In 1918, Arnold
Schoenberg and several colleagues, founded the Verein für musikalische
Privataufführungen
(Association for Private Musical Performances). This
organisation, born in the immediate aftermath of the First World War, was a
bold and largely successful attempt to enable composers to gain well-rehearsed
performances of works that may otherwise have gone unheard. In many cases they produced
arrangements of each other’s music to meet budget limitations.
Grove Music Online (entry for ‘Schoenberg’)
notes that ‘between February 1919 and the end of 1921, when inflation put an
end to the society’s activities, 353 performances of 154 works were given in
117 concerts.’ It was a sterling achievement.
A good example
of this scale of economy is the opening work by Arnold Schoenberg: the
Kammersymphonie, op.9. The Society was unable to afford the cost of hiring 15
players to present this work in its original ‘chamber’ form. So, Anton Webern
rescored it for a smaller ensemble: flute, clarinet, violin, cello and piano.
The Kammersymphonie was originally composed in 1906: as noted, it was devised
for 15 solo instruments and conductor. In 1923 Schoenberg arranged it for full
orchestra. It was further revised in the United States during 1935.
I have always
enjoyed Schoenberg’s Kammersymphonie in its orchestral adaptation. I think that
it is a splendid entry point to the complex and challenging music of the
composer.
Arguments can,
and have been made, suggesting that Webern’s transcription for five soloists is
more a re-presentation of the work rather than simply an arrangement. However, I
enjoyed this ‘reduction’ and realise that, much as I appreciate the original,
the clarity of texture and basic atmosphere of the work is apparent in Webern’s
version. The performance by the Linos Ensemble is satisfying at every bar.
Finally, it is
possible to spend time analysing the Wagnerian/Tristanesque element of this
work, and to ponder the nods towards Schoenberg’s later atonality. Robert Craft
once wisely advised that listeners concentrate on the Kammersymphonie as it
exists, and not attempt to muse about ‘where the composer once was and where he
is going.’
Alexander
Zemlinsky Sechs Gesänge were
originally composed between 1910 and 1913 as songs for soloist and piano. They
are based on texts from the Symbolist poet Maurice Maeterlinck’s (1862-1949)
book Fifteen Songs (1906). Sechs Gesänge follow a trajectory
between the rich Romantic sound of Richard Wagner and the emerging modernism of
Arnold Schoenberg. If anything, these gorgeous songs lie nearer to Wagner’s Wesendonk Lieder and the Four Last Songs of Richard Strauss. They
are generally regarded as being one of the composer’s masterpieces. The themes of the poems are the premonition
of death and, surprisingly, a longing for death. Zemlinsky orchestrated these songs in 1924.
The chamber
version devised by Erwin Stein and Andreas Tarkmann recorded on this CD is
excellent. It may not have the lushness and interest of the orchestral incarnation
which is probably best-known. This is made up for by the lucidity of the parts
in the accompaniment and their detailed interaction with the soloist.
I was seriously
impressed with the wonderful singing by mezzo-soprano Zoryana Kushpler.
I do prefer the orchestral version
of Ferruccio Busoni’s melancholic Berceuse Élégiaque
op.42 which was composed in 1909 based on a piano piece from two years earlier.
That said, Erwin Stein’s reworking of this music for the limited forces of a
chamber ensemble, including piano and harmonium is typically effective.
Busoni encountered considerable
personal tragedy around this time, losing both his mother and his father. The
‘programme’ for this heart-breakingly beautiful work is of ‘a man’s lullaby at
his mother’s coffin.’ I confess that I put this image out of my mind when
listening to this piece.
I find that Stein’s reworking is
just a little bit harsh on the ear: it does not always have the quiet sustained
magic of the orchestral version (or the original piano piece). This is
especially so with the penetrating woodwind (on this recording) sometimes providing
a discordant note.
The premiere of the orchestral Berceuse was given in New York on 21
February 1911, with Gustav Mahler conducting the New York Philharmonic. I
understand that it was the final concert that he conducted before his death.
I was a little disappointed at
the parsimonious duration of this CD. At 47 minutes it does suggest that the
Linos ensemble could have found another number or two from the 154-works
presented at the Association for Private Musical Performances concerts.
The liner notes, by Christian
Heindl, are comprehensive and are presented in German and English. It would
have been good to have included translations of Maeterlinck’s poems. Helpful
details are provided about Zoryana Kushpler and the ensemble.
All in all, this is an impressive
project. If I am honest, I will not be swayed away from the orchestral versions
of these pieces. On the other hand, this an important historical document which
present arrangements of works that were made for a social and economic reason: the
possibility of performance. Over and above this, as already noted, the reduced
forces of the chamber ensemble can reveal details and bring clarity to the
music that is denied to the denser originals.
Track Listings:
Arnold SCHOENBERG
(1874-1951) Kammersymphonie, no.1, op.9 (arranged for chamber orchestra by Anton WEBERN (1883-1945) (1906/1923)
Alexander ZEMLINSKY
(1871-1942) Sechs Gesänge, op.13 ‘Maeterlinck-Gesänge’ (arranged for voice and
chamber ensemble by Erwin STEIN (1885-1958)
nos. 2&5 (1910-14/1921); Andreas TARKMANN
(b.1956) nos.1, 3, 4 & 6) 1910-14/?)
Ferruccio BUSONI (1866-1924)
Berceuse Élégiaque, op.42 (arranged for chamber ensemble by Erwin STEIN) (1909/1921)
Zoryana Kushpler (mezzo-soprano); Linos Ensemble
Rec. Deutschlandfunk Köln, Kammermusiksaal October 2011
CAPRICCIO C5138
[47:50]
With thanks to MusicWeb International where this review was first published.
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