Gurrelieder was written in two stages, over 11 years. In the intervening years Schoenberg had developed so much that its successful premiere left him feeling almost angry. Couldn’t the audience hear where he was heading? Nearly a hundred years have passed since that first performance, so we’re in a better position to understand Gurrelieder’s place in the repertoire. On Saturday 28/2/09, Esa-Pekka Salonen led the Philharmonia in a superb performance that made it clear why Schoenberg was to have such an influence on modern music.
The Waldtaube‘s music is Erda-like, for she sees all, and represents a kind of earth conscience. Schoenberg clothes the part with music that evokes the Waldtaube’s panoramic vision : she sees the monk tolling the Angelus, we heard the orchestra solemnly creating it in sound. Monica Groop’s voice has mellowed nicely as she’s matured. Stig Andersen has sung a lot of Wagner, and it shows in the way he shapes the mighty “Herrgott, weisst du” sequence.This is just part one, so please see part two HERE In many ways this is the more important part because it's where Schoenberg breaks new ground artistically : Magnificent music whoich proves that new and atonal can be passionately moving. The CD ius now out : The original programme notres underplayed Part 2 soit maybe useful to read about part 2 here if you get the CD,