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2013 marks the centenary of the first performance of Schoenberg’s – if not the early 20th century’s – essay in gargantuism. The forces involved were unprecedented: in addition to the soloists (soprano, mezzo-soprano, two tenors, bass and speaker) there were three male-voice choirs and an eight-part mixed choir; and the 150-piece orchestra included 25 woodwind, 11 percussion, 4 harps and 80 strings. In 1903 he had even been compelled to ask the Waldheim–Eberle Press to prepare him some special 48-stave manuscript paper. The reception at the first performance was overwhelming: the ovation lasted fifteen minutes; the composer’s denigrators were silenced, and many members of the audience wept. The title means ‘Songs of Gurre’, referring to Gurre Castle in Denmark, scene of the medieval love-tragedy revolving around the Danish national legend of the love of the Danish king Valdemar Atterdag (spelt Waldemar by Schoenberg) for his mistress Tove, and her subsequent murder by Valdemar’s jealous Queen Helvig. Its performances and recordings have attracted some of the world’s finest dramatic sopranos – among them Susan Dunn and Jessye Norman, and here, Sharon Sweet. In a survey of this work, Gramophone magazine selected this, Claudio Abbado’s recording as the finest ever made. It was, then, only available for digital download, and is now, after an absence of several years, returns to the CD catalogue in a year which also celebrates Abbado’s 80th birthday. Reviews Gramophone Magazine … Abbado’s interpretation, is the most Expressionistically detailed of all. The textures shimmer and then glint to reveal Schoenberg’s’ own sea-change in orchestral writing over a decade … Abbado and the Viennese live dangerously – and when day breaks and that prickly cactus Schoenberg finally blooms, they are unrivalled in splendour. – Peter Quantrill MusicWeb International 6th September 2013 “Everything about this recording impresses. Siegfried Jerusalem is on top form as Waldemar. He seems able to encompass all aspects of the role…This is a tremendous account of Gurrelieder, which I’m sure is one of the foremost versions in the catalogue Presto Music August 2014 “Somewhat unusually, Abbado chooses a female speaker (Barbara Sukowa) for the one song that employs the half-sung, half-spoken technique known as Sprechstimme, but for me this makes perfect sense as it looks forward to the use of the same technique in the later work for female voice and small ensemble, Pierrot Lunaire. The enormous forces of the Vienna Philharmonic, and the combined choral might of the Konzertvereinigung Wiener Staatsopernchor, Arnold Schoenberg Chor, and Slowakischer Philharmonischer Chor Bratislava also help to make this a truly thrilling recording. – James Longstaffe |
