# 20th Century Operatic Masterpieces: Part One - Schoenberg's Erwartung



## Neo Romanza (May 7, 2013)

20th Century Operatic Masterpieces: Part One - Schoenberg's _Erwartung_



















The year 1909 was an extremely important one for Schoenberg. It was at this time, immediately following the composition of the song cycle The Book of Hanging Gardens, Op. 15, that Schoenberg made his definitive break with tonality and began exploring alternative means of musical organization. In the Piano Pieces, Op. 11, and the Five Orchestral Pieces, Op. 16, he attempted to move toward a form more dependent on texture, dynamics, and rhetorical gesture than on pitch-oriented or motive-oriented systems of organization. His most extreme experiment in this regard was Erwartung (Expectation), a monodrama for soprano and orchestra on a text by Marie Pappenheim. This was a completely unique creation that attempts to portray the interior monologue of a woman waiting to meet her lover in a forest. Schoenberg himself said that the work could be understood as a nightmare scenario -- the entire reality exists in the woman's mind on a purely psychological level. There is no realistic time frame -- past, present, and future are blurred and the setting itself remains only suggestive and indistinct. Upon her discovery of her lover's murdered body (and there is some hint that she herself may have been the murderer), the unnamed woman proceeds through a confused and disturbed series of emotions as she remembers their love, his betrayal with another, to a strange sense of exhausted reconciliation.

In spite of a vestigial presence of D minor throughout the work, Schoenberg had by now abandoned tonality. But the treatment of such a difficult scenario required a new approach that could almost be called athematic. In his attempt to faithfully portray the hysterical, fragmentary, stream of consciousness, he created a score that mirrors and responds immediately to each of the many quixotic emotional changes in the woman's mind. In a very real sense, the score is through-composed, as there is no organized repetition except for very short fragments, generally for rhetorical effect and with no structural coherence or significance. The entire 20-minute work has no discernible musical structure outside of the general and vague sections suggested by the changing scenario of the text. Its primary effect is that of constant transformation and progression.

Erwartung is as evocative and powerful a work as anything Schoenberg composed. Its vivid scoring and invention perfectly capture the sense of psychological breakdown and impending disaster inherent in the text. The fact that Schoenberg composed the score in the astonishingly short time of 17 days may account in part for its coherence, despite the lack of formal organization. Because of its unusual format, and extraordinary difficulty, Erwartung had to wait until June 6, 1924, to receive its premiere, where Marie Gutheil-Schoder created the role of the woman.

[Article taken from All Music Guide]

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This particular period of Schoenberg's music (known by many as his "Free Atonal" period) is one of my favorites. The unpredictability of the music and the ever-changing textures are what initially lured me into _Erwartung_, but what kept me coming back was the emotionally changed musical narrative. This is Expressionism in music at its finest, folks. I know some members here won't like this piece, because they still feel that Schoenberg is "the curse of the 20th Century music". But, whatever, let the naysayers run their mouth. _Erwartung_ is a compelling piece of music and it's dark magic has yet to let go, which is a testament to the brilliance of this composer's music.


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## Lisztianwagner (2 mo ago)

I was waiting for something by Schönberg!🙂
Seriously, _Erwartung_ is absolutely a masterpiece, a very introspective, thrilling and beautifully suggestive work, of an extraordinary expressive incisiveness, so tense and dramatic, that it definitely sound like it can bring out, truly and vividly, all the profound, strong emotions hidden in the depth of the unconscious. There are dense, complex but incredibly inventive textures because of the combinations of rich orchestral colours, harmonic contrasts, rhythms and melodies, never repeated, but always different and in continuous transformation; the atmosphere evoked is absolutely immersive and captivating, alternating glimpses of apparent calmness, instead so anxious and restless, with hautingly overwhelming parts growing in such sharp and strident, but powerful climaxes; there's also a very impressive use of the timbres, explored in all the pitches with the most varied instruments as well as a superb use of the voice, so frightening and anguishing in its expressiveness of the human feelings, but completely able to capture and impress.
I sometimes like comparing this monodrama to the love duet in the second act of _Tristan und Isolde_: they are both set in a nocturnal landscape, with two lovers waiting to meet themselves and with a music which reveals much more than what the characters do and say on the staging, but while in Wagner's scene there's an endless, intense passion, which can realize itself only through the night, that hides and protects Tristan and Isolde, and transfigures itself into a sublime, ecstatic dimension, in Schönberg's piece passion becomes very tormented, desperate and neurotic, full of anxieties and even delusions (during the night that is not benevolent and protective anymore, but grim and dark), before calming down, all hopes broken, and melting in the finale in nuances of extremely timbral brilliance.
Well, Schönberg was a genius, no doubt about that.


