Ode to Napoleon Buonaparte op. 41. Verses 17–19

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Titel	Ode to Napoleon Buonaparte op. 41. Verses 17–19
Spieldauer	00:03:18
Urheber/innen	Schönberg, Arnold [Komponist/in] [GND] Byron, George Gordon Noel [Librettist/in] [GND]
Mitwirkende	Jalowetz, Heinrich [GND ] Motorola [Label]
Datum	1943 [Bezugsdatum]
Ort	Asheville, Black Mountain College [Ortsbezug]
Schlagworte	Musik ; E-Musik ; Publizierte und vervielfältigte Aufnahme
	20. Jahrhundert - 40er Jahre
Typ	audio
Format	SCS [Schallplatte, Schellack]
Sprache	Englisch
Signatur	Österreichische Mediathek, e11-00541_b01_k02
Medienart	Mp3-Audiodatei

Drawing of planned campus building overlooking Eden Lake at Black Mountain College in Asheville, North Carolina (1938). Public Domain

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On August 4, 1943 Heinrich Jalowetz, Professor of Music at the Black Mountain College in North Carolina, wrote to his former teacher Schönberg: “Dear Friend, […] The shipment will not come as a surprise as originally planned, as it seems you have already heard that I am preparing a candidate for recitation of the ‘Ode to Napoleon,’ namely our young and multi-talented, highly intelligent history teacher Eric Bentley. Recordings were made as a preliminary result of our studies, which are now the contents of the aforementioned shipment.” Schönberg commented on the recording in detail: “From the records no such sonority emerges which shows whether [Mr. Bentley’s] voice has the compass (as to pitch and the number of shades) essential to express one hundred and seventy kinds of derision, sarcasm, hatred, ridicule, contempt, condemnation, etc., which I tried to portray in my music. [...] On the other hand I was astonished how well everything was done as regards rhythm and declamation. […] If I have to say what I think must be improved: very many parts are too slow. Especially these Allegros must be faster. And the Washington-section, which I give [quarter-note]=88 is at least a third too slow.” (Letter dated September 8, 1943)

Schönberg’s criticism refers to the final verse of the poem in which George Washington behaves antagonistically towards the dictator Napoleon, as a symbol of victorious democracy. In actual fact, Jalowetz and Bentley take the finish almost half as fast as marked in the score. It is likely that they were following the expression marking “Maestoso,” and less the tempo specified by the metronome marking. (Text: Arnold Schönberg Center)

Sammlungsgeschichte

Sammlung Schönberg

Im Rahmen einer Kooperation mit dem Arnold Schönberg Center sichert die Österreichische Mediathek seit April 2019 die Schallplattensammlung des Komponisten digital. Der Nachlass Arnold Schönbergs steht seit 1998 im Arnold Schönberg Center in Wien zur Verfügung.

Die Sammlung umfasst über 400 Schallplatten mit eigenen Kompositionen, fremden Werken sowie vereinzelten Sprachaufnahmen. Professionelle Produktionen stehen neben dokumentarischen Mitschnitten. Schönberg war technischen Neuerungen aufgeschlossen und nutzte Medien zur Tonaufzeichnung auf vielfältige Weise. Die frühesten Audio-Dokumente gehen auf Arnold Schönbergs Zeit in Berlin und sein zunehmendes Engagement für den Rundfunk zurück, dessen Potenzial zur Verbreitung aktueller Musik er bereits früh erkannte. Frühe Tonträger der Sammlung entstanden oft als Versuchsaufnahmen im Kontext von Radioübertragungen. Nach dem Zweiten Weltkrieg wurden seine Schallplatten wichtiges Kommunikationsmittel im Kontakt mit Europa.

2011 wurde der Schönberg-Nachlass von der UNESCO in das Weltdokumentenerbe-Register (Memory of the World) aufgenommen.

Zur Sammlungsgeschichte siehe auch <link>https://www.schoenberg.at/images/stories/bilder_statische_artikel/archiv/ethikbewahrens.pdf<link>

In cooperation with the Arnold Schönberg Center, the Österreichische Mediathek digitally preserved the composer's record collection in April 2019. Arnold Schönberg’s Estate was made available at the Arnold Schönberg in 1998, after the collection had been moved from Los Angeles.

The composer owned over 400 phonograph discs with his own compositions, works by other composers, and also the occasional voice recording. Professional productions are found alongside documentative recordings. Schönberg was open to technical innovations and used sound recording media in various ways. The earliest audio documents stem from the composer’s time spent in Berlin and his increasing commitment to the radio, whose potential for broadcasting contemporary music to a larger audience was recognized by Schönberg at a very early stage. Early sound storage media from Schönberg’s collection often contain test recordings for radio broadcasts and only excerpts of the compositions played. And after the war, phonograph discs were an important means of communication with Europe.

In 2011 Schönberg’s Estate was inscribed onto the UNESCO Memory of the World Register.

For the history of the collection see also <link>https://www.schoenberg.at/images/stories/bilder_statische_artikel/archiv/ethikbewahrens.pdf<link>

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Verortung in der digitalen Sammlung

Schlagworte

Musik ; E-Musik , Publizierte und vervielfältigte Aufnahme

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