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SONGBOOK FOR OUR TIMES VOL. 1
Premiered : June 6th 2021. in KS Svilara, Novi Sad
Nenad Marković, trumpet Nataša Srdić-Jahn, piano Anton Webern (1883-1945) : 3 Gesänge aus “Viae inviae” op. 23 (1933-34) Viktor Ullmann (1898-1944) II: Der Müde Soldat (3 Chinesischen Lieder) 1943 IV: Wenn je ein Schönes mir zu bilden glückte V: O, schöne Hand (5 Liebeslieder nach R. Huch) 1940 Hanns Eisler (1898-1962): Displacement suite (10 arrangements from the Hollywood Songbook 1935-1944) |
Program notes (written by Sonja Petkov, originally in Serbian):
The Songbook for Our Times project examines the challenges of artistic creation within repressive social systems, presenting the selection of art songs by European composers who lived and created under the direct influence of the German National Socialist regime and its allies. The chosen songs exhibit a wide range of styles, encompassing romanticism, post-impressionism, neoclassicism, expressionism with free atonality or serial technique, as well as cabaret music and elements of folklore. In all of these selected songs, which have been transformed into instrumental arrangements, the sound of the trumpet takes on the role of the human voice. With its intense, bright, and penetrating tones, characterized by vibrant colors in the upper registers and darker tones in the lower registers, the trumpet stands in for the silenced and murdered human voice. The written words endure as a testament to their significance.
Anton Webern (1883–1945) is widely regarded as one of the most influential composers of the 20th century. Although he was relatively unknown during his lifetime, interest in his work grew significantly after his death, particularly at the renowned International Summer Courses for New Music in Darmstadt. Composers gathered in Darmstadt recognized the distinctive qualities of Webern's music and used these characteristics to develop the compositional technique known as integral serialism. Despite the mechanistic rationalization of his musical expression, Webern did not overlook the subtle lyrical expressiveness that permeated every aspect of his music. This lyrical quality was particularly evident in his vocal compositions.
Anton Webern came from an old aristocratic family, which partly explains his strong belief in the significance of the Germanic spirit at any cost. After World War I, during which both Austria-Hungary and Germany suffered defeat, the world experienced a profound political and ideological transformation. Webern believed that only "the superior old German culture could save the world from the demoralized condition into which it had been thrown" and that "only some kind of determined autocracy could solve the problems of society and provide salvation for all of Western humanity." Therefore, in the early 1930s, Webern supported Hitler's rise to power, hoping that the newly elected chancellor would bring greater employment, labor rights, social reforms, and political stability to Germany. However, his enthusiastic support for the ruling regime soon gave way to deep disappointment. Webern's music, along with the works of Berg, Krenek, Schoenberg, and other composers, was labeled as "cultural Bolshevism" and "degenerate art" by the National Socialist Party in Germany. Consequently, its publication and performance were banned shortly after the Anschluss in 1938.
The difficult times continued for Webern, and they did not improve with time. Tragically, he was killed by an American soldier in front of his home, who mistook him for someone else. Webern's "Three Songs from the Cycle Viae inviae, Op. 23" (1933–1934) belong to the later phase of his work, during which the composer employed serial techniques. The intricate musical texture of these songs corresponds to the lyrical purity of the verses by poet Hildegard Jone, from whose cycle Viae inviae they are derived.
In the first poem, "Das dunkle Herz, das in sich lauscht," Webern utilizes eight serial sequences throughout the piece, including a basic dodecaphonic sequence, its inversion, retrograde movement, retrograde inversion, and transpositions by tritones. Notably, there are symmetrical and palindromic connections between the sequences, as well as structural sections based on a diminished seventh chord, which divides the octave into four equal parts, each containing a minor third. By placing the tritone in the center of the basic sequence, each choice of sequence emphasizes the importance of binary and symmetrical relationships within the work, evident at both the surface and internal levels. However, the structure of this first poem is reflected not only in repetitions and retrograde symmetry within each sequence but also in the realization of a symmetrical structure that occurs through the connections between successive sequences. Together, they form a transformative network that governs not only the surface realization of the song but also its deeper structural level.
In the second and third poems ("Der Tod" and "Herr Jesus mein"), a noticeable absence of symmetry is observed. These songs were composed in quick succession, establishing a contrasting yet complementary relationship between the themes of the poetic texts—one expressing pantheistic celebration of nature, and the other a Christian spiritual lyric. In both the texts and their musical treatment, richer contrasting relations can be observed, offering a concise reflection on two types of love: erotic and sacred.
