How I wish I could be in Salzburg next week - Birtwistle Gawain and the Green Knight
(coming unstaged to the Barbican next year) and Walter Braunfels's Jeanne d'Arc, Szenen aus dem Leben der Heiligen Johanna
. Manfred Honeck conducts. He made the only recording
, released in 2012. Juliane Banse sings Joan, as she did on the recording but look who else is in the cast! Bryan Hymel singing the Archangel Michael, Pavol Breslik singing Charles de Valois, Thomas E Bauer the Archbishop and Johan Reuter as Gilles des Rais. This is luxury casting indeed, infinitely better than the recording (though Banse is superb). There was also a staged production (Schlingensief director, conductor ULf Schirmer) in Berlin in 2010, also with Juliane Banse. Braunfels is at last getting megastar billing.
Braunfels' Jeanne d'Arc, Szenen aus dem Leben der Heiligen Johanna
.is eclipsed by the fame of Die Vögel
a masterpiece, tighter, more concise and conceptual. The piece is mock medieval, but like Hindemith's Mathis der Maler
, Hartmann's Simplicius Simplicissimuss
, (more HERE
) Orff's Carmina Burana
and indeed Braunfel's Die Verkündigung.
) and Honegger's Joan of Arc at the Stake
). It happened not only in music but in the visual arts, architecture and
film. Clean lines, stark drama, stylized symbolism. All keynotes of the
period. Think also of films like Dreyer's The Passion of Joan of Arc
or Eisenstein's Alexander Nevsky
(with music by Prokofiev).
Medievalism was a way towards modernism. There's nothing retro or escapist in these pieces. Far too much is made
of the fact that fashion changed after the war, and this music didn't
get performed. After the trauma of the Second World War, people were
hardly in the mood to deal with reminders of the period, especially
when, up to 1989, much of central and eastern Europe was still
controlled by the Soviet Union, in direct consequence of the war.
Similarly, the "jazz age" and modernity of the 1920;s was a reaction
against the trauma of the First World War and the forces that shaped it.
It's nonsense to blame Schoenberg or modern music for the eclipse of
composers like Braunfels. Every decent composer creates something personal and original. Cultures survive because they adapt.
Braunfels fought at the front during the First World War. The trauma completely changed his perspectives. Die Vögel
is is an early stage in Braunfel's's engagement with the issues of the 20th century. Jeanne d'Arc i
s in many ways its culmination, politically, spritually and musically.
Braunfels started writing Jeanne d'Arc
1938. He'd been proscribed by the Nazis, and made an unemployable
non-person whose music could not be performed in public. Hitler was
threatening war, staved off by British appeasement. By the time
Braunfels completed the opera in 1943, war had broken out all over again
on an even wider scale than the war he'd known. This time his sons were
at the front.. The madness was happening all over again."We are like
castaways on a desert island, around which the hurricane continues to
rage", he wrote.
Braunfels' choice of subject was deliberate. Joan of Arc rallied the
French against English invaders. This time France was invaded by
Germans. Joan was a powerless girl who stood up to overwhelming forces.
Throughout Europe in the 1920's, 30's and 40's, Joan was a symbol
explored in plays, movies, and music. Braunfels' most direct
inspiration was Paul Hindemith's Mathis der Maler
which he heard in Zurich in 1938. By connecting to medieval Christian
Europe, Braunfels eschews both totalitarian anti-religion and the kind
of nationalism that causes war.
Braunfels' libretto, which he wrote himself after reading about Joan's
trial, places the context firmly in a time of crisis. A chorus of
villagers cry in panic, Hilfe, Hilfe
! As Joan's father later says "An Himmel lohnt drer Brand von tausend Höfen"
Johanna, however, is sitting by a tree from which a strange light is
shining. Voices tell her that she has a mission. She';s so child-like
that she sings a ditty, complete with tra la las. "Denn ein Kreiger, ein Kreiger, soll ich werden
Braunfels' music is pointedly pure and simple. Single instrumental
groups, often solo instruments, swathes of strings and winds suggest
flowing movement not decoration for its own sake. Even in the scenes in
the royal court, textures are clean, texts conversational. King and
knights, portrayed as ordinary men. When Saint Michael appears, he's
almost one of their own. For the faithful like Johanna, (and Braunfels),
saints are as natural as normal people.
