Pelléas et Mélisande, Op. 5 is a symphonic poem by Arnold Schönberg, inspired by Maeterlinck's Pelléas et Mélisande. The work is in a single movement divided into four linked parts. His language is always tonal and post-romantic. The music attempts to reconcile, on the one hand an illustrative, even descriptive aspect, and on the other hand, a symphonic desire that translates its formal requirements, its architectural attention, while using easily identifiable brief melodic cells linked to the characters and the situations. The partition provides melodic sketches based on intense chromatism and flirts with an impressive ecstatic climate. Among the innovations, we will note scales by tones and chords by superposition of fourths, the outline of a first advance towards atonality. The rich polyphonic work and the summation of several subjects and motifs accentuate the complexity of the work and the demands necessary for its approach in the face of the disappearance of usual benchmarks. The complexity and disquietude of the abundant sound fabric contrasts with other musical readings of Maeterlinck's piece, hence the violent reactions from the public during the creation, then immediately from the critics. There is no doubt today that Schoenberg's Pelléas et Mélisande could benefit from a more positive reception despite his frank opposition to the canons of late romanticism which made him famous. *Lucien*
Pure beauty. Thank you for sharing this recording ❤️👏
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Pelléas et Mélisande, Op. 5 is a symphonic poem by Arnold Schönberg, inspired by Maeterlinck's Pelléas et Mélisande. The work is in a single movement divided into four linked parts. His language is always tonal and post-romantic. The music attempts to reconcile, on the one hand an illustrative, even descriptive aspect, and on the other hand, a symphonic desire that translates its formal requirements, its architectural attention, while using easily identifiable brief melodic cells linked to the characters and the situations. The partition provides melodic sketches based on intense chromatism and flirts with an impressive ecstatic climate. Among the innovations, we will note scales by tones and chords by superposition of fourths, the outline of a first advance towards atonality. The rich polyphonic work and the summation of several subjects and motifs accentuate the complexity of the work and the demands necessary for its approach in the face of the disappearance of usual benchmarks. The complexity and disquietude of the abundant sound fabric contrasts with other musical readings of Maeterlinck's piece, hence the violent reactions from the public during the creation, then immediately from the critics. There is no doubt today that Schoenberg's Pelléas et Mélisande could benefit from a more positive reception despite his frank opposition to the canons of late romanticism which made him famous. *Lucien*
Thank you for sharing 😊
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« Music begins where the power of words ends » *Richard Wagner*
Wunderbar....🎉🎉🎉
Dankeschön! 😊
Good to be reminded that Schoenberg could write proper music when he put his mind to it.
Ok…