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Topic: Gurrelieder

For all of the vastness of Arnold Schoenberg’s Gurrelieder, the sound that echoes in the memory is from the quiet passages.
Much has been made of the late-romantic tonality of Gurrelieder, with a good deal of talk — much of it by people who should know better — of how this was the way Schoenberg wrote before his ugly, scary period of atonality.
Gurrelieder is, in other words, not an aberration in the canon of an infamous modernist, but a logical step in the development of a career that is far more diverse than it is popularly given credit for.
www.citypaper.net /articles/012700/mus.gurrelieder.shtml   (476 words)

 FAQ: Gurrelieder   (Site not responding. Last check: 2007-10-07)
“‘A cactus blooms’: the origins of ‘Gurrelieder’.” Upbeat 6/5 (1990 February): 4-6.
“The ‘Gurrelieder’ fanfare manuscript.” Journal of the Arnold Schoenberg Institute 1/3 (1977 June): 170-73.
“Stokowski and the ‘Gurrelieder’ fanfare: further correspondence.” Journal of the Arnold Schoenberg Institute 3/2 (1979 October): 219-222.
www.usc.edu /libraries/archives/schoenberg/faqgurre.htm   (158 words)

 Angel Records   (Site not responding. Last check: 2007-10-07)
This new recording of Schoenberg’s huge cantata Gurrelieder (completed in 1911, the year Mahler died, leaving his 10th Symphony unfinished), was made in the Philharmonie during the Berlin Festival in September of 2001 and features an impressive cast of singers and choirs.
Due to the vast forces required (5 soloists, 3 male choirs, a mixed choir, and a huge orchestra, including 10 horns, 8 flutes, 4 Wagner tubas, 6 timpani, and iron chains) live performances as well as recordings of this masterwork are rare.
The text of the work, a German translation of “Songs of Gurre” by the Danish poet and novelist Jens Peter Jacobsen, tells of the 12th-century King Waldemar, who lived in the Castle of Gurre on the Danish coast, and the tragedy that results from his fatal infatuation with a beautiful young girl, Tove.
www.angelrecords.com /Detail.asp?UPCCode=724355730329   (309 words)

 DoveSong.com -- The Centuries - 20th Century
He worked on Gurrelieder on and off throughout 1903, then put it aside until 1910; it was finally completed in 1911, receiving its first performed in Vienna in February, 1913.
Gurrelieder is a masterpiece that represents the final statement of 19th Century romantic music.
During the period when he was not working on Gurrelieder, Schönberg went to work on a new direction of musical composition that became more and more obvious with each new work that he completed: works such as the first string quartet of 1905 and the Chamber Symphony of 1906.
www.dovesong.com /centuries/Atonality.asp   (1654 words)

 Guardian | Prom 13: BBCSO/Gurrelieder
For Sunday night's performance of Gurrelieder, Donald Runnicles conducted the combined forces of the BBC Symphony Orchestra, its chorus and that of the Philharmonia, together with the Geoffrey Mitchell Choir and six soloists, to create an experience that did full justice to what is one of the landmarks of 20th-century music.
The composition of Gurrelieder in the early 1900s was a watershed in Schoenberg's creative development - both a farewell to the late-romantic tradition and a gateway to the revolutionary works he would produce over the following decade, yet far more than a wallowing in Wagnerian grandiosity.
The story of the doomed love of King Waldemar for Tove is related in a series of songs and orchestral interludes, delivered first by the lovers and then by witnesses to the ensuing tragedy.
www.guardian.co.uk /print/0,3858,4471920-110811,00.html   (383 words)

 In praise of nature's tone - Arts - www.theage.com.au
Gurrelieder is set to an adaptation of a sequence of poems, Songs of Gurre, by the Danish writer, Jens Peter Jacobsen, and the mood of the text (sung in German) belongs to the world of Wagnerian medievalism.
Gurrelieder started life as Schoenberg's entry in a song-cycle competition in 1900 but soon expanded into a much larger conception - part song-cycle, part oratorio, part melodrama with strong operatic and symphonic elements.
Gurrelieder performed by the MSO under Markus Stenz, at Hamer Hall on October 23.
www.theage.com.au /articles/2004/10/01/1096527922088.html?from=storylhs   (1025 words)

 BSO's 'Gurrelieder' is luminous, heartfelt - The Boston Globe
BSO's 'Gurrelieder' is luminous, heartfelt - The Boston Globe
So was ``Gurrelieder," which recounts a tragic legend of death and of life and reunion after death.
The orchestral background to the speech is the strangest music in ``Gurrelieder." In most of ``Gurrelieder" Schoenberg is summing up the past, invoking Mahler and actually paraphrasing Wagner, but in this passage Schoenberg leaves the past behind and peers into the future.
www.boston.com /news/globe/living/articles/2006/07/17/bsos_gurrelieder_is_luminous_heartfelt   (445 words)