Braunfels uses a formal structure to frame the narrative, like a medieval painting. Three main sections, Der Berufung
(the summons) Der Triumph
and Das Leiden
, (Sufferings) unfold. Der Triumph
of course, lasts but a few minutes. It's preceded by a bizarre
interlude, after the first Act. The Herzog de la Trémouille steps in
front of the theatre curtain and sings a monologue. "When God created the Fool, he, the wisest of all, could be sure that scum (Abschaum) would arise from it".
The Duke thinks Johanna is scum, for she leads "Die dumpfe Masse" (stupid masses) "From
every hole there now crawls all who were poor, and who, deeply
humiliated, long for a 1000 year Reich - troopers, roughnecks, greedy
(Landsknechte, Raufbolde, geldsücht'ge Habenichste
). Ferocious dark chords, skeletal discords, smoky woodwinds. The vocal part is set with angular extremes. "And I alone"
sings the bass, "should be wrong because I don't follow deception and don't give in to urges".
Braunfels is referring to non-believers who distrust faith and
miracles. But the references to the rise of the Brownshirts are so
obvious that they can't be ignored. Anyone who thinks Braunfels was a
mindless, dreamy Romantic needs to hear this, and wonder what its upside-down morality might mean.
The moment of Johanna's triumph at Rheims with fanfares. At last the
music soars as one would expect, but this is no cinematic glory.
Braunfels keeps his colours clear, the text simple. "Johanna! Johanna!"
the townsfolk cry, but there's a chill, which prepares us for the next
scene, where at dawn, Johanna is communing alone with her voices. This
minor-key stillness seems the true heart of Braunfels' meditation,
We're spared the details of Johanna's first imprisonment. Each scene is
preceded by a Vorspeil that creates mood, but the one that begins the
third act expresses the passage of time. Johanna has been confessed and
recanted, yet she's still in prison. Dark rhythms, blasting timpani,
trumpets blasting, Johanna's voice ascending shooting up the scale, all
sudden, tense moments cut off in their prime. Distant kin of the jerky
bird rhythms of Die Vögel and Die Verkündigung.
Vicar Inquisitor condemns Johanna in a mix of speech and stylized
chant. The king and nobles call Johanna a fraud : their music vaguely
like medieval march. Then St Michael appears, a Lohengrin whom no-one
keening lines in the orchestra. We're now at the stake in the
marketplace at Rouen. Joan is calm for Saint Michael has told her why
she must die. Significantly, now, Braunfels gives Gilles des Rais
(Bluebeard) an interesting aria. "Nien, niemals, nein, niemals, so endet das nicht"
He can't believe that the real miracle is Johanna's death, not her
escape. Braunfels shows des Rais as sensitive, confused and desperate
for certainty, "Gewissheit! Gewissheit! Gewissheit!
". Perhaps it
was that crisis of faith that drove the historic des Rais into madness
and turned him into a mass murderer of innocent children? This is an
aspect of the story few explore, but Braunfels does it by implication,
and shows it as.a very 20th century anguish.
The Bishop of Beauvais insists "Mein System war der richtiges!"
, but the part is written to show the strain on the tenor's voice. Yet again, we hear the bird rhythms of Die Vögel
and how they function as exclamation points breaking up the vocal line.
Not comfortable, soothing or Romantic at all. In contrast, the deeper,
more lugubrious timbre of the Vicar Inquisitor, who shows more sympathy
with Johanna. The chorus howls like a mob and in a sudden crescendo, we
can hear the flames ignite. Screams and eerie"smoke" like cadences
from the orchestra. Gilles des Rais appears again, his last aria tinged
with extreme grief. He sees Johanna as Christ-like, but still can't
understand what her death means "Satan, du hast geseigt
". Only when the mob discovers that Johanna's heart did not burn do they realize a miracle has taken place. "Wir haben eine Heilige gebrannt"
cries the Vicar Inquisitor. By then, though, it's too late.
A recording of this Salzburg performance (one only) opera will be broadcast by ORF on Saturday, August 3, at 7.30 pm on the Ö1 channel.