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Franz Schreker (1878-1934)

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« on: October 22, 2012, 03:49:37 pm »

In response to a request for recommended operas to explore (originally posted on another forum 21st July 2010) -

The first recommendation would have to go to Die Gezeichneten. A good introduction to the music would be initial acquaintance with the Prelude to a Drama, Schreker's extended version of the opera's Prelude (also incorporating music from Act III). The melodies are strongly defined and highly memorable, whilst the orchestration (with the composer's characteristic glimmering sonorities) is astoundingly virtuosic. As a drama, I think that Die Gezeichneten is the most absorbing of Schreker's stage works - although most of the characters are pretty repulsive, they are keenly drawn in the music and the whole tale sweeps along towards a highly dramatic conclusion. The Salzburg DVD is fascinating and beautifully sung, but I would prefer a colourful Renaissance setting as envisaged by the composer. On disc, the Zagrosek peformance is the one to go for as it is uncut.

Next, I would suggest Der ferne Klang. This sprawls a bit and is more low-key in terms of the synopsis, but the score is full of wonderful touches, the highlight being the incredible multi-layered second act set in "La casa di maschere" (essentially a bordello). To give an idea of Schreker's innovation, here is what the composer himself wrote:

"The following scenes - it is unimportant whether they are more or less intelligible - should be played and spoken with animation and the various sounds which penetrate through to the stage (the singing from above, the gypsy music, the music from the gondolas, the count's serenade) should mingle in such a way that the listener receives the most realistic impression possible of the setting and very nearly has the feeling that he himself is in the midst of this commotion".

I was lucky enough to attend the 1992 Opera North British premiere of the opera and, heard live, this act is one of the most amazing experiences I can remember.

Next in line would be either Der Schatzgraber or Der Schmied von Gent. The former has a beautiful score and the tale of stolen jewels and murders is absorbing, but a better recording is needed. The only available one has cuts and the soprano playing Els (Gabriele Schnaut) is pretty squally - nevertheless it is a tribute to the opera that it can withstand these problems. Der Schmied von Gent is Schreker's final work. After the experimentally pared-down orchestrations of Der singende Teufel and Christophorus,  Schreker's virtuosic writing returns with a vengeance - there are extended interludes, dances and pantomimes. Scenes are structured on canons and fugues and the chorus is more prominent than in any other of his works. It is described as a Zauberoper, and with it's scenes of Heaven and Hell, is a folk-tale elevated to spectacle. CPO's intention to issue the Chemnitz performances on disc is noted in numerous reviews.

The best possible introduction to Schreker's style would be through Chandos' first volume of orchestral music (http://www.chandos.net/details06.asp?CNumber=CHAN%209797) which contains extended concert-versions of music from Der ferne Klang, Der Gezeichneten and Der Schatzgraber. The performances and sound are first-rate.
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« Reply #1 on: October 22, 2012, 03:51:25 pm »

In a debate concerning pronunciation (originally posted on another forum 21st July 2010) -

According to Christopher Hailey's excellent biography "It is, incidentally, on the published score of the [116th] Psalm [1901] that one first encounters the spelling of Schreker without the second 'c'" (p.15). He elaborates in a footnote: "The reasons for Schreker changing the spelling of his name are unknown. It is possible that Schreker wanted to avoid the connotation of Schreck (Fright) which 'Schrecker' might give. It should be noted that 'Schrecker' is pronounced with a short 'e' and 'Schreker' with a long German 'e', like the long 'a' in English." (p.30, fn 35)

The Schreker Foundation (http://www.schreker.org/neu/engl/biogra/essay/essay.html) also states that the change of spelling was a conscious decision on the composer's part: "Several of his early works and most of his songs were published (by this time Schreker had dropped the second "c" in his surname), and his Intermezzo won first prize in a competition sponsored by the Neue Musikalische Presse."

