A massive experience
Stefan Steinsson | Hvolsvelli, Iceland | 11/19/2002
(4 out of 5 stars)
"I had once been told, that Schoenberg's pre-modern, i.e. late-romantic, music were so boring as hardly to merit discussion. This proved to be wrong. First I fell for Verklaerte Nact; then Pelleas und Melisande and finally Gurrelieder. After that I believe Schoenberg's late-romantic compositions will receive a higher level of attention in the near future than hitherto, as they surely deserve.
Having never listened to Wagner much, and not overly enthusiastic about Mahler, I had gained relatively little insight into gigantism. Gurrelieder therefore was a pleasant, yet somewhat overwhelming surprise. I would not be surprised if it stood head and shoulders over other gigantic opuses from the same time and age.
Advantages: Mr. Ozawa knows how to handle the orchestra and I have little to comment. It is interesting to see how magnificiently Schoenberg scores for the huge woodwind and brass ensemble. I got hold of a study score to read along whilst listening: this gives a deeper insight to the music, as many students will know. - The jester is superb, as is the narrator (Kurt Weill has learned a lot from these passages!)
Disadvantages: The soprano sounds rather unlike "lille", which in Danish means "little"; you imagine a young girl, Tovelille, "Little Dove". The soprano here sounds like a matron. On the other hand, King Waldemar sounds almost too young and boyish, esp. early on in the work. Not very heroic. Schoenberg keeps the choir until late; they just stand and wait. A bit awkward. Of course Tovelille has to leave when she dies, but it is slightly ambiguous how persons "come and go".
Is it a cantata or an oratorio? Dmitri Shostakovich might have called it a symphony, cf. Babi Yar and No. XIV. Albeit a very long symphony. Anyway, it is a great experience. Something to bring along to a desert island. Probably Schoenberg's best opus."