Victor Ullmann (1898–1944) led a life marked by multiple forms of alienation. Born in the Austro-Hungarian town of Těšín/Cieszyn (on the border of today's Czech Republic and Poland) into a Jewish family, he spent his childhood in Vienna. Later, he attended composition classes with Schoenberg and moved to Prague to work as an accompanist and conductor at the New German Theater (Prague State Opera), where he was mentored by Alexander von Zemlinsky. While studying at the University of Prague under Alojz Haba, he became acquainted with the anthroposophical movement and subsequently settled in Dornach, Switzerland—the headquarters of this movement. In the early 1930s, he established himself in Stuttgart, where he ran a bookstore specializing in anthroposophical materials. As the National Socialist regime's violence became increasingly overt following Hitler's rise to power, Ullmann was compelled to flee Germany for Prague. Struggling to find permanent employment, he supported himself by working for Czechoslovak radio, writing for magazines, and giving private lessons. In 1942, Ullmann was arrested and deported to the Theresienstadt ghetto, a so-called concentration camp that held special significance for the Third Reich's propaganda machinery. Theresienstadt was promoted as an "exemplary ghetto" to demonstrate the Nazis' supposedly humane treatment of Jews, despite the inhabitants enduring extremely inhumane conditions. Immediately upon his arrival, Viktor Ullmann immersed himself in the cultural life of the ghetto. He composed, accompanied, organized concerts, wrote music reviews, and taught. Among the residents of Theresienstadt were other notable artists of the time, such as conductor Karel Ančerl, opera singer Karel Berman, composers Pavel Haas, Gideon Klein, Hans Krása, jazz musician Koko Schumann, and director Kurt Gerron, among many others. After two years, Theresienstadt was emptied, and Ullmann, along with numerous other residents, was transported directly to Auschwitz, where he was killed in a gas chamber two days later.
Art songs constitute a significant part of Ullmann's body of work. They developed under the influence of Schoenberg and Mahler, and through the synthesis of traditional forms and atonality, they bear resemblance to the works of Alban Berg. Ullmann's song cycles are structured according to the principle of contrast, while simultaneously forming a conceptual complex woven from the repetition or alteration of melodic and rhythmic motifs. In his piano accompaniment, Ullmann employs various elements, ranging from simple chord notations and harmonic accompaniment to the development and transformation of melodic motifs in the vocal part, as well as the creation of independent instrumental parts. In contrast to his anthroposophical and spiritual compositions, which exhibit restrained expression and harmony, his three cycles of love songs, set to verses by female poets, feature extended tonality, large melodic leaps, and considerable expressiveness. Although Ullmann was strongly influenced by the Second Viennese School, he chose not to adhere strictly to their compositional methods. Instead, he developed his own harmonic system, derived from the 8th-14th partials of the natural harmonic series. His novel principles are prominently displayed in his piano compositions and all the solo songs written from the mid-1930s onward. During his time in Theresienstadt, Ullmann composed at least fourteen art songs, although not all of them have survived. These works from the ghetto serve as a testament to the compositional mastery he had honed over three decades. Even in the most challenging circumstances, Ullmann's inquisitive and creative spirit never wavered. He even expanded his genre range by composing an opera, "The Emperor of Atlantis."
The texts of the song cycle "Three Chinese Songs" (1943) by Viktor Ullmann were sourced from a collection of Chinese poetry that the composer had access to in the ghetto. Of these three songs, only two have survived, with the second one being "Der müde Soldat". This lyrical song, presented in a free form, incorporates characteristic Ullmannesque dissonances in the piano part and phrases of irregular length filled with large leaps in the soloist's part. The poem vividly describes the burdens and horrors of war, exemplifying Ullmann's resistance to the conditions in Theresienstadt. It is punctuated by a multitude of chromatic threads. The lyrical verses of poet Riccarda Huch served as a profound source of inspiration for numerous composers. Ullmann selected poems from her collection "Love Songs" (1912) and composed his Five Love Songs (1940) in a distinctly lyrical mood. These songs, written in Prague, were among Ullmann's final compositions before the invasion of German troops in the Czech capital and his subsequent internment in Theresienstadt. The themes briefly explored in the songs "Wenn je ein Schönes mir zu bilden glückte" and "O, schöne Hand" convey a sense of urgency, as if the composer sensed the lack of time due to impending events. However, these songs are not gloomy; on the contrary, they exude romantic passion and are adorned with rich colors and harmonies.