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## Neo Romanza (May 7, 2013)

Lisztianwagner said:


> I was waiting for something by Schönberg!🙂
> Seriously, _Erwartung_ is absolutely a masterpiece, a very introspective, thrilling and beautifully suggestive work, of an extraordinary expressive incisiveness, so tense and dramatic, that it definitely sound like it can bring out, truly and vividly, all the profound, strong emotions hidden in the depth of the unconscious. There are dense, complex but incredibly inventive textures because of the combinations of rich orchestral colours, harmonic contrasts, rhythms and melodies, never repeated, but always different and in continuous transformation; the atmosphere evoked is absolutely immersive and captivating, alternating glimpses of apparent calmness, instead so anxious and restless, with hautingly overwhelming parts growing in such sharp and strident, but powerful climaxes; there's also a very impressive use of the timbres, explored in all the pitches with the most varied instruments as well as a superb use of the voice, so frightening and anguishing in its expressiveness of the human feelings, but completely able to capture and impress.
> I sometimes like comparing this monodrama to the love duet in the second act of _Tristan und Isolde_: they are both set in a nocturnal landscape, with two lovers waiting to meet themselves and with a music which reveals much more than what the characters do and say on the staging, but while in Wagner's scene there's an endless, intense passion, which can realize itself only through the night, that hides and protects Tristan and Isolde, and transfigures itself into a sublime, ecstatic dimension, in Schönberg's pieces passion becomes very tormented, desperate and neurotic, full of anxieties and even delusions (during the night that is not benevolent and protective anymore, but grim and dark), before calming down and melting in the finale in nuances of extremely timbral brilliance.
> Well, Schönberg was a genius, no doubt about that.


Ah, but we must remember that there is only one woman out in the forest losing her mind and this is after she bumps into her dead husband's body. Nothing particularly Wagnerian about this!  Anyway, I agree with a lot of what you say and, for me, this is one of my favorite Schoenberg works. When I first heard this work, I'll be honest here, I couldn't make heads or tails out of it, but contribute this to the fact that I wasn't paying much attention to the unfolding story, but when I finally grabbed the libretto and followed along, it clicked with me in a huge way. Now I can't get enough of it! But, I'm careful, not to overplay anything I love now for the simple fact that I don't ever want to reach the stage being burnt out. Do you have any favorite performances?

Here are a few of mine:


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## BBSVK (10 mo ago)

Do you have reasons to be here and not with "us" in the Opera subforum ? 
We are quite active as a subgroup.
But, theoretically, you could desire to discuss this in the broader frame of the classical music, not just opera.


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## feierlich (3 mo ago)

One of my absolute favourites of Schönberg! I recommend this recording by Gerd Albrecht and Inga Nielsen:


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## Lisztianwagner (2 mo ago)

Neo Romanza said:


> Ah, but we must remember that there is only one woman out in the forest losing her mind and this is after she bumps into her dead husband's body. Nothing particularly Wagnerian about this!  Anyway, I agree with a lot of what you say and, for me, this is one of my favorite Schoenberg works. When I first heard this work, I'll be honest here, I couldn't make heads or tails out of it, but contribute this to the fact that I wasn't paying much attention to the unfolding story, but when I finally grabbed the libretto and followed along, it clicked with me in a huge way. Now I can't get enough of it! But, I'm careful, not to overplay anything I love now for the simple fact that I don't ever want to reach the stage being burnt out. Do you have any favorite performances?
> 
> Here are a few of mine:


