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Schoenberg: Pelleas und Melisande, Op. 5 | David Grimal & Les Dissonances | Enescu Festival 2023

Arnold Schoenberg: Pelleas und Melisande, Op. 5 | David Grimal & Les Dissonances | George Enescu Festival | 22.09.2023 | Romanian Athenaeum Recorded from public broadcast. Enjoy! Please subscribe for more content like this! Cheers! _____________________________________________________ Schoenberg's Pelleas und Melisande (1902-1903) is one of several compositions that has come to be regarded as the last gasp of Romanticism -- or one of its grandest survivors -- while simultaneously suggesting a future path for music. In this respect, it has much in common with the old-new music of Gustav Mahler, whose Fifth and Sixth symphonies were taking shape at roughly the same time. Of the two composers, it was Schoenberg ("Schönberg" until moving to the United States in 1934) who at the turn of the century clung more tenaciously to the past, a past dominated above all by Richard Wagner's by then nearly half-a-century old Tristan und Isolde, whose themes, dramatic and musical, haunted Schoenberg. The immediate inspiration for Pelleas und Melisandewas Maurice Maeterlinck's 1892 drama, which gave rise to numerous other musical treatments, most notably the incidental scores by Fauré and Sibelius and Debussy's opera -- the latter to serve as a guiding light for a generation and more of European composers. The Belgian-born (in 1862) Maeterlinck and his misty Pelléas et Mélisande -- Schoenberg dropped the French accents, literally and figuratively -- proved to be the right man and play at the right time, presenting a shadowy, open-to-many-interpretations world of inner conflict. In this it served as a counterpoise, intentionally or not, to the socially-conscious naturalist drama (think Ibsen) that had long reigned in Europe. Maeterlinck's world of half-lights, of repressed and barely expressed emotions that could burst forth frenziedly, if briefly, proved ideal musical fodder. If the Fauré and Sibelius scores mined the play's delicate poignancy and Debussy's its elements of longing, menace and mystery, Schoenberg took his cue from its dark, destructive passions. The subject of Pelleas und Melisande was introduced to Schoenberg in 1901 by Richard Strauss, who had facilitated the younger man's move from Vienna to Berlin and helped him obtain a position at one of the city's outstanding music schools, the Stern Conservatory. Strauss thought Maeterlinck's play had operatic potential and that Schoenberg was the man for the job. Neither composer was at the time aware of Debussy's opera-in-progress. Schoenberg, still unaware of what had happened four months earlier in Paris -- i.e., the well-publicized (there) premiere of Debussy's work -- began his symphonic poem in July of 1902. (Herbert Glass)