So "Shrayker" would appear to be the correct and fully-intentioned pronunciation.
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« Reply #2 on: October 22, 2012, 03:53:38 pm »

In a discussion on the eccentricity of some modern productions (originally posted on another forum 2nd August 2010) -

Oh dear - why do Schreker and Korngold seem particularly prone to the 'excessive' school of stage production? I went to Germany in 2002 specifically to see Die Gezeichneten in Stuttgart and Der Schatzgraber in Frankfurt. The first was not really set in any period at all, but I remember a stage full of mirrors and water channels, and that there was blood - lots and lots of blood; Schatzgraber was shorn of its picturesque medieval setting and seemed to be taking place during a carnival for the stylistically-challenged, with characters wearing a bewildering array of 'imaginative' outfits (very much along the lines of Marietta's troupe in the 2001 Strasbourg Die tote Stadt).

The best Schreker production I have ever seen was the 1992 Opera North production of Der ferne Klang - the sets were comparatively realistic, as was the direction, and the music was allowed to carry the story. With these composers, the luxuriant aural experience is surely stimulating enough without adding visual overload.
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« Reply #3 on: October 22, 2012, 03:57:51 pm »

In reply to the questions "Do you think Schreker is a major opera composer? Do you think any of his opera's are on a par with Richard Strauss?" (originally posted on another forum 10th August 2010) -

The answer to the first questions is unhesitatingly 'yes'. This is of course an entirely individual response to Schreker's music and as such cannot easily be elucidated, but I would consider his trilogy of greatest successes (Der ferne Klang, Die Gezeichneten and Der Schatzgraber) to be fully worthy of international acclaim. My personal view is that these works are inspirationally and technically of the highest musical and dramatic standard.

Instead of a detailed direct comparison with Strauss (a proposition which I don't think is realistically possible), it might be helpful to colour in some of the historical background to these two great composers and perhaps that will tell us something about why Richard Strauss is generally (but certainly not universally) acknowledged as a major operatic composer whilst Schreker is little more than a footnote in operatic history. I think that our knowledge and perception of Schreker has been fundamentally fractured by historical misfortune. For much of the twenieth-century he was unknown outside him homeland, a situation not unlike that of Janacek who only found international renown through the advocacy of the late Charles Mackerras. To quote Christopher Hailey,

Franz Schreker was among that cultural wreckage deemed irrelevant to the post-war order of business. He and his music had played virtually no role in musical life anywhere in the world since the early thirties, and his greatest triumphs lay still further in the past. Because he had not survived the war, indeed had died before the nightmare of National Socialism had really begun, he seemed to belong more wholly to another, now foreign age.

To compare Schreker's career with that of Strauss is very instructive. Strauss was already established as a leading international figure by 1900 - as conductor and composer of innovative orchestral works. His conducting career took him all over the world, thus introducing him to foreign audiences. As an operatic composer, his works were similarly taken up internationally - in Britain, he was lucky to find an ardent champion in Thomas Beecham. His years of startling operatic innovation (with Salome and Elektra) occurred before 1914. Of course the First World War put a virtual embargo on his music and by the time conflict was over he was largely seen as passe, but nevertheless by the 1920s Strauss was very much an institutional figure both in Germany and abroad - his 60th birthday in 1924 was widely celebrated. Strauss was also fortunate to outlive another world war and become even more of an institutional figure.

Schreker, on the other hand, was largely unknown even in Austro-Germany until the premiere of Der ferne Klang in 1912. He had not conducted internationally in the previous decade and had very little in his composition portfolio. The coming of war in 1914 meant the cancellation of productions of Der ferne Klang not only in Germany (Leipzig, Munich and Frankfurt) but also in Breslau, Prague and Paris. Thereafter his career was almost exclusively confined to Germany and Austria. Even in the years of his greatest success, 1920-1923, there were no foreign productions. Instead of travelling abroad conducting his music, Schreker taught composition at the Berlin Hochschule. By the time his style was perceived as passe (basically after the 1924 production of Irrelohe) Schreker had built up no audience outside the German or Austrian opera houses. He was a composer of large, complex, expensive-to-mount operas - and little else. Schreker never became a treasured institution in Austria or Germany - caught up in the increasingly vocal anti-semitism of the 1920s his operas were criticised as unsuitable for a nation in recovery: in 1921 a savage and widely-publicised attack by Alfred Heuss of the Zeitschrift fur Musik saw the contemporary success of Schreker as dependant not on the quality of his music, but upon the sharp practices of his publisher (Universal Edition) and the power of Paul Bekker, Germany's leading music critic and champion of Schreker. To quote Heuss

It is out of the spirit of this system - and certainly not out of 'visions of sound' - that the main figures of Schreker's operas are born: whores, murderesses, people sick with perverse sensuality, 'branded souls' of the most varied kind; these are the sorts that are inflicted upon the German people in dozens of performances. The German people are sure to make a wonderful recovery with this art which the Schreker press forces upon them as the pinnacle of modern opera.

