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Ode to Napoleon Buonaparte op. 41. Verses 16–19
Catalog slip
| Title | Ode to Napoleon Buonaparte op. 41. Verses 16–19 |
| Title addition |
First West Coast Performance 75th Birthday Concert |
| Playing time | 00:03:05 |
| Authors |
Schönberg, Arnold [Komponist/in]
[GND]
Byron, George Gordon Noel [Librettist/in] [GND] |
| Contributors |
Schallert, William [Rezitator/in]
[GND]
Koldofsky, Adolph [Violine] [GND] Selmont, David [Violine] Figelski, Cecil [Viola] [GND] Reher, Kurt [Violoncello] [GND] Stein, Leonard [Klavier] [GND] Fraenkel, Wolfgang [Dirigent] [GND] Magnadisc [Label] Internationale Gesellschaft für Neue Musik [Veranstalter] |
| Date |
1949.09.13 [Aufnahmedatum] 1941.12.07 [Bezugsdatum] |
| Place |
Pearl Harbour [Ortsbezug]
|
| Keywords | Musik ; E-Musik ; Publizierte und vervielfältigte Aufnahme |
|
20. Jahrhundert - 40er Jahre
|
|
| Type | audio |
| Format |
SCS [Schallplatte, Schellack] |
| Language |
Englisch |
| Link |
Ode to Napoleon Buonaparte op. 41 on the website of the Arnold Schönberg Center |
| Signature | Österreichische Mediathek, e11-00358_b01_k02 |
| Media type | Mp3-Audiodatei |
Attack on Pearl Harbor, Official U.S. Navy photograph NH 50930, Imperial Japanese Navy, Public domain, via Wikimedia Commons
Information
Content
Arnold Schönberg’s “Ode to Napoleon Buonaparte” op. 41 was written during times of acute threat by National Socialist tyranny. The composer felt confident about the composition even in his initial reflections on the work, “that this piece must not ignore the agitation aroused in mankind against the crimes that provoked this war.” Schönberg’s assistant at the time, Leonard Stein, explains the link between the work and the historical circumstances: “The events of December 1941 – Pearl Harbor and the Declaration of War – had, of course, stirred up tremendous excitement. I had spent the afternoon of December 7th [1941] at Schönberg’s home discussing with him the implications of the bombing of Pearl Harbor. The next day we heard Roosevelt’s ‘day of infamy’ speech, declaring war on Japan, broadcast in Royce Hall at UCLA. Perhaps it was at that moment that Schönberg conceived the idea for what was to be his first musical statement on the war.”
The conclusion of the composition is intended as a commitment to the ideal of a victorious democracy, symbolized by the figure of George Washington. As an allusion to Beethoven’s Symphony No. 3 op. 55 “Eroica,” following an emphatic intensification, the music leads into an E flat major chord that is organically derived from the work’s twelve-tone structure. The recording, which was made at a concert of the League of Composers in honor of Schönberg’s 75th birthday, begins when the Sprechstimme enters in verse 16 of the poem – and ends with enthusiastic applause from the audience.
(Text: Arnold Schönberg Center)
The conclusion of the composition is intended as a commitment to the ideal of a victorious democracy, symbolized by the figure of George Washington. As an allusion to Beethoven’s Symphony No. 3 op. 55 “Eroica,” following an emphatic intensification, the music leads into an E flat major chord that is organically derived from the work’s twelve-tone structure. The recording, which was made at a concert of the League of Composers in honor of Schönberg’s 75th birthday, begins when the Sprechstimme enters in verse 16 of the poem – and ends with enthusiastic applause from the audience.
(Text: Arnold Schönberg Center)