Hanns Eisler (1898–1962) experienced a tumultuous blend of art and politics throughout his life. He was exiled from Nazi Germany due to his left-wing political views and Jewish heritage. Subsequently, he faced investigation in the United States after being accused of being a communist agent. Finally, Eisler was criticized by East German cultural authorities for the formal experimentation in his compositions. During his youth, Eisler developed a strong affinity for Marxist political beliefs, and in 1926, he joined the German Communist Party. It was during this time that he forged a close friendship with Bertolt Brecht, leading to numerous artistic collaborations.
After Hitler came to power in 1933, the activity of Communist Party members was suppressed, Eisler's music was banned, and he began his 15-year exile. He lived in various countries before eventually settling in Los Angeles in 1942. There, he supported himself by composing music for numerous Hollywood films and later taught at the University of Southern California. However, due to the growing anti-communist sentiment in post-war America, Eisler was labeled a suspicious "element" and was eventually deported from the country. He spent the remainder of his life in East Berlin.
Eisler's Hollywood Songbook (Das Hollywood Liederbuch, 1940-1944), consisting of 47 songs, was composed during his period of emigration. Most of these songs were set to Brecht's lyrics, continuing their collaboration even in California during the 1940s. Eisler employed a simple musical style reminiscent of Schubert, subtly incorporating allusions to class struggle. These "miniature dramas" encompassed different styles, blending elements of high and low art into a cohesive collage. Often, they featured incomplete lyrics and disjointed melodies, intentionally disrupting the German Lied tradition.
Nine selected songs, written with Brecht's lyrics, and one based on Rimbaud's poetry, capture the dynamics of both lyrical momentum and critical distance, which are characteristic of the works of both artists. This is achieved through the use of the "Verfremdungseffekt" or "alienation effect." Eisler aimed to attract listeners with the sonority of accessible music, rich harmonies, and catchy melodies. Simultaneously, he intended to draw their attention to the "unpleasant" lyrics, thereby challenging the very essence of the songs. Ideally, these songs were intended to inspire real-world change. Brecht's texts offer insights into his own journey into exile, from Finland (die Flucht, Frühling, an den kleinen Radioapparat), through the Soviet Union and Japan (die Maske des Bösen), the Philippines, and finally to Los Angeles (die Landschaft des Exils).
Three other songs serve as "flashbacks," depicting the situations in Germany from which Brecht fled (der Kirschdieb, über den Selbstmord, Ostersonntag). The final song contemplates the possibility of returning to war-ravaged Berlin (das Rückkehr). The only non-Brecht song, "das Rimbaud-Gedicht" subtitled "imitating the French", is composed in the style of a French cabaret and features the poem "Bonne pensée du matin" by Arthur Rimbaud. Stylistically, it stands apart from the other songs in the Hollywood Songbook and serves as sort of a "story-within-a-story" intermezzo, offering a temporary escape from the somber reality described in the surrounding songs (über den Selbstmord and Ostersonntag).
Anton Webern (1883–1945) is widely regarded as one of the most influential composers of the 20th century. Although he was relatively unknown during his lifetime, interest in his work grew significantly after his death, particularly at the renowned International Summer Courses for New Music in Darmstadt. Composers gathered in Darmstadt recognized the distinctive qualities of Webern's music and used these characteristics to develop the compositional technique known as integral serialism. Despite the mechanistic rationalization of his musical expression, Webern did not overlook the subtle lyrical expressiveness that permeated every aspect of his music. This lyrical quality was particularly evident in his vocal compositions.
Anton Webern came from an old aristocratic family, which partly explains his strong belief in the significance of the Germanic spirit at any cost. After World War I, during which both Austria-Hungary and Germany suffered defeat, the world experienced a profound political and ideological transformation. Webern believed that only "the superior old German culture could save the world from the demoralized condition into which it had been thrown" and that "only some kind of determined autocracy could solve the problems of society and provide salvation for all of Western humanity." Therefore, in the early 1930s, Webern supported Hitler's rise to power, hoping that the newly elected chancellor would bring greater employment, labor rights, social reforms, and political stability to Germany. However, his enthusiastic support for the ruling regime soon gave way to deep disappointment. Webern's music, along with the works of Berg, Krenek, Schoenberg, and other composers, was labeled as "cultural Bolshevism" and "degenerate art" by the National Socialist Party in Germany. Consequently, its publication and performance were banned shortly after the Anschluss in 1938.
