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  Исполнитель(и) :
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  Наименование CD :
   Moses Und Aron (H Scherchen)



Год издания : 2001

Компания звукозаписи : Opera d'Oro

Время звучания : 1:51:32

К-во CD : 2

Код CD : OPD-1321 (7 23724 16642 4)

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Classics (Opera)      

Moses und Aron, biblical drama in 3 acts (unfinished)

А. Шёнберг. "Моисей и Аарон"

другое исполнение - G Solti

Синопсис (mymb-ru)

About 1 (en)

About 2 (en)

About, libretto (en,dh)

About (en,wiki)

Berlin State Opera Orchestra, Berlin Opera Chorus

Live performance at the Rome Opera, January 5, 1966

========= from the cover ==========

Moses und Aron (Arnold Schoenberg)

One of the functions of music has always been to try to express what might seem inexpressible in words. The philosophical issues inherent in such a concept were of great interest to Arnold Schoenberg (1874-1951), one of the 20th century's seminal composers. Aware of the close parallels between musical and religious thought, he was struck by the command of God in the Bible that "Thou shalt not make unto thee any graven image," and in his Four Pieces for Chorus, written in 1925, he expanded upon the sacred text: "For an image restricts, confines, comprehends what should remain unconfined and inconceivable." How, then, could an artist ever clearly communicate the inexpressible emotions, let alone the Divine Knowledge that he held within himself, no matter how well he might feel he understood them?

Schoenberg tried to work out this philosophical problem in his oratorio Die Jacobsleiter ("Jacobs Ladder") between 1917 and 1922, and in the opera Moses und Aron, begun in 1930, but found himself ultimately inarticulate; neither work was ever completed. Creative paralysis was not the only thing working against Moses und Aron, however. Schoenberg was ill with severe asthma. Then early in 1933, with the first two acts completed, he was forced out of Germany by the Nazis. Once in America he had little time to work on it, and a grant proposal to the Guggenheim Foundation to fund its completion was turned down. On top of all this, Schoenberg was a superstitious man who may have come to believe there was a jinx on Moses und Aron. The reason the second character's name is misspelled is that Schoenberg had a fear of the number 13; with the extra "a" removed, the tide had only 12 letters, and he was less worried. Nevertheless, it seemed that the Fates were arrayed against the opera from many vantage points, and whatever the reasons, it remains one of the most notoriously unfinished works of music since Schubert's Eighth Symphony. Schoenberg suggested that if the opera were not completed by his death, the text of the third act could simply be spoken (the part of Moses, after all, is entirely spoken). The opera ends with Moses' dilemma unsolved, his questions unanswered, and perhaps really it is more thought-provoking and effective that way.

Moses und Aron was premiered posthumously in concert form in Hamburg, Germany, on March 12, 1954. The first staged presentation took place a year later in Zurich. The first American performance was on November 2, 1966, at the Back Bay Theater in Boston. It is still not by any means a standard repertory opera, but it has had considerable succes d'estime and is considered by many a major 20th century masterpiece.

The Story.

Act I. The Voice of God, emanting from the Burning Bush, exhorts Moses to enlighten the Israelites as to His true nature-one, invisible, inconceivable. When Moses doubts his ability to communicate the divine message, God assures him that his brother Aron will be able speak on his behalf. Aron, in turn, doubts whether common people can form any attachment to the invisible. During their bondage in Egypt, many of the Israelites have adopted the religion of their overlords, and Aron finds that to win them over he must employ tangible miracles, including turning the rod of Moses into a serpent and the waters of the Nile into blood. At last aroused against Egypt, the Israelites follow Moses and Aron into the desert.

Act II. Moses has been on Mount Sinai for 40 days, awaiting God's revelation. Thinking their leader has abandoned them, the people demand a return to their pagan ways. Under threat, Aron creates for them a Golden Calf to worship. There ensues an orgy of dancing, drunkenness, fornication, murder and human sacrifice. When Moses descends from the mountain with the Tables of the Law, the Golden Calf vanishes and the people cringe in terror. Moses insists on the worthlessness of images and the superiority of abstract thought, but when Aron points out that the very tablets of the Ten Commandments are physical things, Moses smashes them in doubt and frustration. The Israelites, believing again in the God of their fathers, follow a pillar of fire into the distance. Aron interprets the pillar not as an image of God, which would be idolatrous, but merely a signpost sent by God to show the way to him. Moses despairs of ever being able to express the inexpressible.

Act III. This scene, for which Schoenberg never composed the music, is a final debate between the two brothers. Aron has been arrested for idolatry and is reproved by Moses. The guards want to kill Aron, but Moses orders him released; nevertheless, as soon as his chains come off, Aron falls dead.

- Bill Parker


  Соисполнители :

Alice Oelke (Vocals)
Fritz Hoppe (Vocals)
Gunther Treptow (Vocals)
Hans-Heinz Nissen (Vocals)
Helmut Melchert (Vocals)
Ivan Sardi (Vocals)
Josef Greindl (Vocals)
Loren Driscoll (Vocals)
Marina Turke (Vocals)
Robert Hoffmann (Vocals)
Ronald Reitan (Vocals)
Werner Gotz (Vocals)


№ п/п

Наименование трека

Текст

Длительность

Комментарий
   1 01 Act 1 - Scene 1         0:09:34 Moses Und Aron, Biblical Drama In 3 Acts (unfinished)
   1 02 Act 1 - Scene 2         0:07:44 -"-
   1 03 Act 1 - Scene 3         0:05:39 -"-
   1 04 Act 1 - Scene 4         0:08:11 -"-
   1 05 Act 1 - Dieser Stab Fuhrt Euch         0:09:42 -"-
   1 06 Act 1 - In Der Wuste         0:07:59 -"-
   2 01 Intermezzo         0:02:03 -"-
   2 02 Act 2: Scene 1         0:03:20 -"-
   2 03 Act 2: Scene         0:07:28 -"-
   2 04 Act 2: Scene 3         0:09:12 -"-
   2 05 Act 2: 'Frei Unter Eigenen Herren'         0:17:50 -"-
   2 06 Act 2: Scene 4         0:01:03 -"-
   2 07 Act 2: Scene 5         0:12:10 -"-
   2 08 Act 3: Scene 1         0:09:37 -"-

      Обозначения:

 T   'щелкнуть' - переход к тексту композиции.

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Последние изменения в документе сделаны 20/10/2016 22:09:14

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