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A Survivor from Warsaw op. 46
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| Title | A Survivor from Warsaw op. 46 |
| Playing time | 00:11:43 |
| Authors |
Schönberg, Arnold [Komponist/in]
[GND]
|
| Contributors |
Mitropoulos, Dimitri [Dirigent]
[GND]
|
| Date |
1950.04.13 [Aufnahmedatum] |
| Place |
Warschau, Denkmal / Monument [Ortsbezug]
New York City, Carnegie Hall [Aufnahmeort] |
| Keywords | Musik ; E-Musik ; Unveröffentlichte Aufnahme |
|
20. Jahrhundert - 40er Jahre
|
|
| Type | audio |
| Format |
SCS [Schallplatte, Schellack] |
| Language |
Englisch |
| Link |
A Survivor from Warsaw on the website of the Arnold Schönberg Center |
| Signature | Österreichische Mediathek, e11-00732_b01_k02 |
| Media type | Mp3-Audiodatei |
Monument to the Warsaw Uprising, Marcin Białek, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons
Information
Content
With his cantata “A Survivor from Warsaw,” Schönberg created “the aesthetic, musical manifest of our epoch” (Luigi Nono). According to the details in the autograph, the text (which Schönberg wrote himself) of op. 46, composed in Los Angeles in 1947, is based “partly upon reports which I have received directly or indirectly.” Later, the composer explained that the text constituted “most chokingly, a scene from the Warsaw ghetto” (Arnold Schönberg to Peter Gradenwitz, January016010, 1948) and that the title was deliberately chosen “because it was my inspiration and the geographical meaning includes the ghetto and all what happened there.” (Arnold Schönberg to Kurt List, February 18, 1949)
Arnold Schönberg was never to hear his cantata in the concert hall. In May 1950 he received a live recording of the US premiere conducted by Dmitri Mitropoulos; the concert had been held the previous month in Carnegie Hall, New York. Jerry Newman from Esoteric Records wrote to the composer: “I would like to explain please, that although we have put the label of our Recording Studio on this disc, the recording was made at Carnegie Hall by another firm. All we did was copy, so please do not lower your opinion of the quality of our usual work.” (Letter dated May01603, 1950) It seems the recording started a moment after the beginning of the piece. However, a fragmentary recording of a remark by the conductor suggests that the performance was repeated following rapturous applause, and this time the work was recorded in full.
(Text: Arnold Schönberg Center)
Arnold Schönberg was never to hear his cantata in the concert hall. In May 1950 he received a live recording of the US premiere conducted by Dmitri Mitropoulos; the concert had been held the previous month in Carnegie Hall, New York. Jerry Newman from Esoteric Records wrote to the composer: “I would like to explain please, that although we have put the label of our Recording Studio on this disc, the recording was made at Carnegie Hall by another firm. All we did was copy, so please do not lower your opinion of the quality of our usual work.” (Letter dated May01603, 1950) It seems the recording started a moment after the beginning of the piece. However, a fragmentary recording of a remark by the conductor suggests that the performance was repeated following rapturous applause, and this time the work was recorded in full.
(Text: Arnold Schönberg Center)