Sure, there aren't the same subjects, inspirations and intents, both works have similarities, but many more differences, there's not anything Romantic in Schönberg anymore; Isolde is not exactly losing her mind (and of course, Tristan is not dead when the lovers finally meet) like Schönberg's woman, but nonetheless it is interesting to notice that, after drinking the love potion, she burns for irrational desire and her mind is now in a dreamy, unreal dimension far from reality, without awareness of the surrounding world: she doesn't care either for dangers, for Melot's betrayal or Marke's anger, because now nothing but Tristan has importance for her, and even after they have been caught, she continues to act as if only she and Tristan exist, no one else. It is really fascinating how the female character are psichologically developed, both in Wagner and in Schönberg. As a matter of fact, both works are connected to psychoanalysis in some ways (although Wagner's opera a bit less directly).
When I listened to _Erwartung_ for the first time, I followed the composition while reading the text, I can't enjoy a work if I can't understand what is said in the text; the experience was astounding and definitely, I can't get enough of that too. 
About recordings, my favourites are the same Boulez and Sinopoli you have posted, stunning performances, but I would like to try Levine and Gardner too.


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## Neo Romanza (May 7, 2013)

BBSVK said:


> Do you have reasons to be here and not with "us" in the Opera subforum ?
> We are quite active as a subgroup.
> But, theoretically, you could desire to discuss this in the broader frame of the classical music, not just opera.


There's more "foot traffic" in the "Classical Music Discussion" sub-forum than the "Opera" sub-forum and I just think this series (as with all the threads I've done of this nature) belong here.


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## Neo Romanza (May 7, 2013)

feierlich said:


> One of my absolute favourites of Schönberg! I recommend this recording by Gerd Albrecht and Inga Nielsen:


No, that's the wrong piece. I'm referring to _Erwartung_, the monodrama from 1909. The piece you're referring to is part of a song cycle - _4 Lieder_, which just happens to have a song that has this same name.


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## feierlich (3 mo ago)

Neo Romanza said:


> The piece you're referring to is part of a song cycle - _4 Lieder_, which just happens to have a song that has this same name.


Yeah that's YouTube's fault. The video itself is correct.


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## Neo Romanza (May 7, 2013)

Lisztianwagner said:


> Sure, there aren't the same subjects, inspirations and intents, both works have similarities, but many more differences, there's not anything Romantic in Schönberg anymore; Isolde is not exactly losing her mind (and of course, Tristan is not dead when the lovers finally meet) like Schönberg's woman, but nonetheless it is interesting to notice that, after drinking the love potion, she burns for irrational desire and her mind is now in a dreamy, unreal dimension far from reality, without awareness of the surrounding world: she doesn't care either for dangers, for Melot's betrayal or Marke's anger, because now nothing but Tristan has importance for her, and even after they have been caught, she continues to act as if only she and Tristan exist, no one else. It is really fascinating how the female character are psichologically developed, both in Wagner and in Schönberg. As a matter of fact, both works are connected to psychoanalysis in some ways (although Wagner's opera a bit less directly).
> When I listened to _Erwartung_ for the first time, I followed the composition while reading the text, I can't enjoy a work if I can't understand what is said in the text; the experience was astounding and definitely, I can't get enough of that too.
> About recordings, my favourites are the same Boulez and Sinopoli you have posted, stunning performances, but I would like to try Levine and Gardner too.


If backed into a corner and forced to choose one recording of _Erwartung_, it would be Jakubiak/Gardner on Chandos. I've listened to this performance more than any others. There's a certain atmosphere in this recording that is wholly inviting to the ear.


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## Neo Romanza (May 7, 2013)

feierlich said:


> Yeah that's YouTube's fault. The video itself is correct.


Okay...well, this another reason why I avoid listening to music on YouTube.


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## Lisztianwagner (2 mo ago)

Neo Romanza said:


> If backed into a corner and forced to choose one recording of _Erwartung_, it would be Jakubiak/Gardner on Chandos. I've listened to this performance more than any others. There's a certain atmosphere in this recording that is wholly inviting to the ear.


