Dynamic Form-Generation in Arnold Schoenberg’s Cantata “A Survivor from Warsaw”
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Abstract
Among the genuine musical masterpieces of the 20th century one may rightfully acclaim the composition of the great Austrian composer Arnold Schoenberg “A Survivor from Warsaw.” The emotional force of impact, inherent in this work, written “with the blood of his heart” (S. Pavlishin), is so great that it causes musicologists to return continuously to research of its unique features.
The author of the article examines the peculiarities of the cantata’s dramaturgy and composition conditioned by the symbolism of the content, defining the form-generation of the opus as being dynamic. Utilizing the principles of collage composition, having greatly spread out the frameworks of musical expressivity, the composer was able to create an opus that is close to an artistic-documentary cinematographer narrating about the brutality of Nazism. Due to the intermixture of formats (the documentary and the artistic) the supra-documentary stratum, in which symbolic images and concepts operate independently, actively calls attention towards itself.
The innovative inventions of Schoenberg – Sprechstimme in the part of the singer, serial technique in connection with traditional musical methods of development, and the polyvalent role of the orchestra are directed towards the actualization of the through dynamics of the auditory associations. The organic interlacement of various means of writing forms the dynamic artistic form of the composition – disharmonious in its emotional perception, but remarkably harmonious in its ingenious precision of use of all compositional means.
Keywords: Arnold Schoenberg, musical expressionism, cantata, dodecaphony, form-generation
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References
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