 SCHOENBERG Gurrelieder Rattle [CT]: Classical Reviews- May2002 MusicWeb(UK)   (Site not responding. Last check: 2007-10-07)
That the circumstances had an impact on the music making is never in doubt, the atmosphere being immediately palpable from the opening orchestral prelude.
By the time Schoenberg came to write the Melodrama some ten years after he had commenced work on Gurrelieder he had already completed the Five Pieces for Orchestra and the sparer, crystalline nature of his later style of orchestration is now very clearly in evidence.
Extraordinary though the circumstances may have been, if this is an indication of the electricity that is being generated between Rattle and his new orchestra, their future together, artistically at least, seems to be both assured and exciting.
www.musicweb.uk.net /classrev/2002/May02/Schoenberg_Gurrelieder.htm   (999 words)

 Music Preview: The symphony unwraps the season with Schoenberg's epic piece
While the music of "Gurrelieder" takes after Wagner, the story line -- to be led by superstar singers Ben Heppner and Jennifer Larmore -- is essentially operatic: two adulterous lovers are torn apart when the woman is killed by the jealous wife-queen and the man is condemned to wander the countryside with ghosts.
Jansons, the one who has to hold everything together when the lights go down, is the one who suggested the PSO tackle "Gurrelieder." Not only did he lead the Oslo Philharmonic Orchestra in a performance of it, it is an effusive, romantic and arresting work, the kind of music Jansons embraces.
Jansons has said that "Gurrelieder" is close to his heart, and that half the weight of the season is riding on the success of this weekend's performances.
www.post-gazette.com /magazine/19990917pso1.asp   (946 words)

 U-Press Telegram - STAGE   (Site not responding. Last check: 2007-10-07)
Schoenberg's "Gurrelieder" is a work of gargantuan proportions, requiring five vocal soloists, a speaker, three male choruses, a mixed chorus and an overstuffed orchestra that includes eight flutes, five oboes, seven clarinets, 10 horns, six trumpets, eight trombones, four harps and a collection of percussion instruments to wake the dead.
In "Gurrelieder," he focused on texture and feeling, conjuring dappled musical landscapes and sylvan realms.
The singers were a mixed bag, with the smaller roles of the Wood Dove, the Jester and the Peasant vigorously and imaginatively sung by mezzo-soprano Lilli Paasikivi, tenor Anthony Dean Griffey and baritone Christopher Maltman, respectively.
u.presstelegram.com /Stories/0,1413,218~24216~2699624,00.html   (289 words)

 Reviewed: Schoenberg's Dream Team - [Sunday Herald]
He began the work in 1900 at the age of 25, in response to a competition for a new song cycle.
He had rejected conventional tonality and formed the revolutionary Second Viennese School,Ê ditching the sort of music we hum along to in favour of the squeaks and rattles of modernity.
Gurrelieder might be of muddled parentage, but Schoenberg was the ultimate professional.
www.sundayherald.com /25628   (424 words)

 The two tenors: Ben Heppner and Ernst Haefliger are voices above the crowd in 'Gurrelieder'
Gurrelieder," Schoenberg's gigantic monument to 19th-century Romanticism, calls for an expensive lineup of first-rate soloists.
Not only is there a stereotypical Wagnerian couple (Heldentenor and dramatic soprano), a mezzo-soprano messenger and secondary roles for tenor and baritone, but also a "Speaker" who does not exactly speak in the traditional way, but declaims in Sprechstimme -- a new kind of recitation invented by Schoenberg for one particular section of this work.
When it comes to the "Gurrelieder," Heppner calls it "one of those pieces that I would cross continents for.
www.post-gazette.com /magazine/19990917heppner3.asp   (1275 words)

 Amazon.com: Schoenberg: Gurrelieder; Sir Simon Rattle; Berlin Philharmonic & soloists: Music: Karita Mattila,Anne Sofie ...   (Site not responding. Last check: 2007-10-07)
Schoenberg's melodic, tonal Wagnerian masterpiece Gurrelieder calls for one of the largest orchestras ever assembled on one concert platform, including 25 woodwind, 25 brass, 11 percussion, three four-part male voice choirs, and a mixed eight-part choir.
Such was his affection for this enormous work, part oratorio, part song cycle and operatic in spirit that he completed the work in the style that he had begun it.
Gurrelieder (Songs of Gurre) are based on poems by the Danish author Jens Peter Jacobsen and tells of the 12th century King Waldemar and his love for the beautiful Tove.
www.amazon.com /Schoenberg-Gurrelieder-Berlin-Philharmonic-soloists/dp/B0000633FR   (1840 words)

