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From Today till Tomorrow op. 32
Katalogzettel
| Titel | From Today till Tomorrow op. 32 |
| Spieldauer | 00:17:32 |
| Urheber/innen |
Schönberg, Arnold [Komponist/in]
[GND]
|
| Mitwirkende |
Schönberg, Arnold [Dirigent]
[GND
]
Funkstunde Berlin [Produzent] Reichs-Rundfunk-Gesellschaft [Produzent] |
| Datum |
1930.02.27 [Aufnahmedatum] |
| Ort |
Berlin, Wohnung Schönberg / Schönberg’s residence [Ortsbezug]
|
| Schlagworte | Musik ; E-Musik ; Unveröffentlichte Aufnahme |
|
20. Jahrhundert - 30er Jahre
|
|
| Typ | audio |
| Format |
SCS [Schallplatte, Schellack] |
| Sprache |
Englisch |
| Link |
From Today till Tomorrow op. 32 on the website of the Arnold Schönberg Center |
| Signatur | Österreichische Mediathek, e11-00204_b02_k02 |
| Medienart | Mp3-Audiodatei |
Stage photo premiere Von heute auf morgen op. 32. Arnold Schönberg Center, CC BY-SA 3.0 AT
Information
Inhalt
On July 2, 1930, Schönberg and his wife moved into an apartment on the third floor of the Meran Corso-Hotel, Nürnberger Platz 3 (Berlin W). They sought to adapt the apartment, as Schönberg wrote the manager of Deutsche Bank on July 4, 1930, in order to ask for credit: “A very talented young architect is about to transform my apartment (I just moved in the day before yesterday) into a showpiece of modern living.” Schönberg had the wall of the dining room broken through in order to install a much marveled “marble tea sideboard with running water.” The wood had been covered with black marble, and Schönberg really enjoyed making himself coffee there in the evening – electrically!
The year before, the composer had completed his music theater work “From Today till Tomorrow.” His critique of the genre “Zeitoper” principally took the form of applying his twelve-tone method while incorporating the most important musical attribute of the genre, imitation of American dance music and jazz. The composer wrote to the conductor Wilhelm Steinberg in the run-up to the premiere: “One ought to feel, or sense, that behind these simple events something else is hidden; that these everyday characters and happenings are being used to show how, above and beyond this simple story of a marriage, the so-called modern, the merely modish exists only ‘from today till tomorrow’ […].” (Letter dated October 4, 1929). (Text: Arnold Schönberg Center)
The year before, the composer had completed his music theater work “From Today till Tomorrow.” His critique of the genre “Zeitoper” principally took the form of applying his twelve-tone method while incorporating the most important musical attribute of the genre, imitation of American dance music and jazz. The composer wrote to the conductor Wilhelm Steinberg in the run-up to the premiere: “One ought to feel, or sense, that behind these simple events something else is hidden; that these everyday characters and happenings are being used to show how, above and beyond this simple story of a marriage, the so-called modern, the merely modish exists only ‘from today till tomorrow’ […].” (Letter dated October 4, 1929). (Text: Arnold Schönberg Center)
