Ode to Napoleon Buonaparte op. 41. Verses 1–5

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Titel	Ode to Napoleon Buonaparte op. 41. Verses 1–5
Titelzusatz	World premiere 26.11.1944
Spieldauer	00:04:43
Urheber/innen	Schönberg, Arnold [Komponist/in] [GND] Byron, George Gordon Noel [Librettist/in] [GND]
Mitwirkende	Harrell, Mack [Rezitator/in] [GND ] Steuermann, Eduard [Klavier] [GND ] Rodzinski, Artur [Dirigent] [GND ] Vox [Label] New York Philharmonic [Orchester]
Datum	1944.11.26 [Aufnahmedatum]
Ort	New York, Dienstadresse Artur Rodzinski [Ortsbezug]
Schlagworte	Musik ; E-Musik ; Publizierte und vervielfältigte Aufnahme
	20. Jahrhundert - 40er Jahre
Typ	audio
Format	SCS [Schallplatte, Schellack]
Sprache	Englisch
Link	Ode to Napoleon Buonaparte op. 41 on the website of the Arnold Schönberg Center
Signatur	Österreichische Mediathek, e11-00529_b01_k02
Medienart	Mp3-Audiodatei

Rodzinski card. Arnold Schönberg Center, CC BY-SA 3.0 AT

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After “Ode to Napoleon Buonaparte” op. 41 was completed in the version for string quartet, piano and reciter, Schirmer publishing house in New York suggested that Schönberg should prepare an arrangement for a larger ensemble. Artur Rodzinski, principal conductor of the New York Philharmonic Orchestra, wanted to premiere the work in a version for orchestra. It was in this orchestral version that “Ode” was first presented to the public. It is evident from Schönberg’s letters that he was looking for a reciter with an understanding of music; his ideal person was a Wagner/Strauss singer. In the end, the part was performed by baritone Mack Harrell from the Metropolitan Opera in New York. One condition made by Schönberg was that his former student Eduard Steuermann had to perform the piano part. After the first performances in New York, Steuermann sent the following report: “Far too much time was wasted on experimenting with the microphone and loudspeakers; on such occasions people are consulted who are ‘experts’ in acoustics, but who have little understanding of music: and as a result I had to play with the piano closed up, which is sheer madness. [...] The problem seems to be the fact that the microphone sometimes also picks up the sound of the orchestra. The kapellmeister was initially unwilling to change the dynamics, which is understandable because it is difficult to choose, for example, to ‘restrain’ the overwhelming sound of the strings in the beginning; but then the piano could hardly be heard (especially when closed).” (Letter dated December 4, 1944). (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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Schlagworte

Musik ; E-Musik , Publizierte und vervielfältigte Aufnahme

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