Music Theatre since 1990 - Schott Music

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Dieter Schnebel St. Jago Music and Pictures to Kleist After Texts by Heinrich von Kleist Origin: 1990-1991 | 1995 (revised version) Language: German Cast: 4 singing voices (soprano · alto · tenor · bass) – 3 speakers (male voice, female voice, low male voice) 1991 Orchestra: Altfl. (auch Picc.) · 0 · 1 · Bassklar. (auch Kb.-Klar.) · 0 – 0 · 1 · 1 · 0 – S. (Messgl. · Röhrengl. · 3 Beck. · Tamt. · 3 Tomt. · 2 Bong. · kl. Tr. · gr. Tr. · Kast. · Besteck · 2 Clav. · Dose mit Kugeln · Donnerblech · Glas-chimes · Guiro · Gummibälle in Handtr. · Holzbehälter mit Holzkugeln · Hyoshigi · Löwengebrüll · Mar. · Metallfolien · Metallinstr. · Peitsche · Pistolenschuss · Porzellan · Rainmaker · Ratsche · Papiere · Sandbl. · Sistr. · Steine · Schotter im Kasten · iberische und lat.-amerik. Schüttelinstr. · Tempelbl. · Vogelpfeife · Wasser · Waldteufel · Windchimes · Windmasch. · 2 Woodbl. · Zweige · Glspl. · Vibr. · Marimba) (2 Spieler) – Hfe. · Cemb. · Synth. · elektr. Git. – Str. Duration: 85‘ Performance material on hire Remarks: The first version entitled Chili – Music and pictures to Kleist had its World Première in 1991 together with Schnebel’s Jowaegerli on the occasion of a double bill “Vergänglichkeit” (“Transience”) at the Hamburg State Opera. In the course of the revision of the work in 1995 the title was changed into St. Jago – Music and Pictures to Kleist. Selected Productions 12.05.1991 Hamburgische Staatsoper (WP) Marc Albrecht · Achim Freyer | Johannes Grebert · Maria-Elena Amos · Virginia Arndt 16.01.2005 Konzerthaus Berlin Steffen Tast · Cornelia Heger · Fred Pommerehn · Elke von Sivers 16
Synopsis Dieter Schnebel · Photo: Peter Andersen The principal voice in the musical-dramatic tale is the language of Kleist, in itself already highly musical in timbre and syntactic structure. […] The novella Das Erdbeben in Chili [The Earthquake in Chile] forms a quasi recurrent theme. The text is not transformed musically, for example incorporated in a musical setting, but is presented in musical form: in a particular tempo and dynamic level and also in a particular tonal colouring. This transformation occurs on the one hand according to musical criteria, e.g. a serial order of the types of speech and motif-like relationships on a higher level – on the other hand, psychic moods – ‘atmospheres’ – are conveyed though musical rhetoric. […] Each individual section has a particular method of performance in which its innermost content is expressed. Thus in the first section, the text of the tale ‘Der Todesschuss’ [The Fatal Shot] is spoken hesitatingly and softly; in the second section, ‘Das Geheimnis’ [The Secret], whispered rapidly, in the following section, ‘Der Skandal’ [The Scandal], sonorously, but in a sneering tone. Through this manner of expression, undertones come to the surface and deeper layers of the text are made accessible. […] The four sections of the ‘musical action’ depict essential moments of the novella and also utilise Kleist’s poetry: ‘Tremors’, ‘Night of Love’, ‘Day of Peace’ and ‘Death Orgy’. These are interludes which act as summaries. Words and music are combined in the prelude and postlude in which the subject is the poet himself. Extracts from Kleist’s letters from his later period run through the prelude ‘End of Kleist’ and utopian passages from his wonderful essay ‘On Marionette Theatre’ are quoted throughout the postlude. (Dieter Schnebel. Source: Hamburg State Opera 1991) Musically, Schnebel has formed Kleist’s and his two lovers’ journey towards death into an incredibly compact and disturbingly lurid current of emotion and moods; he creates an utterly contemporary and ominously threatening atmosphere through the chordal structure and the tense alternation between the spoken Kleist texts and the screams and panting of the vocalists. Thankfully, there are also idyllic highlights within this at times operatically lavish musical creation: refined and alienated “re-visions” of Romanticism and the art of motets, chorales and Carmina Burana. (Die Welt, 14.04.1991) 17
Page 1 and 2: Music Theatre since 1990 An annotat
Page 3: MUSIC THEATRE SINCE 1990 An annotat
Page 7 and 8: CONTENTS Works in chronological ord
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Page 11 and 12: Synopsis Ingomar Grünauer 1990 in
Page 13 and 14: Synopsis Outside the palace in Myce
Page 15: Synopsis “A murdered victim climb
Page 19 and 20: Synopsis Ubu is greedy for power, m
Page 21 and 22: Synopsis The penniless adventurer T
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Page 25 and 26: Synopsis The plot is imaginary, and
Page 27 and 28: Synopsis Aribert Reimann’s opera,
Page 29 and 30: Synopsis St. Petersburg (1.-3. scen
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Page 39 and 40: Synopsis Rodion Shchedrin’s Lolit
Page 41 and 42: Synopsis Volker David Kirchner gave
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Page 47 and 48: Synopsis Harvey Milk is inspired by
Page 49 and 50: Synopsis Rainer Maria Rilke depicts
Page 51 and 52: Synopsis This is a story based on t
Page 53 and 54: Synopsis It was surely an act of fa
Page 55 and 56: Synopsis In Antonio der Dieb [Anton
Page 57 and 58: Synopsis In the manuscript of the t
Page 59 and 60: Synopsis Viktor Ullmann composed hi
Page 61 and 62: Synopsis Emmeline Mosher is only 13
Page 63 and 64: Synopsis A country doctor is called
Page 65 and 66: Synopsis The immensely rich Marches
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Synopsis The prima donna, the heroi
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Synopsis Strange things are happeni
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Synopsis Hopper’s Wife imagines A
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Synopsis ‘The opera takes place i
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Volker David Kirchner · Photo: Pet
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Synopsis A rehearsal of the opera A
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Synopsis Majakowkis Tod [Mayakovsky
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Synopsis ‘Doctor Ox’s Experimen
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Synopsis ‘For me, Der Schimmelrei
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Synopsis Wilhelm Busch, the German
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Synopsis Ingomar Grünauer · Photo
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Synopsis The opera opens with the m
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Synopsis A poignant setting of the
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Kirchner, Volker David (*1942) Ahas
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König für einen Tag .............
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Thorne, Joan Vail .................
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St. Jago ..........................
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Music Theatre since 1990 - Schott Music

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