This view of Schreker's work was not uncommon in Germany. His work was deemed 'corrupting'  and he was seen as fair game for grossly insulting personal attacks. When he died in 1934 Germany saw him as very much a part of the discredited Weimar Republic and therefore something to be rejected. Even his publisher bowed to the prevailing pressure and published an obituary which negated his achievement:

There was no way that Schreker's unreal phantasmagorias could have endured in the face of real compositional evolution. It was his fate that in an age of Impressionism he became mired all too one-sidedly in the peripheral region of timbral phenomena.

State-inspired anti-semitism also played its part. Such was the growing apprehension about the situation in Germany that many of the composer's friends had already left Berlin when he died, and those that remained were too afraid to attend his funeral. Nevertheless, his widow received condolences from such figures as Anton Webern:

It is so comforting for me that only recently, on my 50th birthday, I received from Franz Schreker a sign of friendship that gave me great joy: his picture with extremely kind words of dedication. It will be preserved in hallowed memory in my heart, as will all the beautiful things of the past that I assiciate with Franz Schreker; and above all his immortal works.

It is difficult to think of another composer (except perhaps Shostakovich) whose career was so blatantly shaped by overwhelmingly powerful external political events. Schreker lived through one of the most turbulent times in Austro-German history as gilded imperialism gave way (through cataclysm) to liberal but unstable Republic which in turn gave way to cultural philistinism and state terror. As with Strauss, the technical virtuosity of his music demands the highest standards of performance - unlike Strauss, his works have very rarely been that fortunate in the recording studio. When these standards are met (as in the Decca Die Gezeichneten and the two Chandos Sinaisky discs) I think that Schreker's music undoubtedly has the most extraordinary power to move and amaze us.
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« Reply #4 on: October 22, 2012, 04:02:10 pm »

In response to an argument that, as "the archetypical late, late Romantic opera composer", Schreker's operas lacked melodic memorability (originally posted on another forum 7th May 2012) -

The problem perhaps lies precisely in the supposition that Schreker is archetypal, and in the assumption that Strauss and Schreker had exactly the same musico-dramatic aims in mind. They were very different characters and, though the general opulence of their scores and the lavishness of their demand for orchestral players may indicate superficial similarities, in compositional style they were actually further apart than is generally acknowledged. It seems to me that Strauss's magnificent melodic writing (more markedly in the latter operas), often hanging like a glorious tapestry on the surface of a text, is clearly intended to be (and succeeds in being) the 'main event' in the theatrical/ listening experience, with any subtleties in the text coming second in importance, whereas with Schreker (usually acting as his own librettist) the music grows out from the text and it's character-psychology much more minutely, resulting in a closer and more inter-dependant relationship between the two disciplines of libretto and setting (outside the operas, and using texts by other writers, Schreker displays exactly the same approach in Vom ewigen Leben and Das Weib des Intaphernes). There is plenty of melody in Schreker, but usually not the long-breathed type perfected by Strauss - instead much of it is motivic, and quite often harmonic or colouristic gestures 'stand in' for such a melody. Whether or not you regard these devices and their execution as memorable or strong enough materials to construct extended musical and/ or dramatic experiences is patently subjective (in Schreker's case I do). Incidentally, the same comparison could perhaps be (admittedly) loosely drawn between Korngold and Zemlinsky. There is room in this wide world of music for all of these splendid composers to have their ardent advocates without being drawn into artificial ratings-wars.
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« Reply #5 on: October 22, 2012, 04:05:15 pm »

On the use of melody in Act III of Die Gezeichneten (originally posted on another forum 8th May 2012) -

It is worth mentioning and considering: Ah, welche Nacht stands out quite markedly in Die Gezeichneten as a whole - it is a long, baldy diatonic tune, sung mostly in unison and much more recognisable as the type of long-breathed, easily-assimilated melody one might expect in such a work. Interestingly, Schreker's text and the dramatic situation associate it with the intoxification and decadent artifice of the island of Elysium, and the simple-minded gullibility of the pleasure-seeking populace.