The difficult times continued for Webern, and they did not improve with time. Tragically, he was killed by an American soldier in front of his home, who mistook him for someone else. Webern's "Three Songs from the Cycle Viae inviae, Op. 23" (1933–1934) belong to the later phase of his work, during which the composer employed serial techniques. The intricate musical texture of these songs corresponds to the lyrical purity of the verses by poet Hildegard Jone, from whose cycle Viae inviae they are derived.
In the first poem, "Das dunkle Herz, das in sich lauscht," Webern utilizes eight serial sequences throughout the piece, including a basic dodecaphonic sequence, its inversion, retrograde movement, retrograde inversion, and transpositions by tritones. Notably, there are symmetrical and palindromic connections between the sequences, as well as structural sections based on a diminished seventh chord, which divides the octave into four equal parts, each containing a minor third. By placing the tritone in the center of the basic sequence, each choice of sequence emphasizes the importance of binary and symmetrical relationships within the work, evident at both the surface and internal levels. However, the structure of this first poem is reflected not only in repetitions and retrograde symmetry within each sequence but also in the realization of a symmetrical structure that occurs through the connections between successive sequences. Together, they form a transformative network that governs not only the surface realization of the song but also its deeper structural level.
In the second and third poems ("Der Tod" and "Herr Jesus mein"), a noticeable absence of symmetry is observed. These songs were composed in quick succession, establishing a contrasting yet complementary relationship between the themes of the poetic texts—one expressing pantheistic celebration of nature, and the other a Christian spiritual lyric. In both the texts and their musical treatment, richer contrasting relations can be observed, offering a concise reflection on two types of love: erotic and sacred.
Victor Ullmann (1898–1944) led a life marked by multiple forms of alienation. Born in the Austro-Hungarian town of Těšín/Cieszyn (on the border of today's Czech Republic and Poland) into a Jewish family, he spent his childhood in Vienna. Later, he attended composition classes with Schoenberg and moved to Prague to work as an accompanist and conductor at the New German Theater (Prague State Opera), where he was mentored by Alexander von Zemlinsky. While studying at the University of Prague under Alojz Haba, he became acquainted with the anthroposophical movement and subsequently settled in Dornach, Switzerland—the headquarters of this movement. In the early 1930s, he established himself in Stuttgart, where he ran a bookstore specializing in anthroposophical materials. As the National Socialist regime's violence became increasingly overt following Hitler's rise to power, Ullmann was compelled to flee Germany for Prague. Struggling to find permanent employment, he supported himself by working for Czechoslovak radio, writing for magazines, and giving private lessons. In 1942, Ullmann was arrested and deported to the Theresienstadt ghetto, a so-called concentration camp that held special significance for the Third Reich's propaganda machinery. Theresienstadt was promoted as an "exemplary ghetto" to demonstrate the Nazis' supposedly humane treatment of Jews, despite the inhabitants enduring extremely inhumane conditions. Immediately upon his arrival, Viktor Ullmann immersed himself in the cultural life of the ghetto. He composed, accompanied, organized concerts, wrote music reviews, and taught. Among the residents of Theresienstadt were other notable artists of the time, such as conductor Karel Ančerl, opera singer Karel Berman, composers Pavel Haas, Gideon Klein, Hans Krása, jazz musician Koko Schumann, and director Kurt Gerron, among many others. After two years, Theresienstadt was emptied, and Ullmann, along with numerous other residents, was transported directly to Auschwitz, where he was killed in a gas chamber two days later.
Art songs constitute a significant part of Ullmann's body of work. They developed under the influence of Schoenberg and Mahler, and through the synthesis of traditional forms and atonality, they bear resemblance to the works of Alban Berg. Ullmann's song cycles are structured according to the principle of contrast, while simultaneously forming a conceptual complex woven from the repetition or alteration of melodic and rhythmic motifs. In his piano accompaniment, Ullmann employs various elements, ranging from simple chord notations and harmonic accompaniment to the development and transformation of melodic motifs in the vocal part, as well as the creation of independent instrumental parts. In contrast to his anthroposophical and spiritual compositions, which exhibit restrained expression and harmony, his three cycles of love songs, set to verses by female poets, feature extended tonality, large melodic leaps, and considerable expressiveness. Although Ullmann was strongly influenced by the Second Viennese School, he chose not to adhere strictly to their compositional methods. Instead, he developed his own harmonic system, derived from the 8th-14th partials of the natural harmonic series. His novel principles are prominently displayed in his piano compositions and all the solo songs written from the mid-1930s onward. During his time in Theresienstadt, Ullmann composed at least fourteen art songs, although not all of them have survived. These works from the ghetto serve as a testament to the compositional mastery he had honed over three decades. Even in the most challenging circumstances, Ullmann's inquisitive and creative spirit never wavered. He even expanded his genre range by composing an opera, "The Emperor of Atlantis."
