[Op. 17]. Erwartung (Monodram) Dichtung von Marie Pappenheim... Klavierauszug mit Text von Eduard Steuermann. [Piano-vocal score]. Arnold SCHOENBERG.

[Op. 17]. Erwartung (Monodram) Dichtung von Marie Pappenheim... Klavierauszug mit Text von Eduard Steuermann. [Piano-vocal score]

Wien: Universal Edition A.G. [PN U.E. 5362], [1950]. Folio. Original publisher's printed wrappers. [1] (title), [2] (instrument list and copyright notice), 3-47, [i] (blank) pp. With publisher's catalogue to lower wrapper [Nr. 35].

Wrappers slightly worn and soiled. Margins slightly worn, browned, and creased, not affecting music. Occasional annotations and marks in red and gray pencil.

A re-issue of the first edition. Rufer (Engl.) pp. 34-36. Ringer p. 313. Tetsuo Satoh p. 11-12, no. 17.

Erwartung, a "Monodram" to a libretto by Marie Pappenheim, was first performed in Prague at the Neues Deutsches Theater on June 6, 1924.

"In August 1909, shortly before starting work on Erwartung, Schoenberg described in letters to Busoni the ideal towards which he was then striving in his music. He wanted to leave behind him concentration on separate feelings in unreal isolation, along with the associated musical structures controlled by conscious logic, and find a means of expressing the multiplicity of contradictory feelings that can arise simultaneously from the unconscious. He had just asked a young doctor of his acquaintance, Marie Pappenheim, to write an opera libretto for him on a subject of her own choosing. It is clear from the resulting drama that she was familiar with recent psychological and psychoanalytical thought, and that she must have known about Schoenberg’s current preoccupations..." O.W. Neighbour in Grove Music Online.

"Marie Pappenheim’s syntax consists of a paratactic, disorganized series of sentence fragments that permit associations in the form of a lyric monologue to crystallize from the psyche of the woman: 'I always wrote exaltedly, without direction, reflection, censorship, page after page, between the verses other thoughts.' The dissolution of syntax in the concentrated language of the monologue corresponds to a liberation of the functional structures of tonality. Small motivic cells are subjugated to a permanent mutation and propelled by an inner impulse of the text (recitative-like motion without repetition or pause). Tempos change according to psychological impulses of fear, a 'seismographic record of traumatic shock' (Theodor W. Adorno). " Therese Muxeneder, schoenberg.at. Item #26678

Price: $75.00  other currencies

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