 Gurrelieder - PIAF 2003
Schoenberg began composing the Gurrelieder in March, 1900.
However, the work became a series of tableaux, with the poem being set as a vast cantata for several soloists, huge chorus and orchestra with symphonic interludes.
It is based on the legend of ‘King Waldemar, who in sorrow over his lost love strives with fate and is doomed to roam for ever as a wild huntsman through the forests by night’.
www.liswa.wa.gov.au /piaf/music/gurrelieder.html   (210 words)

 Music | Simon Rattle/Berlin Philharmonic   (Site not responding. Last check: 2007-10-07)
Arnold Schoenberg termed Gurrelieder, a massive cantata calling for six soloists, large chorus, and a mammoth orchestra, "the key to my development." This was one of his last tonal works, and by the time of its smash premiere, in 1913, he had left its lush late romantic style far behind.
The poems by Jens Peter Jacobsen tell the story of the 12th-century King Waldemar, whose illicit love for the beautiful Tove causes his resentful queen, Helwig, to have her murdered.
Performances of Gurrelieder tend to be real events, which may explain why there have been so many fine recordings.
www.bostonphoenix.com /boston/music/otr/documents/02305304.htm   (331 words)

 Rare Gurrelieder played live in Australia   (Site not responding. Last check: 2007-10-07)
This piece is performed so rarely simply due to the sheer numbers of performers required to do the piece justice (over three hundred, including four choirs, twelve percussionists, twenty five brass and twenty five woodwinds).
Gurrelieder tells the story of Waldemar, King of Denmark (John Treleaven) falling in love with a commoner Tove (Gweneth-Ann Jeffers) and as would be expected; his Queen wasn't too happy about this and organised Tove's death.
Waldemar living with the curse of sorrow, summons his "ghostly retainers" from their graves to arm themselves and head out on an aggressive haunting romp.
www.undercover.com.au /news/2004/oct04/20041025_gurrelieder.html   (295 words)

 BSO Music Director James Levine Leads the Boston Symphony & a Cast of International Soloists in Schoenberg's ...
Schoenberg's monumental Gurrelieder, one of the major compositional statements of the 20th century, stands virtually as a bridge between the late Romantic and the modern eras of music.
Although most of the work of its composition was completed in 1900-01, Schoenberg only finished the orchestration in 1911, and the first complete performance took place only in 1913 to great acclaim.
Gurrelieder has only been performed by the BSO in Symphony Hall once before, in March 1979.
www.jacneed.com /Archives/013106BSO.htm   (1805 words)

 Radio National - The Music Show 23/10/2004
‘Gurrelieder’ is a huge piece, it’s not only very long, it requires an enormous number of performers.
Tove dies, and Waldemar curses God in the second part of ‘Gurrelieder’, and in the final part there is I suppose elements of reconciliation, all ending in a gorgeous fairytale and a magnificent cataclysmic final chorus.
The most glorious experience to me was hearing ‘Gurrelieder’ for the first time, and also I fully understand how a composer like Schoenberg also went on to, if you want, invent 12-tone music, and do experiments, and just push the boundaries of music.
www.abc.net.au /rn/music/mshow/s1305920.htm   (2095 words)

 Classics Today.com - Your Online Guide to Classical Music
This recording of Schoenberg's Gurrelieder was made at Boston's Symphony Hall in April, 1979.
A distinguished cast of soloists headed by James McCracken (Waldemar), Jessye Norman (Tove), and Tatiana Troyanos (Wood Dove) joined the Boston Symphony Orchestra and Tanglewood Festival Chorus under Seiji Ozawa.
Gurrelieder rarely fails here, but the trumpets blaze magnificently as the chorus intones "behold the sun", clinching a performance that's seldom as thoughtfully managed as Chailly's, but that's often more exciting at crucial moments.
www.classicstoday.com /review.asp?ReviewNum=3472   (333 words)

 TIME.com: Farewell, Romanticism -- Mar. 17, 1961 -- Page 1
Originally, Schoenberg scored Gurrelieder for four choruses, five solo voices, and a greatly augmented orchestra, including four harps and a celesta (in last week's performance, Stokowski managed with a standard-sized orchestra and only one choir).
Tove is put to death by the queen, and Waldemar, as punishment for blaspheming against the gods in his grief, is condemned to ride nightly across the skies in a Wilde Jagd (wild hunt).
In its heaving harmonies, its breast-beating emotionalism, its air of Teutonic mysticism, Gurrelieder has no style of its own, is almost a parody of the musical philosophy that Richard Wagner imposed upon whole generations and that survived in the more grandiose visions of Strauss and Gustav Mahler.
www.time.com /time/magazine/article/0,9171,894452,00.html   (606 words)