The texts of the song cycle "Three Chinese Songs" (1943) by Viktor Ullmann were sourced from a collection of Chinese poetry that the composer had access to in the ghetto. Of these three songs, only two have survived, with the second one being "Der müde Soldat". This lyrical song, presented in a free form, incorporates characteristic Ullmannesque dissonances in the piano part and phrases of irregular length filled with large leaps in the soloist's part. The poem vividly describes the burdens and horrors of war, exemplifying Ullmann's resistance to the conditions in Theresienstadt. It is punctuated by a multitude of chromatic threads. The lyrical verses of poet Riccarda Huch served as a profound source of inspiration for numerous composers. Ullmann selected poems from her collection "Love Songs" (1912) and composed his Five Love Songs (1940) in a distinctly lyrical mood. These songs, written in Prague, were among Ullmann's final compositions before the invasion of German troops in the Czech capital and his subsequent internment in Theresienstadt. The themes briefly explored in the songs "Wenn je ein Schönes mir zu bilden glückte" and "O, schöne Hand" convey a sense of urgency, as if the composer sensed the lack of time due to impending events. However, these songs are not gloomy; on the contrary, they exude romantic passion and are adorned with rich colors and harmonies.
Hanns Eisler (1898–1962) experienced a tumultuous blend of art and politics throughout his life. He was exiled from Nazi Germany due to his left-wing political views and Jewish heritage. Subsequently, he faced investigation in the United States after being accused of being a communist agent. Finally, Eisler was criticized by East German cultural authorities for the formal experimentation in his compositions. During his youth, Eisler developed a strong affinity for Marxist political beliefs, and in 1926, he joined the German Communist Party. It was during this time that he forged a close friendship with Bertolt Brecht, leading to numerous artistic collaborations.
After Hitler came to power in 1933, the activity of Communist Party members was suppressed, Eisler's music was banned, and he began his 15-year exile. He lived in various countries before eventually settling in Los Angeles in 1942. There, he supported himself by composing music for numerous Hollywood films and later taught at the University of Southern California. However, due to the growing anti-communist sentiment in post-war America, Eisler was labeled a suspicious "element" and was eventually deported from the country. He spent the remainder of his life in East Berlin.
Eisler's Hollywood Songbook (Das Hollywood Liederbuch, 1940-1944), consisting of 47 songs, was composed during his period of emigration. Most of these songs were set to Brecht's lyrics, continuing their collaboration even in California during the 1940s. Eisler employed a simple musical style reminiscent of Schubert, subtly incorporating allusions to class struggle. These "miniature dramas" encompassed different styles, blending elements of high and low art into a cohesive collage. Often, they featured incomplete lyrics and disjointed melodies, intentionally disrupting the German Lied tradition.
Nine selected songs, written with Brecht's lyrics, and one based on Rimbaud's poetry, capture the dynamics of both lyrical momentum and critical distance, which are characteristic of the works of both artists. This is achieved through the use of the "Verfremdungseffekt" or "alienation effect." Eisler aimed to attract listeners with the sonority of accessible music, rich harmonies, and catchy melodies. Simultaneously, he intended to draw their attention to the "unpleasant" lyrics, thereby challenging the very essence of the songs. Ideally, these songs were intended to inspire real-world change. Brecht's texts offer insights into his own journey into exile, from Finland (die Flucht, Frühling, an den kleinen Radioapparat), through the Soviet Union and Japan (die Maske des Bösen), the Philippines, and finally to Los Angeles (die Landschaft des Exils).
