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Transfigured Night op. 4 [Beginning]
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Catalog slip
| Title | Transfigured Night op. 4 [Beginning] |
| Playing time | 00:04:20 |
| Authors |
Schönberg, Arnold [Komponist/in]
[GND]
|
| Contributors |
Schönberg, Arnold [Dirigent]
[GND]
Staatskapelle Berlin [Orchester] |
| Date |
1928 [Aufnahmedatum] |
| Place |
Berlin, Studio Ultraphon AG / Studio at Ultraphon AG [Ortsbezug]
|
| Keywords | Musik ; E-Musik ; Unveröffentlichte Aufnahme |
|
20. Jahrhundert - 20er Jahre
|
|
| Type | audio |
| Format |
SCS [Schallplatte, Schellack] |
| Language |
Englisch |
| Link |
Transfigured Night op. 4 on the website of the Arnold Schönberg Center |
| Signature | Österreichische Mediathek, e11-00197_b01_k02 |
| Media type | Mp3-Audiodatei |
Letter. Arnold Schönberg Center, CC BY-SA 3.0 AT
Information
Content
In August 1925 Deutsche Ultraphon AG was founded in Berlin Lichtenberg, a company that specialized in the sale of gramophones and radios. Arnold Schönberg was impressed by the quality of equipment that had been lent to him to hear music: “The device is really quite excellent. You can really hear everything very clearly and pleasantly, and I am able to compare this because I listened to some pieces on other equipment first, and then on yours: the difference is almost incredible.” (Letter dated December 4, 1929) Ultraphon also set up a recording department that worked with artists such as Marlene Dietrich and Erich Kleiber. Schönberg concluded a contract for a production of “Transfigured Night” op. 4 with the Staatskapelle Berlin. In 1928 the first 200 bars were recorded in a former dance hall. Legal problems affecting the orchestra prevented completion of the project, and so Schönberg only received the test records with the section that had already been produced.
Even in the opening bars of the recording, Schönberg’s tempo is surprising – it is unusually slow according to today’s standards. The low D in the low strings is articulated differently every time. However, his strong rubato does not serve the subjective aesthetics of emotion, but rather the emphasis of structural anchoring points. Nevertheless, this form of interpretation provides listeners with an overall impression that seems distinctly expressive. (Text: Arnold Schönberg Center)
Even in the opening bars of the recording, Schönberg’s tempo is surprising – it is unusually slow according to today’s standards. The low D in the low strings is articulated differently every time. However, his strong rubato does not serve the subjective aesthetics of emotion, but rather the emphasis of structural anchoring points. Nevertheless, this form of interpretation provides listeners with an overall impression that seems distinctly expressive. (Text: Arnold Schönberg Center)
