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SérgioNepomuceno



Registado em: Segunda-Feira, 13 de Novembro de 2006
Mensagens: 273

MensagemEnviada: Sáb Dez 23, 2006 10:05 pm    Assunto: Responder com Citação

ok, gente, mas pela últ. vez: se alguém estiver disposto a estabelecer uma DISCUSSÃO (nosw moldes propostos) referente ao tema, informar via mnsagem privada ou por aqui mesmo. Não vou ficar mais insistindo e implorando p/ discutir, visto que muitoas aqui dizem conhecer Wozzeck/berg e/ou strauss (Elektra, Salome)


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Bosco



Registado em: Sábado, 18 de Novembro de 2006
Mensagens: 211

MensagemEnviada: Dom Dez 24, 2006 9:48 am    Assunto: Responder com Citação

Não insista, tirando você, ninguém conhece essas óperas. Como sempre, filamos alguns resumos e chutamos.


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Sarastro



Registado em: Quinta-Feira, 2 de Novembro de 2006
Mensagens: 900
Localização: Brasil

MensagemEnviada: Ter Jan 09, 2007 10:57 am    Assunto: Responder com Citação

Subi o tópico. Wozzeck não merece a indiferença do final de página... Wink



_________________
Va, pensiero, sull'ali dorate...
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fanermaluco



Registado em: Terça-Feira, 7 de Novembro de 2006
Mensagens: 596

MensagemEnviada: Sex Jan 26, 2007 8:32 am    Assunto: Responder com Citação

Alguém sabe onde posso aranjar o ibretto do Moses na internet? Grato!


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fanermaluco



Registado em: Terça-Feira, 7 de Novembro de 2006
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MensagemEnviada: Sex Jan 26, 2007 2:31 pm    Assunto: Responder com Citação

Schoenberg’s “serial” compositional style:



Western music is built on the concept of major or minor tonality. A major or minor scale consists of 7 different tones (out of the 12 possible, including the sharps and flats) and an 8th tone which is a repetition of the 1st tone one octave (or 8 notes) higher. These scales are built according to an established formula of specific whole and half step intervals between the tones. There is a center of tonality to which all of the tones of a piece in a major or minor key gravitate. This is known as the tonic note. For example, if a piece of music is in the key of D major, it basically uses the notes of the D major scale (D, E, F sharp, G, A, B, C sharp and D). Other notes may be periodically used but the 8 tones mentioned above predominate. The note D itself is the tonic note and that tone gives the piece a feeling of repose or finality.

In the 1920’s, Arnold Schoenberg developed a system known as “12-tone” of “dodecaphonic” music. There is no tonal center. Each of the 12 chromatic notes has equal importance. There is no key signature; each accidental—sharp, flat or natural sign—is written in as needed. These 12 notes are written in what is called a “tone row.” In the strict 12-tone system, Schoenberg starts with an arrangement or ordering of the 12 pitches we find within an octave. Once we have such a row, the composer can present it forwards, backwards (known as retrograde), upside-down (known as an inversion) or upside-down and backwards (known as retrograde inversion). No note may be returned to until all 12 are used, however, repetitions are allowed as are rhythmic changes and octave displacements. This row may be written horizontally as in a melody, or vertically in a harmony rendering, or both horizontally and vertically simultaneously. On the surface, there would appear to be 4 possibilities for a 12-tone row—forward, backwards, upside-down and upside-down and backwards. An example of such a tone row can be seen in example #1a.






This particular 12-tone row is the only one used in the entire opera. In this row, the interval between the first and second notes goes up 1/2 step and the next interval is a descending diminished 5th. Example #1b shows an inversion of this tone row.





The interval between the 1st and 2nd notes is inverted, a descending ½ step. And the 2nd interval goes up by a diminished 5th instead of down as in the basic row. An interval by interval comparison between the basic row and the inverted row would continue in this way. Example #1c is the retrograde backwards version (Ex. 1a) and example #1d is the retrograde inversion, which is the inverted version (Ex. 1b) played backwards.









