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Prelude, op. 44. Genesis Suite. Part 1
Catalog slip
| Title | Prelude, op. 44. Genesis Suite. Part 1 |
| Playing time | 00:05:31 |
| Authors |
Schönberg, Arnold [Komponist/in]
[GND]
|
| Contributors |
Janssen, Werner [Dirigent]
[GND
]
Strelitzer, Hugo [Chorleiter/in] [GND ] Arnold, Edward [Sprecher/in] [GND ] Janssen Symphony Orchestra [Orchester] Artist Records [Label] |
| Date |
1945.12.11 [Aufnahmedatum / Beginn] |
| Place |
Los Angeles, Wilshire Ebell Theatre [Ortsbezug]
Los Angeles [Aufnahmeort] |
| Keywords | Musik ; E-Musik ; Gesellschaft ; Besetzung - Orchester ; Vokalmusik - Chormusik, Chorwerke ; Religion ; Judentum ; Christentum ; Gesang ; Sprache ; Publizierte und vervielfältigte Aufnahme |
|
20. Jahrhundert - 40er Jahre
|
|
| Type | audio |
| Format |
SCS [Schallplatte, Schellack] |
| Language |
Englisch |
| Link |
"Prelude" op. 44 on the website of the Arnold Schönberg Center |
| Signature | Österreichische Mediathek, e11-00136_b01_k02 |
| Media type | Mp3-Audiodatei |
Score, Arnold Schönberg Center, CC BY-SA 3.0 AT
Information
Content
Schönberg composed the “Prelude” op. 44 for mixed chorus and orchestra in September 1945 as an introduction to a cantata on the biblical Creation story. It consists of the beginning of a pastiche of Genesis, commissioned by the composer and the publisher Nathaniel Shilkret. The other parts are by Shilkret himself (The Creation), Alexandre Tansman (Adam and Eve), Darius Milhaud (Cain and Abel), Mario Castelnuovo-Tedesco (The Flood), Ernst Toch (The Covenant), and Igor Stravinsky (The Tower of Babel).
Arnold Schönberg depicts the universe before the Creation with a fugue (which includes an introduction and a coda). It seems that he was not entirely confident that his work would be played adequately by the Janssen Symphony Orchestra at its premiere in Wilshire Ebell Theatre, Los Angeles. He instructed the strings to play “always without Hollywood-style vibrato or portamentos” and that “even large intervals should not be linked by sliding, but if necessary by stretching the fingers. Such sliding is odiously sentimental.” In the recording that was made a week later, the violinists audibly attempt to follow the composer’s ideas. However, the sound production and intonation of the choral vocalises that followed are distinctly reminiscent of clichés from film music. (Text: Arnold Schönberg Center)
Arnold Schönberg depicts the universe before the Creation with a fugue (which includes an introduction and a coda). It seems that he was not entirely confident that his work would be played adequately by the Janssen Symphony Orchestra at its premiere in Wilshire Ebell Theatre, Los Angeles. He instructed the strings to play “always without Hollywood-style vibrato or portamentos” and that “even large intervals should not be linked by sliding, but if necessary by stretching the fingers. Such sliding is odiously sentimental.” In the recording that was made a week later, the violinists audibly attempt to follow the composer’s ideas. However, the sound production and intonation of the choral vocalises that followed are distinctly reminiscent of clichés from film music. (Text: Arnold Schönberg Center)