Three other songs serve as "flashbacks," depicting the situations in Germany from which Brecht fled (der Kirschdieb, über den Selbstmord, Ostersonntag). The final song contemplates the possibility of returning to war-ravaged Berlin (das Rückkehr). The only non-Brecht song, "das Rimbaud-Gedicht" subtitled "imitating the French", is composed in the style of a French cabaret and features the poem "Bonne pensée du matin" by Arthur Rimbaud. Stylistically, it stands apart from the other songs in the Hollywood Songbook and serves as sort of a "story-within-a-story" intermezzo, offering a temporary escape from the somber reality described in the surrounding songs (über den Selbstmord and Ostersonntag).
SONGBOOK FOR OUR TIMES VOL. 2
Premiered : October 24th 2021 in KC Eđšeg, Novi Sad
Nenad Marković, trumpet Nataša Srdić-Jahn, piano Arnold Schönberg (1874-1951): 3 Lieder Op. 48 (1933) I: Sommermüd II: Tot III: Mädchenlied Alexander Zemlinsky (1871-1942): 12 Lieder Op. 27 (1937) V: die Verschmähte (Amaru) IV: Jetzt ist die Zeit (Kalidasa) Vojislav Vučković (1910-1942): 2 pesme (1938) I: Protivnosti (Pei lo Tien) II: Golubovi (Radovan Zogović) *** Goffredo Petrassi (1904-2003): Due liriche di Saffo (1942) I:Tramontata è la luna II: Invito all’Eràno Pavel Haas (1899-1944): Čtyři písně na čínskou poezii (1944) I: Zaslechl jsem divoké husy (Wei Jing-wu) II: V bambusovém háji (Wang-Wei) III: Daleko měsíc je domova (Čang Čiu-ling) IV: Probděná noc (Han Jü) Witold Lutosławski (1913-1994): Pieśni walki podziemnej (1942-44) III: Jedno slowo, jeden znak (Zofia Zawadska) Luigi Dallapiccola (1904-1975): Quattro liriche di Antonio Machado (1948) I: Mosso, con vivacitá II: Lento, flessibile III: Sostenutissimo IV: Quasi adagio, con amarezza |
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Short program notes (written by myself, originally in Serbian):
Three songs, Op. 48, by Arnold Schoenberg ("Summer's Weariness," "Death," and "Maiden's Song" - originally composed for alto voice and piano) with lyrics by Jakob Haringer, were written in Berlin at the beginning of 1933, just as the events that brought Adolf Hitler to power in Germany were unfolding (the last poem is dated 2/23/1933, four days before the Reichstag burning). This was an extremely tumultuous period for Schoenberg, who first lost his job at the Berlin Academy of Arts due to his Jewish origin, and soon after was forced to permanently leave Germany. He moved to Los Angeles where he became a professor at the University of California, Los Angeles (UCLA). Due to these circumstances, this cycle of songs remained somewhat forgotten, and it was only in 1949 in the USA that they were performed and included in the catalog as Op. 48, although their order of creation belonged to Op. 36. These poems have a gloomy, yet at times mocking and ironic character, and are written in a strict twelve-tone sequence with pronounced symmetry, characteristic of Schoenberg's creative style during the Berlin period.
Schoenberg's longtime friend and mentor, the Austrian composer and conductor Alexander Zemlinsky, was also forced to leave Berlin and his position as a conductor in the opera in 1933 for the same reasons. After spending several years mostly unemployed in Vienna, he faced the German annexation of Austria. Already old and in poor health, he emigrated to New York, where he later passed away after several unsuccessful attempts to establish himself as a film music composer. Zemlinsky's last work created in Europe was a cycle of 12 songs, Op. 27, completed in 1937 in Vienna. It presents a colorful collage of miniatures based on texts from poets around the world. For this program, two short songs of a lyrical character based on texts by ancient Indian poets were selected: "Rejected" (Amaru, 7th century) and "Now is the Time" (Kalidasa, 5th century).
Two songs by Vojislav Vučković were premiered in 1938 in London at the "International Society for Contemporary Music" festival, which was a great success for the young composer who had at the time just returned to Belgrade after completing his doctoral studies in Prague. Originally written for soprano and a woodwind trio, these songs have a characteristically expressionistic, linear, and atonal musical language, sometimes reminiscent of Schoenberg and Hindemith. The lyrics of these songs, composed over a thousand years apart on opposite sides of the world, are related in the way they describe social injustice, a subject that also captured Vučković's attention as a prominent leftist and active member of the communist movement. During the German occupation of Belgrade, on December 25, 1942, Vučković was arrested by the special police and, together with his wife, the painter Fani Politeo, who these two poems are dedicated to, he was murdered in captivity at the age of 32.
