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WALDGESPRÄCH
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| Waldgespräch, a ballad for soprano, strings, two horns and harp, was composed in 1895-6 for the Polyhymnia. Zemlinsky evidently considered that the jaunty landler rhythm of Schumann's Liederkreis setting (op. 39 no. 3) failed to reflect the eerie atmosphere of Eichendorff's poem. Already in 1890 he had composed a setting of the text in Eb minor as a dramatic scena for voice and piano. The more expansive instrumental setting, in G minor, accentuates the poem's theatrical potential, ingeniously exploits the colouristic possibilities offered by the small ensemble and opens up reserves of dramatic intensity which the music of the previous months had left untapped. Once again the critics were on Zemlinsky's side: |
| The work's fresh, original ideas and genuinely exalted, youthful fire made a great impression on the audience and unleashed an intense salvo of applause, which was directed as much towards the talented young composer as at Miss Gutmann [sic], who helped him to his triumph with a beautiful, well-schooled voice and sensitive interpretation. |
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[pp. 55-56, senza note. © Antony Beaumont]
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TORNA ALL'INDICE
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