Archive for Arnold Schoenberg

Breaking Free

Posted in Art, Music with tags , , , , , , on January 6, 2017 by telescoper

I’ve been enjoy a series of fascinating programmes about music from the Second Viennese School (chiefly Arnold Schoenberg, Alban Berg and Anton Webern) on BBC Radio 3 this week gathered under the umbrella title of Breaking Free. In the period from roughly 1903 to 1925 these composers finally abandoned the traditional forms of tonality that late Romantic composers such as Gustav Mahler had struggled with in their later work. Aside from its obvious emotional intensity, one of the reasons I find music from this period absolutely absorbing because it was written in a period of highly turbulent transition; you get such a strong sense of new possibilities being opened up when you listen to some of the pioneering works. Some of them are also extremely beautiful. I often hear people say that they they think atonal music sounds ugly, but I disagree. The same people would probably agree that birdsong is beautiful, and most of that is entirely atonal..

The only problem is that I’ve now got a very long list of recordings to buy, as I don’t have any CDs or downloads of some very important pieces. I’m going to be a but poorer financially as a consequence of this educational experience, but hopefully enriched in a cultural sense.

The “breaking free” in this period wasn’t confined to music – revolutionary change was underway in other artistic fields, including painting. Last night I was listening to one of the programmes in the Breaking Free series and it inspired me to have a look in some of my art books for something appropriate to post from the time (if not the location) of the 2nd Viennese School. I decided on this, wan abstract painting by Wassily Kandinsky called Composition VII which was painted in 1913.


Moses und Aron

Posted in Opera with tags , , , , , on May 25, 2014 by telescoper

Last night I found myself once again in the Wales Millennium Centre in Cardiff Bay, the bank holiday weekend giving me enough breathing space to head back to Wales for a short break and take in an Opera.

As it turned out there was a rare treat on the menu: the first night of a new Welsh National Opera production of Moses und Aron by Arnold Schoenberg. It was well worth the trip from Brighton.

Schoenberg had only completed two of the three acts by the time of his death in 1951 so the Opera is unfinished. On the other hand the Biblical story of the Exodus is so familiar that it doesn’t matter too much that some is missing. But although the plot is well known the Opera gives it several new dimensions.

Moses is chosen by God to lead his people from captivity but he is deeply troubled by the difficulty of this task because of his old age and the ‘clumsiness of his tongue’. Moses’ brother Aron has a much easier way with words (and pictures) so they join forces and lead the Jews from captivity into the wilderness.

Moses has deep reservations about Aron’s freedom with the use of images and other gimmicks, with good reason. In Act 2 while Moses is away receiving the Ten Commandments and whatnot, leaving Aron in charge, Aron permits all kind of lewd and ungodly behaviour, all starting with his use of images to depict God. Upon Moses’ return all that comes to an end, but it has exposed an irreconcilable disagreement between the two brothers about what if anything of the divine can ever be expressed in words. Moses’ concept of God is absolute and unknowable, requiring faith rather than understanding; Aron is content to use the Method of Images.

I’m not qualified to go into the theology behind all this, but it did have some resonance with me as a scientist. How much of the truth of creation do we capture with our words and equations, or are they just images?

Anyway, back to the Opera. The staging was modern, Act I was a lecture room or conference centre. Moses appeared as an ageing professor and Aron as a sort of Teaching Assistant. The Israelites were depicted as rowdy and occasionally violent students. The set changed slightly in Act 2 to resemble a movie theatre, implying that Aron’s images were cinematic, presumably violent and pornographic.

Moses was played by the legendary Sir John Tomlinson. His deeply sonorous voice and compelling stage presence provided a perfect focus for the production. Aron was Mark Le Brocq, whose fine performance was all the more remarkable because he was understudy for Rainer Trost who was unwell; to pick up such a challenging part at a few hours’ notice can not be easy and he did wonderfully well. As always, the Chorus of Welsh National Opera were also excellent.

Schoenberg’s music for Moses un Aron is resolutely serialist, which will no doubt put some people off. I found it gripping and starkly beautiful, performed with consummate artistry by the Orchestra of Welsh National Opera under the direction of Lothar Koenigs.

All in all, yet another wonderful evening of music drama courtesy of WNO. Only two performances of Moses und Aron were planned for Cardiff this season; the other is next Friday (30th May). I’m glad that the Wales Millennium Centre was nearly full, as I hope WNO will continue putting on rare and challenging music like this. Unfortunately it seems the Arts Council have other ideas, and have just cut their grant to WNO. Fewer new productions and more revivals are in store from now on.