Thank you, I've found it on youtube (I've checked, it's _Erwartung_, no confusion with other pieces), I'll have a listen to it as soon as possible!


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## Neo Romanza (May 7, 2013)

Lisztianwagner said:


> Thank you, I've found it on youtube (I've checked, it's _Erwartung_, no confusion with other pieces), I'll have a listen to it as soon as possible!


Great! I'll definitely be curious to read what you think of this performance. Please post your comments here (since this is a thread about this work after all).


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## feierlich (3 mo ago)

Neo Romanza said:


> Okay...well, this another reason why I avoid listening to music on YouTube.


I myself don't use YouTube to listen to music either haha, mainly use Qobuz and bought CDs. It's just the most convenient way to share a specific album or track.


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## Lisztianwagner (2 mo ago)

Neo Romanza said:


> Great! I'll definitely be curious to read what you think of this performance. Please post your comments here (since this is a thread about this work after all).


I've listened to Gardner's recording and I liked it a lot, such a thrilling performance! He handles the asymmetric pace of the work as well as its rhythms, harmonic contrasts and the orchestral tones very well, creating a very compelling, haunting atmosphere; especially in the sudden, cutting climaxes and in those passages growing abruptly in energy and intensity, he brings out a lot of anxiety and restleness that depict greatly the hysterical, tormented state which the woman innerly develops and her frenetic actions; instead the quieter sections have maybe a bit too peaceful sound at times, lacking a little that extra touch of tension to give the impression that, despite the calmness and the limpid light of the moon, there's something uneasy always present (I don't know, I think Boulez's and Sinopoli's recordings manage to evoke a gloomy, anxious atmosphere in the soft passages in a more effective way); but on the other hand, it can not be negative, because it makes the contrasting textures stand out in a very fine way.


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## Monsalvat (11 mo ago)

Seeing this thread reminded me that I need to find a copy of _Die glückliche Hand_. For some reason, _Erwartung_ is at least somewhat popular, but I've never even heard _Hand_. Is there any good reason why _Erwartung_ is more popular?


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## feierlich (3 mo ago)

Monsalvat said:


> Seeing this thread reminded me that I need to find a copy of _Die glückliche Hand_. For some reason, _Erwartung_ is at least somewhat popular, but I've never even heard _Hand_. Is there any good reason why _Erwartung_ is more popular?


For me, no! _Die glückliche Hand_ is no less a masterpiece. In fact I remember Stravinsky said _Die glückliche Hand_'s originality not only surpassed composer's own _Die Jakobsleiter_, but even Boulez's _Le Visage nuptial _paled in comparison.


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## Lisztianwagner (2 mo ago)

Monsalvat said:


> Seeing this thread reminded me that I need to find a copy of _Die glückliche Hand_. For some reason, _Erwartung_ is at least somewhat popular, but I've never even heard _Hand_. Is there any good reason why _Erwartung_ is more popular?





feierlich said:


> For me, no! _Die glückliche Hand_ is no less a masterpiece. In fact I remember Stravinsky said _Die glückliche Hand_'s originality not only surpassed composer's own _Die Jakobsleiter_, but even Boulez's _Le Visage nuptial _paled in comparison.


For me neither, I absolutely agree about the superb quality of Schönberg's _Die glückliche Hand_! It is an impressive work, very thoughtful and introspective, maybe harsh and strident in its use of the dissonance and the harmonic contrasts, nonetheless it is extremely beautiful and compelling; its complex system of symbologies, connected to different colours is also very fascinating.


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## Neo Romanza (May 7, 2013)

I love _Die glückliche Hand_, too! I believe this opera is also from his "Free Atonal" period as this is before he developed his 12-tone technique.


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## Neo Romanza (May 7, 2013)

Monsalvat said:


> Seeing this thread reminded me that I need to find a copy of _Die glückliche Hand_. For some reason, _Erwartung_ is at least somewhat popular, but I've never even heard _Hand_. Is there any good reason why _Erwartung_ is more popular?


I love both operas, but I think _Erwartung_ is one of Arnie's finest works.


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