ARNOLD SCHOENBERG: 5 Orchesterstucke Op. 16; 6 lieder Op. 8; Notturno (1896)/ J. S. BACH (arr. by Arnold Schoenberg 1929) Prelude and Fugue BWV 552 – Manuela Uhl, soprano/ Beethoven Orchester Bonn/ Stefan Blunier – MD&G multichannel SACD (2+2+2) 937 1584-6, 63:54 [Distr. by Koch] ****:
Throughout the history of Western music rare individuals have come along who have been transformative. Beethoven’s music exceeded the boundaries of the 18th – 19th centuries. Arnold Schoenberg arguably was the twentieth century’s Beethoven, breaking the form of German romantic expressionism while creating the music of the future.
If you question the premise, this disc should change your mind. The selections included span the styles of the very late nineteenth/early twentieth century. Schoenberg’s recently published Notturno for Harp, Solo Violin and Strings is a lovely, gossamer, three minute piece, which could have been composed by Debussy. The 6 Lieder Op. 8 are very much Richard Strauss in their opulence of vocal and orchestral composition despite their “hovering tonality”. The 5 Orchesterstucke Op. 16 are groundbreaking. In 1909, Schoenberg expanded his tonal language as well as sound and mood. . As he described in a letter asking Richard Strauss to perform the work: “I have colossal expectations of them, especially as regards sound and mood. But they are absolutely not symphonic – the direct opposite in fact: no architecture, no structure. Just an uninterrupted alternation of colors, rhythms, moods.” Op. 16 foreshadows Schoenberg’s coming masterpieces.
In 1929 Schoenberg completed his orchestral transcription of the Bach organ Prelude and Fugue in E flat “St. Anne”. It is for “grosser orchester gesetz”; as if the constraints of the organ limited Bach’s music. Schoenberg’s orchestration makes full use of brass choir, piercing woodwinds, athletic string playing and crystalline percussion timbres employing tympani, triangle and glockenspiel. The results are Bach-Schoenberg. This is dramatic music, Bach with adrenaline.
As an historical reference, there is a Vanguard Stereolab recording VSD-2120 (c.1965) of J.S. Bach Orchestral Transcriptions by Schoenberg, Stravinsky and Webern. It is performed by the Utah Symphony Orchestra led by one of my 20th century conducting heroes, Maurice Abravanel. The “St. Anne” prelude and Fugue is contained and is played with great drama and precision. It is more vivid than the Blunier recording but no less successful. The other Schoenberg, Stravinsky and Webern transcriptions are masterfully done.
The Beethoven Orchester Bonn under Music Director, Stefan Blunier is very fine and obviously deeply committed to this music. Well-balanced instrumental groups, great clarity in the most densely orchestrated sections, characterize these performances. Always structural clarity is emphasized. The music breathes. The soloist – Manuela Uhl in the 6 Lieder Op. 8 – is dazzling. Ravishing sound and vocal technique allow her to become at one with the orchestral canvas. No mean achievement!
Dabringhaus and Grimm’s SACD multichannel recording is lifelike, evoking hall ambience, instrumental placement and dimensionality without stridor. This disc, an affirmation of Schoenberg’s position in the 20th century, chronicles the emergence of a musical giant. Highly recommended.
— Ronald Legum
