<< -- 3 -- Malcolm Miller SEEKING THE SOUL
The BBCSO was joined by the BBC Symphony Chorus and four outstanding
soloists for the 'Faust Cantata' (Seid nüchtern und wachet)
of 1983, which by contrast is memorably fun, gaudy and daring. The 'Faust'
theme was one which occupied Schnittke throughout his career until his final
unfinished opera, 'Historia von D.Johann Fausten' in which this cantata
was used as a surrogate finale in its incomplete Hamburg performance of
1995. Faust Cantata has a serious message, delivered in a stylised
didactic manner, through declamatory final choruses and a cappella
section, and by the uniquely witty pastiche ingredient at the climax --
a seductively outrageous tango. As Susan Bradshaw observed, Schnittke here
uses the 16th century text by Johann Spies whose folk stories Das
Volksbuch vom Dr Faust (1587) was that which inspired Leverkuhn from
Thomas Mann's Doktor Faustus, a work in which Schnittke was
also deeply interested. The role of narrator was incisively projected by
the tenor Justin Lavender, while the low lying bass role of Faust was sung
with forthright pungency by David Wilson-Johnson. Mephisto is played by
both a florid counter-tenor, here the strident-toned Andrew Watts, as well
as by a cabaret-style soprano, here Susan Bickley. An important role is
also assigned to Faust's friends who assemble at his house on the night
he is taken by Mephistopheles, brightly rendered by the BBC Symphony Chorus.
Schnittke's through-composed style is at times powerfully direct,
but sometimes too direct, the chorus's declamation dramatic yet detached
and almost perfunctory. Yet that detachment helps to highlight the crux
of the story all the more, the gaudy tango that depicts Faust's demonic
demise after he has rejected pleas for repentance, and the depiction of
his mortal remains splayed over his house. Schnittke's association
of the Mephisto destroyer with a cabaret tango, however questionable and
simplistic, is nonetheless entertaining with its soupy outlandishly kitsch
orchestration. It adds a layer of irony to the conclusion, a call to Christian
conscience -- the 'be sober and attentive' of the title -- first for soloists
and then for chorus, this sober moralising resuming the earlier atonality.
One sensed, in its perplexing layers of meaning, Schnittke's call to
a more universal compositional conscience, his constant search for an authentic
voice. In its desire for a rapprochement between the so-called serious,
and popular musical worlds, Schnittke's symbiosis is one which lies at the
core of the post-modern aesthetic.
Copyright © 19 January 2001
Malcolm Miller, London, UK
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