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A Survivor from Warsaw: music examples
Arnold Schönberg
Duration of the performance: 7 minutes 15 seconds |
| Twelve-note series |
In the twelve-note series three triads are recognizable, among them the augmented one is of special musical importance.
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Bars 1-3 |
The work begins with a fanfare motif in the trumpet. It is an outstanding motif, which gets a characteristic profile by its rhythm and the interval leaps. This motif is a thematic incident and already pre-arranged in the series. By the repetition of the interval constellations the series is given the function of a motif which guarantees the coherence of the music. This fanfare motif recurs several times throughout the work. |
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Takte 12-13 |
The characteristic notation for the narrator appears for the first time within Schönberg's work "A Survivor from Warsaw". The interpreter is not bound by a certain pitch, but he can discern heights and depths from the score.
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Bars 18-21 |
The beginning of the Schma Jisrael melody can be heard. The work also concludes with this melody that is sung by a male choir and is accompanied unisono by the first trombone. |
Bars 25-28 |
The fanfare motif of the 1st bar acts as a leitmotif and a recall motif. The character of the motif is outlined in the series. Schönberg himself thinks that the series has to be an incident and not a construction. |
Bars 31-35 |
The fanfare motif carries the musical development. But even without a knowledge of the serial structure of the work the density and intensity of expression is revealed to the listener. The text is often an emotional help for the understanding. |
Bars 38-42 |
Amotif in the xylophone, musically interpreted it is an augmented triad, remains unchanged during 4 bars. A rhythm in the military bass drum serves to express excitement. To enhance the effect the narrator changes from English to German so as to imitate the harsh tone of the occupation force. |
Bars 80-89 |
The density of the musicial expression grows and flows over into the Schma Jisrael melody which is sung by a male choir and accompanied by the first trombone. The Schma Jisrael melody obeys the principles of the 12-note technique, nevertheless there is plenty of room for creative imagination. |
Bars 95-99 |
The conclusion of the work points towards the beginning. All the voices of the orchestra return to the untransposed basic row until the 6th note. |
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