I don't think that Schreker's choice of idiom for this passage is coincidental. It is intended to stand apart from the main body of the (mostly parlando) composition in a way that suggests that the characters singing it and the situation they find themselves in are highly questionable and are clinging hopelessly to a dangerous unreality. With Ah, welche Nacht Schreker confirms that he is more than capable of writing melodies (as he also proved in his early one-acter Flammen, the early Symphony in A minor, the Chamber Symphony and, right at the end of his life, the Vorspiel zu einer grossen Oper), but generally deliberately chose not to so in the operas unless to make a point.

There is no more reason why an opera should have to have wall-to-wall melodies (to be successful in its own terms) than a work in any other genre - many symphonic composers have got along quite nicely without them. Schreker saw his operas first and foremost as psychological dramas: if a sixteen-bar regularly-phrased melody would not suit his (usually) very irregular characters he simply did not think it appropriate to put one into their mouths. By striving to avoid his audience focussing exclusively on music which would detract from the impact of his text and dramaturgy, it might be argued that Schreker produced his own type of verism.
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« Reply #6 on: October 27, 2012, 04:18:56 pm »

In a debate concerning pronunciation (originally posted on another forum 21st July 2010) -

According to Christopher Hailey's excellent biography "It is, incidentally, on the published score of the [116th] Psalm [1901] that one first encounters the spelling of Schreker without the second 'c'" (p.15). He elaborates in a footnote: "The reasons for Schreker changing the spelling of his name are unknown. It is possible that Schreker wanted to avoid the connotation of Schreck (Fright) which 'Schrecker' might give. It should be noted that 'Schrecker' is pronounced with a short 'e' and 'Schreker' with a long German 'e', like the long 'a' in English." (p.30, fn 35)

The Schreker Foundation (http://www.schreker.org/neu/engl/biogra/essay/essay.html) also states that the change of spelling was a conscious decision on the composer's part: "Several of his early works and most of his songs were published (by this time Schreker had dropped the second "c" in his surname), and his Intermezzo won first prize in a competition sponsored by the Neue Musikalische Presse."

So "Shrayker" would appear to be the correct and fully-intentioned pronunciation.
I contributed a post about this subject in response to this but it appears to have disappeared for reasons unbeknown to me; perhaps the moderators might shed some light on this.

CORRECTION:

I note that it has not disappeared at all but remains in the Franz Schreker(1878-1934): a Catalogue of the Orchestral Music thread initiated by Dundonnell; sorry!
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« Reply #7 on: October 27, 2012, 04:23:07 pm »

Here is the link - http://artmusic.smfforfree.com/index.php/topic,1433.msg5857.html#msg5857

 :)
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« Reply #8 on: October 27, 2012, 04:48:04 pm »

Not strictly a new recording, but a recording in a more economical format: members may already be aware of the excellent MDG recording of Schreker's 1924 opera Irrelohe live from the Bonn Opera House (2010)



but the 3-CD set remains pretty expensive (around £40).

It recently arrived on Amazon as a download, however, and is only £14.49. All three acts are single-track so there is no danger of gaps or blips if transferring the downloads to CD. I have the 1995 Sony recording as well, but this performance is just as good, benefitting strongly from staged presentation, and is strongly recommended:

http://www.amazon.co.uk/gp/product/B009C99XJE/ref=dm_ty_trk

 :)

Two contrasting reviews, one of which I would heartily endorse ...


( http://www.guardian.co.uk/music/2011/oct/27/schreker-irrelohe-review

"... the score's overripe romanticism seems cloying and dated, while the plot relies on cliched themes. Irrelohe has been recorded before – there's one taken from a 1989 concert performance with a first-rate cast available on two discs from Sony Classical. The new version, derived from a staging at the Bonn Opera last year, doesn't match up to that, in the quality of the singing or the standard of the playing".

What a load of typical inaccurate and misleading Clementian old cobblers.

 ::)


http://audaud.com/2012/01/franz-schreker-irrelohe-complete-opera-soloiststheater-bonn-chorus-orch-stefan-blunier-mdg-multichannel-sacd-222/

"I can’t imagine [the Sony recording] served Schreker’s endlessly colorful score or tortured drama any more heroically than Stefan Blunier and his forces. [...] I predict that Schreker’s Irrelohe will be an experience you won’t soon forget."

