Written only six years apart, these two works share a common narrative of frustrated love, and the concept of the forest as a metaphor for the subconscious mind. Musically they are wildly different, however; Pelleas, which Schoenberg wrote in his late twenties, is the epitome of his late romantic style, indebted to Richard Strauss. Erwartung (his first work for the stage) was written after his conversion to atonality. Maurice Maeterlinck's play Pelleas et Melisande fired the imaginations of several of the greatest composers of the time. Debussy began writing his opera almost immediately after it's publication in 1892, and within a decade or so Faure and Sibelius had created elaborate incidental scores for different stage productions of the play. Schoenberg composed his tone poem in 1902 - 03, for a large-scale (Straussian) orchestra. Schoenberg seems to have put himself into a state of free association to write Erwartung, which he completed in just seventeen days in August 1909. 'In Erwartung, the aim is to represent in slow motion everything that occurs during a single second of maximum spiritual excitement, stretching it out to half an hour', he wrote. Not only the first solo opera, this is perhaps also the first cinematic one.
Written only six years apart, these two works share a common narrative of frustrated love, and the concept of the forest as a metaphor for the subconscious mind. Musically they are wildly different, however; Pelleas, which Schoenberg wrote in his late twenties, is the epitome of his late romantic style, indebted to Richard Strauss. Erwartung (his first work for the stage) was written after his conversion to atonality. Maurice Maeterlinck's play Pelleas et Melisande fired the imaginations of several of the greatest composers of the time. Debussy began writing his opera almost immediately after it's publication in 1892, and within a decade or so Faure and Sibelius had created elaborate incidental scores for different stage productions of the play. Schoenberg composed his tone poem in 1902 - 03, for a large-scale (Straussian) orchestra. Schoenberg seems to have put himself into a state of free association to write Erwartung, which he completed in just seventeen days in August 1909. 'In Erwartung, the aim is to represent in slow motion everything that occurs during a single second of maximum spiritual excitement, stretching it out to half an hour', he wrote. Not only the first solo opera, this is perhaps also the first cinematic one.
095115519820
Erwartung / Pelleas & Melisande (Hybr)

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Format: CD
Label: CHANDOS
Rel. Date: 05/01/2020
UPC: 095115519820

Erwartung / Pelleas & Melisande (Hybr)
Artist: Sara Jakubiak
Format: CD
New: Available 19.99
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DISC: 1
MP3
1. Pelleas Und Melisande, Op. 5: Die Ein Wenig Bewegt
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2. Pelleas Und Melisande, Op. 5: Ein Wenig Bewegter - Heftig
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3. Pelleas Und Melisande, Op. 5: Sehr Warm, In Breiter Bewegung
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4. Pelleas Und Melisande, Op. 5: Lebhaft - Etwas Zuruckhaltend - Wieder Lebhaft
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5. Pelleas Und Melisande, Op. 5: Sehr Rasch
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6. Pelleas Und Melisande, Op. 5: Sehr Langsam
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7. Pelleas Und Melisande, Op. 5: Sehr Langsam, Gedehnt.
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8. Pelleas Und Melisande, Op. 5: Langsam
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9. Pelleas Und Melisande, Op. 5: Ein Wenig Bewegter - Etwas Bewegter
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10. Pelleas Und Melisande, Op. 5: Viel Rascher; Beschleunigend
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11. Pelleas Und Melisande, Op. 5: Sehr Langsam - Etwas Langsamer
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12. Pelleas Und Melisande, Op. 5: In Gehender Bewegung
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13. Pelleas Und Melisande, Op. 5: Breit - Langsam - Nach Und Nach Wieder Ins Tempo
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14. Erwartung, Op. 17, Scene 1: Hier Himein?
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15. Erwartung, Op. 17, Scene 2: Ach! Nur Der Mond
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16. Erwartung, Op. 17, Scene 3: Ash! Nur Der Mond
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17. Erwartung, Op. 17, Scene 4: Er Ist Auch Nicht
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18. Erwartung, Op. 17, Scene 4: Das Mondlicht
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19. Erwartung, Op. 17, Scene 4: Es Ist Noch Da
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20. Erwartung, Op. 17, Scene 4: Oh, Es Ist Heller Tag
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21. Erwartung, Op. 17, Scene 4: Nein, Das Ist Doch
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22. Erwartung, Op. 17, Scene 4: Du Siehst Wieder Dort
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23. Erwartung, Op. 17, Scene 4: Oh! Nicht Einmal
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24. Erwartung, Op. 17, Scene 4: Liebster, Liebster
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More Info:

Written only six years apart, these two works share a common narrative of frustrated love, and the concept of the forest as a metaphor for the subconscious mind. Musically they are wildly different, however; Pelleas, which Schoenberg wrote in his late twenties, is the epitome of his late romantic style, indebted to Richard Strauss. Erwartung (his first work for the stage) was written after his conversion to atonality. Maurice Maeterlinck's play Pelleas et Melisande fired the imaginations of several of the greatest composers of the time. Debussy began writing his opera almost immediately after it's publication in 1892, and within a decade or so Faure and Sibelius had created elaborate incidental scores for different stage productions of the play. Schoenberg composed his tone poem in 1902 - 03, for a large-scale (Straussian) orchestra. Schoenberg seems to have put himself into a state of free association to write Erwartung, which he completed in just seventeen days in August 1909. 'In Erwartung, the aim is to represent in slow motion everything that occurs during a single second of maximum spiritual excitement, stretching it out to half an hour', he wrote. Not only the first solo opera, this is perhaps also the first cinematic one.