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Johann Sebastian Bach: Komm, Gott, Schöpfer, Heiliger Geist BWV 667 (Arr. Arnold Schönberg)
Katalogzettel
| Titel | Johann Sebastian Bach: Komm, Gott, Schöpfer, Heiliger Geist BWV 667 (Arr. Arnold Schönberg) |
| Spieldauer | 00:03:30 |
| Urheber/innen |
Bach, Johann Sebastian [Komponist/in]
[GND]
Schönberg, Arnold [Bearbeiter/in] [GND] |
| Mitwirkende |
Horenstein, Jascha [Dirigent]
[GND
]
Deutsche Grammophon [Produzent] Grammophon [Label] Berliner Philharmoniker [Orchester] |
| Datum |
1930 [Bezugsdatum] |
| Ort |
Berlin, Alte Philharmonie [Ortsbezug]
|
| Schlagworte | Musik ; E-Musik ; Vokalmusik - Chormusik, Chorwerke ; Besetzung - Orchester ; Publizierte und vervielfältigte Aufnahme |
|
20. Jahrhundert - 30er Jahre [Bezugsdatum]
|
|
| Typ | audio |
| Format |
SCS [Schallplatte, Schellack] |
| Sprache |
Englisch |
| Link |
Bach instrumentations on the website of the Arnold Schönberg Center |
| Signatur | Österreichische Mediathek, e11-00343_b01_k02 |
| Medienart | Mp3-Audiodatei |
Konzertsaal Philharmonie Berlin, Berlin-Kreuzberg Postkarte 067, http://www.zeno.org - Zenodot Verlagsgesellschaft mbH, AG für automatischen Verkauf, Public domain, via Wikimedia Commons
Information
Inhalt
In a letter to his friend kapellmeister Fritz Stiedry dated July 31, 1930 Arnold Schönberg discussed his instrumentations of Johann Sebastian Bach’s chorale preludes from 1922: “Our ‘need for sound’ does not pursue ‘luscious’ color – rather, the colors are purposed to clarify the flow of the voices and that is very important in the contrapuntal texture! […] We need clarity in order to see clearly.”
One of Schreker’s young students Jascha Horenstein became acquainted with the sound-ideals of the Viennese School in Schönberg’s Society for Private Musical Performances in Vienna, as well as in conversations with Alban Berg and Anton Webern.
In early March 1930 Schönberg was informed by Horenstein that his Bach instrumentations had been published on records by Deutsche Grammophon Gesellschaft. “I would be immensely pleased to hear that you are satisfied with the rendering.” (Horenstein to Schönberg, March 6, 1930) He received a harsh response from the composer, who had not been informed about the recording: “[…] the recording of the chorale preludes will have its consequences. Nobody requested my approval for the recording and I have already protested against it.” (Schönberg to Horenstein, March 12, 1930) Schönberg’s protest was limited to administrative failings. There is no evidence of any disapproval with respect to the interpretation. (Text: Arnold Schönberg Center)
One of Schreker’s young students Jascha Horenstein became acquainted with the sound-ideals of the Viennese School in Schönberg’s Society for Private Musical Performances in Vienna, as well as in conversations with Alban Berg and Anton Webern.
In early March 1930 Schönberg was informed by Horenstein that his Bach instrumentations had been published on records by Deutsche Grammophon Gesellschaft. “I would be immensely pleased to hear that you are satisfied with the rendering.” (Horenstein to Schönberg, March 6, 1930) He received a harsh response from the composer, who had not been informed about the recording: “[…] the recording of the chorale preludes will have its consequences. Nobody requested my approval for the recording and I have already protested against it.” (Schönberg to Horenstein, March 12, 1930) Schönberg’s protest was limited to administrative failings. There is no evidence of any disapproval with respect to the interpretation. (Text: Arnold Schönberg Center)
