TREVOR HOLD has dragged
from oblivion some music
you will not know.
5. Schoenberg's
Rhapsody on Greensleeves
It was the late Hans Keller who brought the attention of Arnold Schoenberg
to the folksong 'Greensleeves', pointing out the infinite canonic and serial
possibilities of this fine old English tune. At first Schoenberg was lukewarm
to the suggestion, but after analysing the song in detail saw what Keller
was getting at. The result? - one of the composer's most delightful pièces
d'occasion, full of warmth and period charm.
'Greensleeves' is heard at the outset on solo bassoon - it may not be
immediately recognisable, as Schoenberg has added a few chromatic notes
to the original in order to use up all twelve notes of his row - and is
then 'dispersed', as it were, between horns and trumpets in Klangfarbenmelodie
technique. After this, the composer begins to show his paces by uncovering
all the contrapuntal possibilities of the tune. We hear it in canon (saxophone
and celesta), inverted canon (cor anglais and double bass), retrograde canon
(three solo violas) and retrograde inverted canon (flutes, oboes and upper
strings). Finally, in an amazing piece of contrapuntal wizardry, all four
possible versions of the tune are heard simultaneously in their original
scorings!
There are some delightful period touches, such as the passage where the
composer imitates a consort of viols (four muted double basses) and the
witty caricature of an English rustic dance (muted trumpet and xylophone
over a drone bass, 2 bars before H). But it would be wrong to give the impression
that the work contains nothing but bucolic wit and good-humoured parody.
There are many poignant moments, none more so than the passage where Schoenberg
quotes extensively from his own Verklärte Nacht. 'Why?' I hear
you ask. The composer himself supplies the answer a few bars later: it
fits in perfect counterpoint with 'Greensleeves'! The entire work is
a magnificent technical accomplishment and, frankly, one is left puzzled
as to why it is so seldom performed.
Copyright © Trevor Hold, December
23rd 1999
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