That's the way to do it!

 ;D )

... can you guess which one?
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« Reply #9 on: October 27, 2012, 05:30:11 pm »

Not strictly a new recording, but a recording in a more economical format: members may already be aware of the excellent MDG recording of Schreker's 1924 opera Irrelohe live from the Bonn Opera House (2010)



but the 3-CD set remains pretty expensive (around £40).

It recently arrived on Amazon as a download, however, and is only £14.49. All three acts are single-track so there is no danger of gaps or blips if transferring the downloads to CD. I have the 1995 Sony recording as well, but this performance is just as good, benefitting strongly from staged presentation, and is strongly recommended:

http://www.amazon.co.uk/gp/product/B009C99XJE/ref=dm_ty_trk

 :)

Two contrasting reviews, one of which I would heartily endorse ...


( http://www.guardian.co.uk/music/2011/oct/27/schreker-irrelohe-review

"... the score's overripe romanticism seems cloying and dated, while the plot relies on cliched themes. Irrelohe has been recorded before – there's one taken from a 1989 concert performance with a first-rate cast available on two discs from Sony Classical. The new version, derived from a staging at the Bonn Opera last year, doesn't match up to that, in the quality of the singing or the standard of the playing".

What a load of typical inaccurate and misleading Clementian old cobblers.
Not as Clementine as some; where, for example, is the signature overuse of adverbs by which most of his unwilling readers know him better almost than by any other aspect of his writing?...
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« Reply #10 on: October 27, 2012, 05:32:38 pm »

I am reminded of the clerihew than runs

Franz Schrecker's
Not the composer of The Wreckers,
But then nor was Franz Schreker
The son of a baker.

I'll get me coat...
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« Reply #11 on: October 27, 2012, 08:30:12 pm »

But then nor was Franz Schreker
The son of a baker.

That's more like it.

 ;D
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« Reply #12 on: October 30, 2012, 08:57:59 pm »

The extent to which Das Spielwerk (1915) differs from Das Spielwerk und die Prinzessin (1908-1912) is quite remarkable: the two operas should really be regarded as separate works. Comparing the CPO recording and the 1984 ORF broadcast, I would suggest that Schreker made a significant improvement (in terms of both drama and music) in undertaking his drastic revision, producing a wonderfully compelling opera in a single act ...

 :)

... does anybody have access to, or know of, a recording of the ORF broadcast of Der Schatzgräber conducted by Lothar Zagrosek (23rd May 1985)?

 ???
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« Reply #13 on: September 30, 2013, 06:24:25 pm »

With the imminent commercial release of the Netherlands Opera fantastic 2012 production of Der Schatzgraber, it might be of use to summarise the best recordings of Schreker's operas for anybody new to this fascinating and rewarding composer -

Flammen (1901-02)



CPO 9998242


Der ferne Klang (c.1903-10)



Capriccio C5178



ARS Produktion ARS38080


Das Spielwerk und die Prinzessin (1908-12)



CPO 9999582


Die Gezeichneten (1911-15)



Decca Operas 4784157


Das Spielwerk (1915)

Unfortunately, this revised version of Das Spielwerk und die Prinzessin has never had a commercial release (it is in many respects quite different from the earlier work). There is, however, an excellent 1984 broadcast in the Austrian downloads section.


Der Schatzgraber (1915-18)



Challenge Classics CC72591 (forthcoming)


Irrelohe (1919-22)



MDG 9371687


Der singende Teufel (1924-28)

Not commercially recorded, there is a stop-gap recording of a 1989 performance in the Austrian downloads section. Unfortunately, this is brutally hacked about and in no way reflects the opera as first performed.


Christophorus (1925-29)



CPO 9999032


Der Schmied von Gent (1929-32)



CPO 7776472

 :)
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« Reply #14 on: September 30, 2013, 10:24:54 pm »

While not an opera buff, i think Schreker's orchestral music is quite engaging for the most part and his Prelude to a Drama is absolutely stunning. Bernard Herrmann's epic scores come to mind every time I hear it..it is a must hear.
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