Furthermore, since this tone row can start on any of the 12 notes of the chromatic scale, there are actually 4 x 12 or 48 possibilities for that row. In addition, Schoenberg often uses only half, or even fewer of the notes of the row. Since the rhythmic combinations are unlimited and allowing for shortening of the 12 tones to 6 or even fewer, the number of possibilities borders on the infinite. Here a few specific examples of how Schoenberg uses this system in Moses und Aron.

The opera opens with 6 solo voices acting as a small chorus speaking to Moses from the Burning Bush. Example #2 shows the opening 2 measures of the opera as played by the orchestra and which duplicates the 6 tones of the 6 solo voices.






The first chord, read from the bottom note up, consists of notes 2-3-1 (B flat, A, E) of the tone row in example #1a. The second chord consists of the notes 12-10-11 (C, G sharp, B) of the same row. The third chord consists of notes 2-3-1 of the inverted retrograde transposed up a minor 3rd. (In other words, if one looks at notes 2-3-1 of example #1d, the retrograde inversion, they are G, B flat and F sharp. Transposing those notes up a minor third places them on B flat, D flat and A, precisely the notes of the third chord from the bottom up). The fourth chord consists of notes 12-10-11 of the retrograde inversion, also transposed up a minor 3rd. (If one looks at notes 12-10-11 of example #1d, the retrograde inversion, they are A, D and G sharp. Transposing those notes up a minor third places them on C, F and B, precisely the notes of the fourth chord reading from bottom to top).

The first discernable melodic theme to emerge in the opera is the promise of God to Moses that his people are the chosen ones. The first 6 notes of this theme (Ex. #3) contain notes 12-7) of the basic tone row series mentioned above or notes 1-6 retrograde (Ex. 1c), while the 2nd measure is simply an extension of it.






Bar 3 in this example #3 contains notes 1-6 of the basic row (Ex. #1a) with a similar 3-note extension.

The second melodic theme (Ex. #4) in its first bar is identical with notes 6-1 of the retrograde inversion (see Ex. #1d) starting on D rather than B (transposed up a minor 3rd).






In the second complete bar, the notes are identical to notes 7-12 of the direct retrograde row (Ex. 1c). The 3rd bar has notes 7-12 of the inverted retrograde (also transposed up a minor 3rd); the 4th bar has notes 7-12 of the basic row and the 5th bar consists of notes 1 and 2 of the basic row.

Here is an example of Schoenberg’s use of the complete 12-tone row (Ex. #5), starting on C sharp, a major 3rd higher than the original row, but keeping the exact intervals.






Some of the notes are immediately repeated for textual reasons. This row occurs in Aaron’s first vocal line in the opera as Moses goes out to meet his brother in the desert. Aaron greets his brother with the words, “O son of my fathers, are you sent by mighty God?”

Three central themes—God himself, his law and his promise represent order in its most absolute aspect and the 12-tone system is the musical symbol of this order. The further the people stray from God and his law and promise, the more freely Schoenberg treats the connection between these themes and the basic tone-row set.


Juxtaposition of Moses and Aaron:

In the opera there is conflict between Moses the thinker and philosopher on the one hand and Aaron as a practical man of action on the other. The most obvious musical contrast between the two of them is that the role of Moses calls for a style known as sprechstimme, while the role of Aaron is sung throughout in the 12-tone system described earlier. Sprechstimme, or speech-song, calls for the approximate reproduction of pitches in a spoken voice. The notation of the note heads contains x’s on specific lines and spaces with stems and flags to indicate rhythms. Here is an example of the use of Sprechstimme upon Moses’ first appearance in the opera as he talks to God in the Burning Bush (Ex. #6).






Note all the expression marks—crescendo and decrescendo—as well as tempo changes, as if it were sung. By contrast, Aaron’s music is sung by a tenor. In an almost aria-like expression, Aaron shows the love he has for his people in the second scene of the opera when he meets Moses in the desert to help carry out God’s calling to free the Hebrew slaves (Ex. #7).





