Steven Schwartz <[log in to unmask]> wrote:

>Moses und Aron has never been my cup of tea either, and I say this as, in
>general, a Schoenberg admirer.  I think it a hokey cross between Philosophy
>101, the Romantic lament of "nobody loves me because I'm so wonderful," and
>a De Mille epic.  I don't find the music compelling at all ...  One really
>has very little stake in the characters or the story.

I think "Moses und Aaron" one of Schoenbergs better works, especially
when considering that Schoenberg had never written for stage chorus before,
and he successes very well imitating the turbas of J.S.Bachs Passions.
Individual characters emerge from it, but in essence it is a symbolic
group, reacting collectively to the central dilemma.  Much of the choral
writing is fugual, but also in freer forms it suggests styles and works
from earlier period.  This 'strictness' of technique is offset by the
perhaps surprising vitality and choral dramaturgicy.  The final scene in
akt I in particular, is a brilliant co-ordinated piece of extended ensemble
writing...so is the dance around the golden calf.  I think as orchestral
piece it has all the vividness of detail and colour, but perhaps just not
the melodic and rythmic thrust of the greatest stage dance tableaux, such
as Le Sacre du Printemps.  (Though GURRELIEDER is the favourite work for
me.]

I once heard a performance of "Moses und Aaron", where the "Sprechgesang"
was sung.  This is to miss the point with the double voices of God, as
standing fopr the double aspects of God; the word and the hidden meaning.
Can anyone point out which this performance was? I'd be thankful.

James Zehm
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