much rhythmic and contrapuntal interest. Written specifically for a man's low voice, betimes the late-Romanticism veers dangerously close to bathos; yet, the songs remain immensely satisfying.
Two Songs for baritone and piano:
1) "Thanks" ~:06
2) "Parting" ~:09
The piano work of Op. 2 (1899) is much lighter, perhaps in keeping with the exquisite verse of Richard Dehmel. (These songs are gender-neutral and theoretically could be sung by a voice of any tessitura; and while usually sung by a soprano, Fischer-Dieskau renders an unbelievably fine reading.)
Sch?nberg & Berg: Lieder
Indeed, No. 1 ("Erwartung") is an extremely beautiful and erotic song which has justly become nearly famous for its lilt and tunefulness. No. 4 ("Waldsonne") bears a marked semblance to several other of Sch?nberg's contemporaneous lieder which became Works Without Opus Number (WoO): "M?dchenlied"; "Nicht doch!"; "Waldesnacht"; "M?dchenfruhling"--(some of these to lyrics by Dehmel as well).
Four Songs for singing-voice and piano:
1) "Anticipation" ~:04
2) "Offer Me Your Golden Comb" ~:04
3) "Exaltation" ~:01
4) "Forest Sun" ~:03
Immediately after completion of his truly great song-cycle Das Buch der H?ngenden Garten (Op.15 [1908])--which yet barely retains key-centers, Sch?nberg moved on to his totally-chromatic, utterly free-pantonal Drei Klavierst?cke (Op. 11) of 1909. Quoting Malcolm MacDonald,
"The experience gained in the accompaniments of [Op. 15] had liberated Sch?nberg from any inhibitions: the new harmonic vocabulary dictated an entirely new kind of pianism."
In "the keyboard layout and emotional content of Op. 11 we still discern the influence of late Brahms. The deep basses, massive chords, syncopations and cross-rythms--these are all Brahmsian features, but employed within a totally-chromatic context their effect is quite different. Brahms' detailed motivic working is extended by Sch?nberg to virtually every figure."
Schoenberg (Master Musicians Series)
Gould was especially enthusiastic about No. 1, and his reading is a virtual realization of MacDonald's description.
Likewise, GG was equally enthusiastic about the serial-Bachian neo-baroque Suite for Piano Op. 25 (1923). Sch?nberg's first completely dodecaphonic work, the Suite of stylized dances is a wonderland through-the-looking glass homage to Old Sebastian, comprised of:
I. Prelude
II. Gavotte & Musette
III. Intermezzo
IV. Minuet & Trio
V. Gigue
.
French Suites Nos 1-4
Brahms: Lieder [Box Set]
Strauss: Lieder
Wolf: Italienisches Liederbuch
Schubert: Lieder
Schoenberg: Complete Songs for Voice and Piano, Vol. 2
.
General CDs
- Styles > Classical
- Chamber Music > General
- Featured Composers, A-Z > ( S ) > Schoenberg, Arnold
- Featured Performers, A-Z > ( G ) > Gould, Glenn
- Forms & Genres > Suites
- Historical Periods > Classical (c.1770-1830) > Forms & Genres > Chamber Music
- Modern, 20th, & 21st Century > General Modern
- Pop > Vocal Pop > General
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