Franz Schreker

[albion]

I was thinking in the present context in terms of your ideas about their reputations and the fate of their work rather than of the music itself!

Again, my knowledge is probably too limited to offer very much of any use, but I think in general that the Second Viennese School has an undeserved reputation for difficulty - to cite just a few works, Berg's Violin Concerto and Wozzeck, and Schoenberg's Variations, Op.31 (a work I studied at university) should in all honesty be very accessible and rewarding to most informed listeners. There is a persistent myth that these composers simply wrote music 'without melody' and that with hindsight they represented a dead-end in twentienth-century musical evolution (echoes of Schreker's obituaries) - this is of course utter nonsense. If their compositional techniques are at all discredited today this does nothing to nullify their very real achievement but rather reflects on humanity's age-old knee-jerk rejection of the work of previous generations. Hopefully, they will come to be seen as essentially romantic (that is, emotionally-motivated) composers inhabiting an excitingly different harmonic world. I think basically that their position will be secure - but also that a lot of damage is done when a composer's critical 'reputation' is taken on trust by lazy listeners who have never bothered to acquaint themselves with the actual music. Well, I did warn you that I hadn't got much to contribute! 

[Alan Howe]

Well, I've listened extensively to the music of the 2VS and I have to say that I find its ideas - when taken to their logical conclusion - lead to a musical dead-end. Schoenberg's Op.31 is never going to be 'accessible' because it speaks an alien language; by contrast, Berg preserves enough musical language that is accessible in his VC for it to be appreciated. Sure, this language can be learned, but for me that's the point - it doesn't come at all naturally...

[ahinton]

Well, I've listened extensively to the music of the 2VS and I have to say that I find its ideas - when taken to their logical conclusion - lead to a musical dead-end. Schoenberg's Op.31 is never going to be 'accessible' because it speaks an alien language

so for "alien language" should we read "(comparatively) easy listening"?

by contrast, Berg preserves enough musical language that is accessible in his VC for it to be appreciated. Sure, this language can be learned, but for me that's the point - it doesn't come at all naturally...

Would you say the same for the language of Berg's Chamber Concerto?

The point here is that there is can ultimately be no such thing as a universal definition of "accessible"; accessible to whom, how, when, why and by what means?

The piano concertos of Mozart were written in what was once for me an "alien language" because the innocent Boulez/Stockhausen/Nono etc. ears of my youth were simply not accustomed to the absorption of such music and I had no idea what to do with it...

[albion]

With CPO due to issue the 2010 Chemnitz Der Schmied von Gent, the Schreker completist might like to know that his 1928 opera Der singende Teufel is also available, as an off-air (or in-house) recording made during the 1989 Bielefeld production. Unfortunately the work was reduced from four acts to three, but the performance and recording are nevertheless more than acceptable (once you get over what sounds like somebody typing during the introductory organ Prelude). Very much in Schreker's later, more acerbic, style, the discs are well worth the extremely modest outlay:

http://www.operaaddiction.com/cd10343.html

[khorovod]

What a fascinating site, Albion - slightly off topic, but I see they have a recording of Thuille's opera "Lobetanz", not something I ever expected to get the opportunity to hear!

Thank you for the link.

[albion]

Thank you for the link.

My pleasure! Discs are made to order so there is a slight delay, but ordering is easy and they are very efficient.

[albion]

In anticipation of CPO's release of the 2010 Chemnitz production of Schreker's final opera Der Schmied von Gent I've spent the last couple of days listening to an off-air recording from German radio. In this extremely well-sung and played performance, the opera comes across as one of Schreker's very finest works. It's failure in 1932 clearly had nothing to do with the quality of the work itself but was politically and racially motivated - at the Berlin premiere there was an ovation until Schreker himself appeared before the curtain at which point boos and catcalls rang through the auditorium.

As one of Schreker's more unfamiliar operas, it might be helpful to give a brief synopsis of this colourful tale:

Smee is a blacksmith in 16th-century Ghent who mocks the occupying Spanish invaders. Denounced by a rival, he loses his business and is about to drown himself in the river Lys when the Devil tempts him with the offer of seven years good fortune in exchange for his soul. Smee accepts, but when the seven years of wealth are nearly over he is fearful about keeping his part of the bargain. Just then a couple with a baby arrive at the forge and Smee cheerfully replaces one of their donkey's shoes without charge. Of course, the couple turn out to be Mary and Joseph and for his generosity Smee is granted three wishes. He outwits three devils (a hangman, the Duke of Alba and Satan's mistress Astarte) and saves his soul but dies exhausted from the struggle. Here a further problem arises - neither Hell nor Heaven want to have anything to do with him, so Smee sets up a booth outside the gates of Heaven selling food to new arrivals (including his old friends from Ghent). When his wife arrives and is admitted through the gates she alerts Joseph to Smee's predicament. After weighing the blacksmith's good deeds against his bad ones, Smee is eventually granted entry into Heaven.

After the acerbic style of Christophorus and Der singende Teufel, for his final work Schreker returns to a generously melodic style and his customary fully scored texture rich with brass and percussion. Unusually amongst his works, there are a large number of brief orchestral interludes and dances, whilst the chorus has far more to do than in any other of his operas. Although the musical style is eclectic, ranging from tunes of folk-like simplicity to a grandiose finale at the gates of Heaven, the vigour and above all the colour of Schreker's score carries all before it.  Apparently the actual staging at Chemnitz was somewhat chaotic, but it would be hard to imagine a more dedicated musical performance - honours go to Oliver Zwarg as the blacksmith Smee who is on stage virtually without break for three long acts. Frank Beermann draws great sounds from the orchestra (the Robert Schumann Philharmonie) and gets the pacing of this Breugel-esque work just right: the CPO release should be a real winner!