It starts in the unusual meter of 5/4 and changes to 4/4 and 6/4 before returning to its original 5/4 and ending in 4/4. Unusual for 12-tone music, this excerpt both starts and ends with seemingly tonal ascending intervals of a perfect fifth. This scene closes with a duet between the brothers. Aaron’s voice is sung in prayer, “Almighty One, be the God of these people, release them from Pharoah’s bondage,” while Moses, in sprechstimme says, “Law of thought irresistible, forces fulfillment.”


The Chorus:

There are only two major roles in the opera, that of the two title characters. Except for a few minor characters who have short cameo roles, the other main protagonist is the chorus, which plays the role of the Hebrew people. They are asked to speak as well as sing, and these sometimes occur at the same time with part of the chorus speaking while another group sings. There are various smaller sub-groups within the chorus which are contrasted with the large masses.

The opening pages of the opera juxtaposes 6 sung voices (soprano, mezzo-soprano, alto, tenor, baritone and bass) intoning the chords mentioned earlier in example #2. Simultaneously, a chorus of sopranos, boys, baritones and basses speak to Moses from within the Burning Bush (Ex. #Cool.






These singing and speaking choruses proclaim God’s promise to the Israelites that they are his chosen people (Ex. #9).





One choral segment is particularly noteworthy. This is a march-like hymn intoned by the people three times during this scene and returns yet again near the end of the opera. The first time it occurs, it is sung by the baritones of the chorus (Ex. #10a).





Their melodic line is nearly camouflaged by spoken and singing voices above and below them. The melody, although jagged in its intervallic leaps, including an augmented 4th (between notes 2-3), diminished 5th (between notes 6-7 and 8-9) and diminished 7th (between notes 9-10), is 4-square, march-like and in an even rhythm. This melody acts as a cantus firmus—a main melody around which other melodies weave in counterpoint. This melody occurs again a few moments later in the mezzo-soprano section of the chorus (Ex. #10b).





When it occurs for the third time shortly afterwards, it is marked tempo di marcia and it is written in an imitative style—first the sopranos and altos, followed one measure later by the tenors and basses (Ex. #10c).





Note the repetition of the first and third notes of the second measure compared examples #10a and #10b. It allows for rhythmic variety in the form of 8th notes instead of the 9 consecutive quarter notes in the two earlier examples. The dynamics in example #10c are marked fortissimo and the text, in praise of God proclaims, “Almighty, Thou art stronger than Egyptian gods are.” This hymn serves as the finale to Act I as the Israelites, free from Egyptian bondage, set out on their journey through the desert. This hymn-like march will occur yet one more time near the end of the opera after the episode with the Golden Calf as they resume their march to the Promised Land.

The episode of the Golden Calf is the dramatic and musical climax of the opera. Members of the chorus take on various roles: an invalid woman, beggars, leaders of the 12 tribes, youth, 70 elders and 4 naked virgins offering themselves as sacrifices upon the altar in front of their new “god.” Note the powerfully dissonant block chordal writing for the 12 tribal leaders in example #11 and delicately beautiful vocal quartet writing for the 4 naked virgins in example #12.










Dissonant on paper as one looks at the harmonic intervals, the ear soon grows accustomed to the dissonance and accepts them as almost consonant.

Sir Georg Solti, late conductor of the Chicago Symphony Orchestra, made the following comments shortly after recording this opera in 1984:

Despite the complexities of the 12-tone system, the more we rehearsed and played, the easier the work became. To my great admiration the tones which had initially seemed hard and dissonant to our ears gradually softened…

My advice to the listener is not to be discouraged, but to listen to the work repeatedly, preferably with a score, until the point is reached where the strength and impact of this great masterpiece of 20th century music cannot be escaped.


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fanermaluco



Registado em: Terça-Feira, 7 de Novembro de 2006
Mensagens: 596

MensagemEnviada: Sex Jan 26, 2007 2:31 pm    Assunto: Responder com Citação

Não entendi porq os exemplos de partituras não saíram...mesmo assim, é bem válido


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Bruno Gripp



Registado em: Quinta-Feira, 2 de Novembro de 2006
Mensagens: 725
Localização: Belo Horizonte

MensagemEnviada: Sex Jan 26, 2007 2:35 pm    Assunto: Responder com Citação

faner,
Você pegou de um site? eu posso arrumar esse texto aqui com as partituras e tudo. Fica meio difícil de entender as metamorfoses da série sem os exemplos.


