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Igor Stravinsky: Babel. Genesis Suite. Part 7
Katalogzettel
| Titel | Igor Stravinsky: Babel. Genesis Suite. Part 7 |
| Spieldauer | 00:05:16 |
| Urheber/innen |
Strawinsky, Igor [Komponist/in]
[GND]
|
| Mitwirkende |
Janssen, Werner [Dirigent]
[GND
]
Janssen, Werner [Chorleiter/in] [GND ] Arnold, Edward [Sprecher/in] [GND ] Janssen Symphony Orchestra [Orchester] Artist Records [Label] |
| Datum |
1945.12.11 [Aufnahmedatum / Beginn] 1946.06. [Aufnahmedatum / Abschluß] |
| Ort |
Los Angeles, Wohnhaus / residence Igor Strawinsky [Ortsbezug]
Los Angeles [Aufnahmeort] |
| Schlagworte | Musik ; E-Musik ; Gesellschaft ; Besetzung - Orchester ; Vokalmusik - Chormusik, Chorwerke ; Religion ; Judentum ; Christentum ; Gesang ; Sprache ; Publizierte und vervielfältigte Aufnahme |
|
20. Jahrhundert - 40er Jahre
|
|
| Typ | audio |
| Format |
SCS [Schallplatte, Schellack] |
| Sprache |
Englisch |
| Signatur | Österreichische Mediathek, e11-00138_b01_k02 |
| Medienart | Mp3-Audiodatei |
Cover, Arnold Schönberg Center, CC BY-SA 3.0 AT
Information
Inhalt
Igor Stravinsky’s composition “Babel” was written for the “Genesis Suite,” a work initiated in 1945 by the composer and publisher Nathaniel Shilkret. Genesis Suite was a pastiche on the first book of the Bible, whose remaining parts were composed by Arnold Schönberg (Prelude), Shilkret himself (The Creation), Alexandre Tansman (Adam and Eve), Darius Milhaud (Cain and Abel), Mario Castelnuovo-Tedesco (The Flood) and Ernst Toch (The Covenant). The phonograph recording of the Genesis Suite took place one week after the premiere, in the RCA Victor Studios in Hollywood, where Shilkret was employed as head of the “light music” department. Besides Schönberg, Stravinsky was the only person involved who had hardly any practical experience with the film industry – despite lucrative commissions, such projects did not progress further than the drawing board for either of the two composers.
In “Babel,” Stravinsky sought to achieve an objective presentation of the biblical text without overdramatizing the religious content. The voice of God is a male chorus. According to the composer’s instructions, “the divine [should] sing, while the mortals should only speak.” This sober approach is countered by the intonation of the singing voices, rich in vibration, in a similar manner to Arnold Schönberg’s “Prelude” op. 44. This imbues the narrative tone – which is itself achieved through formulaic sequences of harmonies – with the feeling of Hollywood. (Text: Arnold Schönberg Center)
In “Babel,” Stravinsky sought to achieve an objective presentation of the biblical text without overdramatizing the religious content. The voice of God is a male chorus. According to the composer’s instructions, “the divine [should] sing, while the mortals should only speak.” This sober approach is countered by the intonation of the singing voices, rich in vibration, in a similar manner to Arnold Schönberg’s “Prelude” op. 44. This imbues the narrative tone – which is itself achieved through formulaic sequences of harmonies – with the feeling of Hollywood. (Text: Arnold Schönberg Center)
