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theme itself remains somewhat concealed, which prompted Brahms’s good friend, music critic Eduard Hanslick, to write that the movement comprised of “variations without a theme”. The five variations are followed by a coda in the ethereal E Major. The last movement is more dynamic, containing an exchange of lively episodes with fugal sections and expansive melody. Is it necessary to be familiar with the events surrounding Agatha in order to understand this music? Perhaps the answer to this question lies in the fact that the composer began to plan the sextet before the brief love affair and finished it some five years after it. PROGRAM / PROGRAM 64 Arnold Schoenberg gave Johannes Brahms an exalted position amongst his artistic sources. Above all, he valued his type of ‘developing variation’, a principle we can also discover in Schoenberg’s twelve-tone technique. But before Schoenberg developed his new technique of composing with twelve interdependent tones in the 1920s, he modelled himself after the musical modern. He was attracted to the world of the enormously expanded Wagnerian harmony and poeticism, which in music could be poured into the form of the symphonic poem. It is precisely in his most popular work, Verklärte Nacht (Transfigured Night), that he combined the ideal of Wagnerian music (chromatic harmony, the idea of musical poeticism) and Brahmsian economy (working with constantly changing motivic cells, the chamber ensemble). Together with his mentor and friend Alexander Zemlinsky, who had led him to the secrets of both Wagner and Brahms, Schoenberg set off in the summer of 1899 for a short break in Payerbach, south of Vienna. The emergence of Schoenberg’s early work is also connected with a love story: it was in Payerbach that Schoenberg fell in love with Matilda, Zemlinsky’s sister. Schoenberg was immediately seized by a creative fever and in just three weeks composed a symphonic poem based on a poem by Richard Dehmel, a poet who had an explicit influence on Schoenberg’s aesthetic outlook. Dehmel’s poetry is clearly located in a time of decadence, which the poet tries to overcome with numerous less than credible moral prejudices. This is also true of the selected poem, which is conceived as a conversation between a man and a woman walking through the forest in the moonlight. The woman confesses to the man that she is carrying a child, but that it is not his. In his loving reply the man declares his preparedness to accept a child as his own as a mark of his great love for the foreign child. Today, Verklärte Nacht counts amongst the composer’s most frequently performed works, but on its premiere performance in 1902 critics were not well disposed towards it. Some even reproached Schoenberg saying that it was as if his score had come about by the composer smudging a damp manuscript of Wagner’s music drama Tristan and Isolde. Many critics were also disturbed by the selection of apparently inappropriate material: the symphonic poem did not have an external <strong>program</strong>me, but instead was more a picture of the psychological conflicts and the atmosphere of the natural environment. Furthermore, the Majority of critics could not accept that the composer had been able to combine two worlds in his musical language that until then
had been regarded as incompatible: that of Brahms and that of Wagner. The composition is made up of two parts with an introduction and an epilogue. The introduction brings the thematic idea in d Minor, while the first section presents the dramatically charged confession of the woman, marked by a motive on the viola. In the central section the atmosphere shifts; the weighty sound world is exchanged for a gentle lyricism, and the short motivic breaths are transformed into a long restrained melody in D Major, representing the response of the man. The work concludes with an epilogue, which clearly paints the placid atmosphere of the ‘transfigured’ night. Gregor Pompe Prevod / Translation: Neville Hall PROGRAM / PROGRAM 65
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3.-13. september 2009 Maribor, Slov
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UVODNIKI / EDITORIALS 4 Lani mi je
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UVODNIKI / EDITORIALS 6 Implausibly
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Ob 150. obletnici Slomškovega prih
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Glasba lahko izreče neizrekljivo U
Page 13 and 14: Festival Maribor The Maribor Festiv
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Page 41 and 42: Richard Tognetti o Musici Surfici P
Page 43 and 44: Derek Hynd o Musici Surfici Deskarj
Page 45 and 46: Jon Frank o Musici Surfici Ime mi j
Page 47 and 48: Glide, Somewhere To capture an esse
Page 49 and 50: Derek Hynd about Musica Surfica Sur
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Page 59 and 60: Richard Dehmel: Ozarjena noč iz zb
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Page 79 and 80: Elena Kats-Chernin (1957*): Re-inve
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enabled him to break through to the
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Četrtek, 10. September 2009 / Thur
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“You are worth as much as you are
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Josepha Haydna upravičeno štejemo
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koračniški utrip), solistična li
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towards the end of 1876, just after
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Petek, 11. September 2009 / Friday,
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točk, recitativov in zborov, venda
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y his own opera company. Soon compe
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Sobota, 12. September 2009 / Saturd
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diha. Koncert pa zaključuje rondo
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In his concertos, Mozart in a way r
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Sobota, 12. September 2009 / Saturd
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naroči novo skladbo in tako ne le
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Leipziška tradicija je za veliki p
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Johann Sebastian Bach’s obituary
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unfolds on two levels. The first is
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IZVAJALCI / PERFORMERS 150 Boris Be
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IZVAJALCI / PERFORMERS 152 drugim n
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IZVAJALCI / PERFORMERS 154 Airesu,
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IZVAJALCI / PERFORMERS 156 Academy
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IZVAJALCI / PERFORMERS 158 As a spe
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IZVAJALCI / PERFORMERS 160 continue
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IZVAJALCI / PERFORMERS like, od teg
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friendly session of ‘duelling fid
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IZVAJALCI / PERFORMERS Od leta 1992
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IZVAJALCI / PERFORMERS continued hi
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IZVAJALCI / PERFORMERS 170 the oppo
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IZVAJALCI / PERFORMERS 172 Janez Po
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IZVAJALCI / PERFORMERS 174 čembali
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IZVAJALCI / PERFORMERS 176 nowned S
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IZVAJALCI / PERFORMERS 178 Danny Sp
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IZVAJALCI / PERFORMERS 180 One of N
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IZVAJALCI / PERFORMERS 182 rato Sal
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IZVAJALCI / PERFORMERS 184 Slovakia
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Informacije in prodaja vstopnic INF
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POKROVITELJI / SPONSORS Generalni p
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PROGRAMSKA KNJIŽICA / PROGRAMME BO
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