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Schoenberg's Sprechstimme
5
Transcript
Schoenberg's
Sprechstimme
Historical Context of
Sprechstimme
- Melodrama
- Other uses of Sprechstimme before Schoenberg
- Melodrama was a popular 18th and 19th-century theatrical style. It combined spoken recitation with musical accompaniment.
- Several famous works such as La Traviata and Offenbach's Orpheus in the Underworld use sections of melodrama.
- Wagner utilized non-sung vocal techniques such as:
- Sprechgesang recitative
- Screaming (with notated pitches)
- Humperdinck used Sprechstimme in an 1897 opera.
- Terrible reception
- Changed for 1910 version
- Post-Schoenberg, Berg used Sprechstimme in Lulu and Wozzeck.
Three Examples of Schoenberg's Sprechstimme
Gurre-Lieder
Pierrot lunaire
- Schoenberg's first Sprechstimme work
- Oratorio based on Danish legend
- All roles except the Sprecher are traditionally-sung roles
- He used x-noteheads
- Deliberate pitch choices
- No performance instructions at the time of publication
- Schoenberg's most famous Sprechstimme work about the famous Pierrot character, based on Albert Giraud's poem cycle
- Sprechstimme is different than it was in Gurre-Lieder
- Different note heads
- Detailed performance instructions
A Survivor from Warsaw
Moses und Aron
- A Survivor from Warsaw is a brief work for Sprechstimme, men's chorus, and orchestra
- Moses und Aron is an unfinished opera
- Different notation
Emerald Lessley
Inconsistencies
- Schoenberg's depiction differs in these works
- Performance instructions differ or change over time
- His preferred performers and recording change over time and seem inconsistent
My Opinion:
I think that Schoenberg's initial ideas were grand/idealistic, and he had a difficult time explaining (and possibly deciding) exactly what he wanted. By the end, he had more realistic expectations of the performances, and he notated his Sprechstimme with those expectations in mind.
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