Arnold Schönberg - Erwartung | Tanja Ariane Baumgartner | Ingo Metzmacher | WDR Symphony Orchestra

Arnold Schönberg's Erwartung, monodrama in one act for soprano and orchestra op. 17, poem by Marie Pappenheim. Performed by the WDR Symphony Orchestra and mezzo-soprano Tanja Ariane Baumgartner under the direction of Ingo Metzmacher on January 13, 2024 at the Kölner Philharmonie.
Arnold Schönberg - Erwartung
00:00:00 - 1. Szene: Am Rande eines Waldes. Mondhelle Straßen und Felder;
der Wald hoch und dunkel
00:02:30 - 2. Szene: Tiefstes Dunkel, breiter Weg, hohe, dichte Bäume
00:05:08 - 3. Szene: Weg noch immer im Dunkel. Seitlich vom Wege ein
breiter heller Streifen
00:07:02 - 4. Szene: Mondbeschienene breite Straße, rechts aus dem
Wald kommend. Wiesen und Felder
Tanja Ariane Baumgartner, mezzo-soprano
WDR Symphony Orchestra
Ingo Metzmacher, conductor
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Introduction to the work:
At the same time that Schreker was struggling with his “Fernen Klang”, his colleague and acquaintance Arnold Schönberg, who was four years younger, invented a completely new, expressive form of music theater - with the monodrama “Erwartung”. In terms of content, this piece could be placed within the first act of Schreker's “Der ferne Klang”: In the plot there, after the composer has left the love of his life, she searches for him in vain, including in a moonlit forest. This is precisely the setting of “Erwartung”. And while Schreker has the scene described purely musically by the orchestra, Schönberg performs it scenically in his monodrama. A (nameless) woman wanders across “moonlit streets and fields; the forest high and dark” - according to the scene description. The libretto for “Erwartung” was also written within three weeks, but unlike Schreker, Schönberg himself is not the author. In the summer resort of 1909, he met 26-year-old Marie Pappenheim, a budding dermatologist who had published poems under a pseudonym - in Karl Kraus' legendary magazine “Die
Fackel”. Schönberg is impressed: “Why don't you write me an opera text, Miss!” And she does: “I wrote lying on the grass with a pencil on a large sheet of paper, had no copy, barely read through what I had written.” On the one hand, Pappenheim stylizes herself as a genius. On the other hand, this statement is aimed at the structure of her text: during the woman's search, her associations pour out in an expressionist stream of consciousness.
She shows hope and fear in an emotional rollercoaster. The nightmarish scene culminates in her feet colliding with a corpse ... that of her lover.
According to Schönberg, he dictated to his young librettist exactly how he imagined the plot. According to Pappenheim, there was not the slightest hint from Schönberg - “wouldn't have accepted it either”. But the result speaks for itself. Schönberg completed the composition in 1909, but due to the great difficulties of the free-tonal tonal language, it was not premiered until 1924 in Prague. Conductor: Schönberg's brother-in-law Alexander Zemlinsky.”
(Otto Hagedorn)

[@scottfortney9657]

This is one of those works you study at conservatory but don't really understand until you come back to it decades later. At least for me it was a treasure!

[@jmmontrapon175]

Belle interprétation d'un chef-d’œuvre de la musique.

[@WDRKlassik]

Merci 🤗

[@anigiuran109]

Thank you WDR Klassik ! 😊😊😊😊😊❤❤❤❤❤

[@WDRKlassik]

You're welcome! We're glad that you like it 🥰

[@julioantoniofonsecainclan4518]

👏👏👏👏👏👏👏👏

[@user-ub4xb2eg7t]

很有风格🦢🦢🌼🎺🏞️