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Four Songs for Voice and Orchestra, op. 22. Seraphita
Catalog slip
| Title | Four Songs for Voice and Orchestra, op. 22. Seraphita |
| Playing time | 00:03:37 |
| Authors |
Schönberg, Arnold [Komponist/in]
[GND]
|
| Contributors |
Rosbaud, Hans [Dirigent]
[GND]
Südwestdeutscher Rundfunk [Produzent] |
| Place |
Berlin, Wohnung Schönberg / Schönberg’s residence [Ortsbezug]
|
| Keywords | Musik ; E-Musik ; Unveröffentlichte Aufnahme |
|
20. Jahrhundert - 20er Jahre
20. Jahrhundert - 30er Jahre |
|
| Type | audio |
| Format |
SCS [Schallplatte, Schellack] |
| Language |
Englisch |
| Link |
Four Songs for Voice and Orchestra, op. 22 on the website of the Arnold Schönberg Center |
| Signature | Österreichische Mediathek, e11-00200_b02_k02 |
| Media type | Mp3-Audiodatei |
Arnold Schönberg’s residence, Berlin. Arnold Schönberg Center, CC BY-SA 3.0 AT
Information
Content
From May 1913 to August 1915 Schönberg lived in Berlin Südende, Berliner Straße 17a, in the house of Albertine Zehme, who commissioned his successful work “Pierrot lunaire” op. 21. He began working on his “Four Songs for Voice and Orchestra” op. 22 there. It was not until 1932 that the score was premiered, despite its publication in 1917. Hans Rosbaud conducted the premiere in a concert with the Frankfurt Radio Symphony Orchestra, for which Schönberg was invited to hold an introductory talk. His thoughts reflect the considerable compositional development that his œuvre had undergone since completion of the work: “Around 1908 I had […] taken the first step into that area of composition, falsely called atonal, which is characterized by the relinquishing of a tonal center and of the methods of dissonance treatment that were accepted up until then. […] At the time that I wrote these songs [op. 22], I had already overcome the initial difficulties of the new style to a certain extent, even though it was only through the composition with twelve tones that the formal possibilities of an absolute music were unshackled and broke through, freed from all influence of extra-musical elements.” (Arnold Schönberg, “Analysis of the Four Orchestral Songs op. 22”, 1932) (Text: Arnold Schönberg Center)
