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Variations on a recitative for organ op. 40
Catalog slip
| Title | Variations on a recitative for organ op. 40 |
| Playing time | 00:04:54 |
| Authors |
Schönberg, Arnold [Komponist/in]
[GND]
|
| Contributors |
Mason, Marilyn [Orgel]
[GND
]
University of Michigan [Produzent] |
| Place |
Salt Lake City, Mormon Tabernacle Church [Ortsbezug]
|
| Keywords | Musik ; E-Musik ; Instrumente - Orgel ; Unveröffentlichte Aufnahme |
|
20. Jahrhundert - 40er Jahre
|
|
| Type | audio |
| Format |
SCS [Schallplatte, Schellack] |
| Language |
Englisch |
| Link |
Variationen op. 40 on the website of the Arnold Schönberg Center |
| Signature | Österreichische Mediathek, e11-00762_b01_k02 |
| Media type | Mp3-Audiodatei |
Tabernacle Organ. Arnold Schönberg Center, CC BY-SA 3.0 AT
Information
Content
Arnold Schönberg’s preferred performer for the premiere of his “Variations on a Recitative for Organ” op. 40 was Alexander Schreiner, who was formerly Schönberg’s colleague at the University of California at Los Angeles and had since moved to the Mormon Tabernacle Church in Salt Lake City. The organist was initially delighted: “Your organ composition was on my desk when I returned to the city […]. I have played it through twice now, and was immediately struck by the powerful theme upon which the variations are built.” However, Schreiner was also hesitant due to the difficulties posed by the piece. “Organists have been wishing for some composition of yours that they could use on the organ, or one especially written for the organ. But I rather think that you will overwhelm them with this difficult and long composition.” Schönberg, who felt misunderstood by Schreiner, ultimately went without a first performance of his work on one of the largest pipe organs in the world. It was not until years later, after the work had been premiered by Carl Weinrich, that the composer was able to hear his work played – by the organist Marilyn Mason, who was aged 24 at the time: “He was especially interested in clarity of performance, and this idea colored all his remarks to me. Regarding actual sounds, he was interested in having clearness and precision above everything. […] ‘Whatever you do,’ he would remind me, ‘choose a sound that is pleasing to the hearer.’” (Text: Arnold Schönberg Center)
