| Boulez-Edition: Schönberg (Werke für Solostimme und Kammerensemble) | ||||||||||||||
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Der Mond ist der Tod and die Nacht ihren Garten • • • • • (bewertet mit 5 von 5 Punkten) "Erwartung" is a beautiful piece of singing with a light musical accompaniment and from time to time that music is used to emphasize, amplify a vocal accent or expression. We are quite ahead of what vocal music is producing and even is going to produce at that time or just after. The voice is an instrument that is used to create an atmosphere that is needed for the real meaning of the text. The singing is not only an embellishment. It is fully meaningful and signifying. The meaning is very sad, bleak, sinister even, and dominated by the Moon, a sort of master haunting the landscape and the mind of the singer, of the character. Then the musical texture of this piece is also quite new, as if Schoenberg refused to create a musical line that could be qualified as harmonious in any way. He works on intervals we are not used to hear in vocal music before him, with high jumps and deep dives here and there to express fear and even fright, and then at times notes that are so close, with minimal intervals to give the impression of a non-moving and silent and even dead of death-carrying presence, world. At times the voice gets lost in the music and it brings to the whole a texture, a feeling of a human character manipulated by the music, and the meaning of the word leads you to thinking that the character is manipulated, controlled by the Moon, by Death behind and the German language makes that presence and power very invasive since both of them have the force and the might of their masculine gender. Nothing feminine in that. Pure masculine domination, and when this masculine master is Death, you can imagine how complete the submission to the night and its creatures from beyond the limits of life can be. And then the morning forces to say goodbye, goodbye to the myriads of creatures of the night, the myriads of men the character wants to kiss a last time and be burnt by them, penetrated and possessed by their inner fire. And the morning brings nothing but a sense of want, absence, deprivation, it could be castration, but how can it be that for a woman, except if we call Jacques Lacan to our side and consider that castration is mental and it is the loss of the Ideal of the Ego, what he calls the Phallus, and he always adds that even women have a phallus, quite differentiated from the penis that is an only male organ. It is thus the loss of personal existence, of personal essence, of life, and the last notes of the piece are like the vanishing of a magical being in a small noiseless explosion of smoke, like opening your eyes at the end of a vision of a nightmare and seeing the world is just what it has always been, and the vision had only been conjured in your mind by a sorcerer, the Moon or Death themselves. "Pierrot Lunaire" is nothing new for me and I have already written on this work and how it works on psalmody as opposed to prosody, or vice versa. Here Pierre Boulez does not make the woman sing since she is not supposed to but he makes her speak in such a way that the music of the language comes out in its rhythms and tempos both measured by the speed but also by the repetitions, assonances and other regularities. And he transforms the German intonation of language in such a way that it becomes a music of its own. German starts singing like a nightingale under the moon, a sad blind nightingale chirping along and away into death. The whole work is composed of 21 poems. Each poem has 13 lines. The 21 (3 x 7) poems count 63 stanzas (6 + 3 = 9) and the complete number of lines is 819 (8 + 1 + 9 = 9 + 9 = 18 = 6 + 6 + 6). The beast of John's Book of Revelation is ever present: 666 (Revelation, 13) and three times 9 (idem, Jerusalem Bible's notes on 666). The night is dominant and the main luminary is the moon which is associated to blood and red, and to the dead and death. The negative linguistic elements are overpowering, particles for verbs, negative for nouns and words with negative meanings (blind, mute). This extremely negative vision of the night, the moon and Pierrot, the embodiment of both, is in perfect continuity with the poets, writers and other musicians of that period before the First World War when everything was too good to be true, to last forever. The vision of the moon of course is essential here and perverted just like in the previous work into a dangerous conjurer if not black magic sorcerer, a voodoo priest. An apocalypse is obviously coming up. The last work "Lied der Waldtaube" is in perfect continuity with the previous two. A woman again singing a dirge of fear and death. The music is maybe slightly more psalmodious or even melodious though leading here and there to shrill cries amplified by the music itself that can even sound like a tolling bell in the near distance like at the end of the work. Pierre Boulez receives this music personally and he gives it a special delicacy that enhances the power and the intensity of the bleakness of the vision. It is then launched into eternity and we have to learn to live with that menace over our heads all the time. Eine Rezension von Jacques COULARDEAU "A soul doctor, so to say" OLLIERGUES France vom 15. März 2009 | ||||||||||||||
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