[Pengelli]

The plotline is very intriguing. Was the libretto by Schreker? I believe,most,if not all of them were written by the composer,himself. This is certainly a different kind of opera from 'Der Schatzgraber'. (I know that Schreker's writing has been criticised,but it seems allot more interesting and coherent than Michael Tippetts stuff,which the critics used to drone on endlessly about). His orchestration has a leaner more astringent sound,you say,in his later opera's,but this is more melodic,even quite tuneful,perhaps.
Would you say his music sounds anything like that of say Rudi Stephan,in his wnderfully compact 'Music for orchestra',(A sort of steely,sinewy,but tuneful version of Richard Strauss),or a bit more so? I don't like my music 'too acerbic',to be honest. I love Franz Schmidt's music, for instance,but his,'Book of the Seven Seals' always has me reaching for the off button part way through. Conversely,Brian's 'Gothic Symphony',despite his reputation for gruffness,always has me singing along,right through to that marvellous hushed ending.
Just wondering,that's all!

[albion]

The plotline is very intriguing. Was the libretto by Schreker? I believe,most,if not all of them were written by the composer,himself. Would you say his music sounds anything like that of say Rudi Stephan,in his wnderfully compact 'Music for orchestra',(A sort of steely,sinewy,but tuneful version of Richard Strauss),or a bit more so?

For the first time since Flammen (1902) Schreker did not write his own libretto - he adapted the text of Smetse Smee taken from a collection entitled Flemish Tales (1858) by Charles De Coster (1827-1878). I'm afraid that I don't know any of Stephan's music, but (to misquote from the above) I would possibly describe Der Schmied von Gent as a sort of steely, sinewy but tuneful version of Franz Schreker! 

[Pengelli]

I like your dry sense of humour,Albion. I did ask for a comparison!
You certainly know your stuff! I just wanted to know,because splasing out on an opera you don't know,can be an expensive mistake. In fact your posts have made me re-evaluate Schreker. I had some idea that he  went on composing opera's along the lines of 'Der Schatzgraber',the only one I am really that familiar with.
Also,another plus point,'Der Schmied von Gent',has a 'happy ending',(of sorts). And there I was thinking Schreker was all sumptuous orchestration and late romantic gloom! Well,maybe not gloomy all the way through,but misery all round for the characters involved! The sort of thing that puts me right of the hideously overrated Puccini,even if I liked all that vacuous warbling,anyway! (Rossini's more fun!).
I like happy endings!

[albion]

I did ask for a comparison! I just wanted to know,because splasing out on an opera you don't know,can be an expensive mistake.

I don't honestly think that a comparison would really be very much help - at this late stage in his career Schreker's musical expression was so idiosyncratic. Judging from your response to Der Schatzgraber you certainly won't be disappointed by Der Schmied von Gent.

[Pengelli]

Thank you anyway! All the more a shame that he died when he did. I shall put this one on my list. It will be a rather interesting contrast to Humperdinck's 'Donroschen' opera,which cpo are due to release. (Another one on my 'list). Life after 'Hansel & Gretel',or should I say,'Konigskinder',eh?
To be fair,it's a bit unfair to compare the two. Both were craftsman,in their own right. But it just goes to show exactly how progressive Strauss & Schreker were.
I just wonder what Schreker would have done with a libretto like 'Schwanda the Bagpiper'? The mind boggles!

[albion]

In anticipation of CPO's release of the 2010 Chemnitz production of Schreker's final opera Der Schmied von Gent I've spent the last couple of days listening to an off-air recording from German radio.

The anticipation proved rather protracted. Well, at last I can ditch the radio broadcast - the two-disc CPO set of Der Schmied von Gent is an absolute winner, taken from the run of performances at Chemnitz -



Although Schreker vowed to make this a more 'populist' opera than Der singende Teufel (1924-28), this is certainly not a simplistic score by any means, with great demands placed especially on orchestra and (very heavily employed) chorus: the level of musical artistry on display in this performance is wonderful. If you already love Schreker's music, you probably already have this new recording on order - as a musical experience I think it represents a triumphant return to the form (but not the highly-charged romantic idiom) of Der Schatzgraber. CPO's presentation is excellent, with good essays which are not too convoluted in translation.

[albion]

Vocal scores available for download from the Internet Archive -

Der ferne Klang (1903-10) - http://archive.org/details/derferneklangope00schr

Das Spielwerk und die Prinzessin (1908-12) - http://archive.org/details/dasspielwerkundd00schr
Das Spielwerk (1915) - http://archive.org/details/dasspielwerkoper00schr

Die Gezeichneten (1911-15) - http://archive.org/details/diegezeichneteno1916schr

Der Schatzgräber (1915-18) - http://archive.org/details/derschatzgrber00schr

Der Schmied von Gent (1929-32) - http://archive.org/details/derschmiedvongen00schr

[minacciosa]

Schreker is a giant. I have no doubt that those overly critical assessments ar written by those who have not spent time withe librettos AND the music. Schreker's ability to write music that brings life to the psychology behind the words has been equalled but never surpasses IMO. Anyone even slightly interested in Schreker should read Christopher Hailey's biography. It's a fascinating and illuminating examination of the slow evolution of one music's most original voices.