 Untitled Document   (Site not responding. Last check: 2007-10-07)
This live recording of Schoenberg’s huge cantata, Gurrelieder, is based on performances given in the Philharmonie during the Berlin Festival in September last year, featuring an extraordinary cast of soloists, 3 choirs, and the massed ranks of the Berlin Philharmonic Orchestra, all under the masterful direction of Sir Simon Rattle.
Schoenberg’s Gurrelieder is only the second EMI Classics release since the announcement of Rattle’s new responsibilities.
The first release – a live recording of Mahler’s 10th Symphony in Deryck Cooke’s realisation – was greeted with universal critical and popular acclaim, winning a profusion of awards, including a Grammy Award for Best Orchestral Album, two Classical Brit Awards, and Gramophone’s Record of the Year.
www.emiclassics.com /newreleases/apr02/press_rel/gurrelieder.html   (455 words)

 Gurrelieder (1911) Arnold Schoenberg: Perth International Arts Festival 2003
Written for the largest orchestral forces ever assembled (twice the size of a traditional orchestra), eight part mixed choir, three part male choruses, five solo singers and speaker, Gurrelieder is one of the richest romantic works ever realised - for many it even outclasses Wagner's Tristan and Isolde in beauty and power.
Gurrelieder is about the legend of 12th century King Waldemar and his passionate love for Tove.
In its WA Premiere, Gurrelieder opens with a Sunset Prelude one of the most heart melting pieces of lustrous orchestration ever written and finishes one hundred minutes later in a cataclysmic full orchestra Hymn to the Sun.
www.perthfestival.com.au /2003_archive/GurreliederArnoldSchoenberg.html   (361 words)

 Schoenberg: Gurrelieder -- Original liner notes
The Gurrelieder constitute both the final synthesis of the musical tradition of the 19th-century and the beginning of a new world of sound which was to become the specific acquisition of the musical activity of the 20th-century.
The fact that the Gurrelieder present a series of dramatic structures within a rigorously organized symphonic continuity, or, vice versa, a series of symphonic structures within a rigorously organized dramatic continuity, is certainly a novelty of itself.
Although Arnold had done a considerable amount of research on the historical background of the Gurrelieder, and appended to the first edition a résumé of his researches on the subject, his knowledge of the Danish language was far from profound and his translation is inaccurate in detail, often grossly so.
www.cd101.net /VBX204notes.html   (4106 words)

 Stereophile: Recording of August 2002: Schoenberg: Gurrelieder
By the time it was premiered in Vienna in February 1913, he had already composed Pierrot Lunaire and Erwartung, music that had gone in a direction so new that it literally had caused a revolution in the way people listen.
The first performance of Gurrelieder was a great success, but, as Schoenberg wrote much later, in 1937, he was not happy at its triumph: "I foresaw that this success would have no influence on the fate of my later works.
But as conductor Simon Rattle says in an interview in the accompanying booklet, Gurrelieder is "the world's largest string quartet"—indeed, it is a huge piece of chamber music.
www.stereophile.com /recordingofthemonth/647/index.html   (876 words)

 MTO Dissertation List
The climactic moment at the end of "Tauben von Gurre!" (also known as the Song of the Wood Dove), from the last section of Part I of Gurrelieder, is built on what appears to be a half-diminished seventh-chord with a root of scale-step moving repeatedly and powerfully to tonic triads.
Traditional theory would likely account for this half-diminished sonority as an alteration or embellishment of a more familiar functional chord.
The study culminates in a close examination of the Song of the Wood Dove--the song that motivated this project--with special attention to the local-level and large-scale roles played by the half-diminished sonority.
mto.societymusictheory.org /docs/diss-index.html?id=7   (236 words)

 WNYC - Music - Schoenberg in the Spotlight   (Site not responding. Last check: 2007-10-07)
Gurrelieder / Simon Rattle/ Berlin Philharmonic/ Mattila; von Otter; Moser; Langridge; Quasthoff
In his colossal orchestral song cycle Gurrelieder, Schoenberg audaciously tried to sum up the entire 19th-century ethos of German lieder and Wagnerian music drama.
The score calls for one of the largest orchestras ever assembled on one concert platform, including 25 woodwind, 25 brass, 11 percussion, three four-part male voice choirs, and a mixed eight-part choir.
www.wnyc.org /music/articles/3063   (433 words)

 Gurrelieder a Memorable Saraste Swansong
Observing the activities of the concertgoers before the show, one sensed a real air of occasion and anticipation not felt since Andrew Davis brought an end to his regime with Mahler's 8th Symphony many moons ago, complete with the presentation of a canoe to the maestro brought onstage by his musicians.
Originally planned for the ill-fated, strike-torn season two years ago, Gurrelieder was axed by the then budget-conscious TS manager, Catherine Cahill, who opted for the low-risk – and some would argue, low brow, programming of Kathleen Battle in recital.
So it is quite a vindication for Saraste that his final two concerts of this most daunting of 20th Century works were completely sold out.
www.scena.org /columns/reviews/010616-JS-gurrelieder.html   (590 words)

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