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fanermaluco



Registado em: Terça-Feira, 7 de Novembro de 2006
Mensagens: 596

MensagemEnviada: Sex Jan 26, 2007 2:58 pm    Assunto: Responder com Citação

Be my guest

Como acréscimo, deve se citar um conceito fundamental para o entendimento da ESTRUTURA HARMÔNICA do serialismo: Como todas as suas transposições, inversões, retrógrados etc, o importante é notar que são sempre dados intervalos (ainda que em várias alturas diferentes, mas sempre os mesmos {não importa se ascendentes ou descendentes]) que formam o plano dos sons simultâneos RECONHECÍVEIS no fundo da mente do ouvinte, ainda que ele nada saiba de teoria. Este conceito é o da polarização acústica, do autor Edmond Costerre, como citado pelo Flo Menezes no seu "Apoteose de Schönberg". ele os caracteriza como 1) Polares (4a, 5a, 7a M, 2a m, 8a) 2) apolares (4a aumentada, 2a M 7a m) e 3) Neutros 3as M & m, 6as M & m. A partir da sobreposição destes intervalos em um dado acorde (como entendido por ele no q diz respeito ao ambiente serial!), o conceito de "tonalidade expandida" fica claro, pois a possibilidade de "N" cadências possíveis se materializa...eu posso estar equivocado, portanto, remeto os interessados à obra supra-citada.


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SérgioNepomuceno



Registado em: Segunda-Feira, 13 de Novembro de 2006
Mensagens: 273

MensagemEnviada: Sex Jan 26, 2007 4:47 pm    Assunto: Responder com Citação

M.BOM TEXTO!!! mas e a relaç~ao do próprio coro c/ determinadas seções contrastantes? aborda-se muito moses-aron(sprechgesang,pensadorXação) associando-se os m´´etodos de expressão vocal aos valores impregnados a cada um etc.que todos têm conehcimento.
vejam,por ex. a cena da proclamação´da promessa aos israelitas onde ambos recursos são utilizados.....embora na seção falada não haja alturswa estabelecida, a entonação,sim, fator que praticamente pontua o ritmo de toda a estrutura do coro.
há semanas não ouço excertos isolados da ópera, mas algumas dessas questões são facilmente perceptíveis;eu mesmo já tive uma fase c/ela. estou muito na mulher sem sombra, mas brevemente voltarei,ESPECIALMENTE para o 2o ato (pós-dança 'do bezerro')


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fanermaluco



Registado em: Terça-Feira, 7 de Novembro de 2006
Mensagens: 596

MensagemEnviada: Sex Jan 26, 2007 5:41 pm    Assunto: Responder com Citação

Sérgio, o texto que o Bruno deve enriquecer com os exemplos musicais é mais importante do que a questão do(s) contraste(s) das forças executantes. A série , por incrível q possa parecer, é um conceito mais fácil de apreender do que a orem tonal. As forças são a pele e os tendões, a série é o próprio DNA


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SérgioNepomuceno



Registado em: Segunda-Feira, 13 de Novembro de 2006
Mensagens: 273

MensagemEnviada: Sex Jan 26, 2007 11:14 pm    Assunto: Responder com Citação

mas a questão acima não foi à toa- é porque a msg interessante não a mencionava,já que apresenta função semelhante À dos recursos p/diferenciação musical(sprechstimme/sprechgesang;canto)relacionados às caracter[isticas impregadadas aos protagonistas..


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CID



Registado em: Terça-Feira, 1 de Janeiro de 2008
Mensagens: 53

MensagemEnviada: Sex Mar 14, 2008 6:34 pm    Assunto: Responder com Citação

Por falar em serialismo, gostaria de saber se alguém conhece alguma ópera composta em serialismo integral.


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