The 1930s and 1940s represented a turning point in the works of two Italian composers - Goffredo Petrassi and Luigi Dallapiccola. Italian artists found themselves in a more favorable position than their German contemporaries because censorship in Italy was milder. Petrassi spent the war years as the director of the Venetian opera house La Fenice and as a professor of composition at the Roman Conservatory. His music reflects his revolt against the actions of the fascist regime and the disappointment following Italy's entry into the war. Among his vocal-instrumental works from 1941, the cycle "Chorus of the Dead" and "Two Lyrical Songs" stand out. Written in a neoclassical idiom, these two songs are inspired by lyrics full of erotic charge by the ancient Greek poetess Sappho.
The cycle of Four Chinese poems by Czech composer Pavel Haas was written in the spring of 1944 at the Theresienstadt concentration camp. It is dedicated to the baritone Karel Berman, who premiered the songs in June of the same year at one of the concerts regularly organized by numerous interned artists in Theresienstadt. Alongside Viktor Ullmann's song "Tired Soldier" (from the program "Songbook for Our Times 1"), the texts for this cycle ("I Heard the Call of Wild Geese," "In the Bamboo Forest," "The Moon Is Far from Home," and "Sleepless Night") were selected from a book of old Chinese poetry chants brought to the camp by one of the prisoners. The four songs explore the themes of suffering and nostalgia and form a cohesive entity with pervasive musical quotations, including the chorale of St. Wenceslaus (a symbol of the invincibility of the Czech national spirit under occupation) and Moravian folk dances from Haas's hometown of Brno. In the fall of 1944, in anticipation of the Red Army's invasion, the Theresienstadt camp was closed, and most of the residents were transferred to Auschwitz under emergency procedures, where they were executed in gas chambers on the same day. Pavel Haas was among them.
Witold Lutosławski belongs to a slightly younger generation of composers who came into their own and reached maturity only in the post-war period. After escaping from German captivity, the only place where he could perform art music on the piano was in Warsaw taverns because, during the occupation, only German music was allowed in the concert halls. A short poem titled "One Word, One Sign," with text by Zofia Zawadska, is part of the cycle "Poems of Underground Struggle," which the author dedicated to his friends, the fighters of the Polish resistance movement.
Luigi Dallapiccola's music, which combines lyrical expression with Webernian serialism, had a decisive influence on the development of an authentic modern style in post-war Italy. Although initially a sympathizer of Benito Mussolini and the Fascist Party, Dallapiccola came to recognize his errors. His sobriety, revolt, and open criticism of fascism are clearly reflected in works from this period. One of his most famous works is the vocal-instrumental composition "Songs of Imprisonment," written as a reaction to the introduction of racial laws in Italy in 1938. In the years that followed, Dallapiccola and his family were forced to live in hiding due to his wife Laura's Jewish origin. The cycle of poems "Four Lyrics of Antonio Machado" represents a return to optimism after years of despair. Written in 1948 and based on a two-part dodecaphonic series, the songs accompany the meditative and symbolic text of the Spanish poet, who speaks about the return of spring and man's inability to understand the dark side of God. The voiceless sigh in the last song brings this program to a close
Schoenberg's longtime friend and mentor, the Austrian composer and conductor Alexander Zemlinsky, was also forced to leave Berlin and his position as a conductor in the opera in 1933 for the same reasons. After spending several years mostly unemployed in Vienna, he faced the German annexation of Austria. Already old and in poor health, he emigrated to New York, where he later passed away after several unsuccessful attempts to establish himself as a film music composer. Zemlinsky's last work created in Europe was a cycle of 12 songs, Op. 27, completed in 1937 in Vienna. It presents a colorful collage of miniatures based on texts from poets around the world. For this program, two short songs of a lyrical character based on texts by ancient Indian poets were selected: "Rejected" (Amaru, 7th century) and "Now is the Time" (Kalidasa, 5th century).
Two songs by Vojislav Vučković were premiered in 1938 in London at the "International Society for Contemporary Music" festival, which was a great success for the young composer who had at the time just returned to Belgrade after completing his doctoral studies in Prague. Originally written for soprano and a woodwind trio, these songs have a characteristically expressionistic, linear, and atonal musical language, sometimes reminiscent of Schoenberg and Hindemith. The lyrics of these songs, composed over a thousand years apart on opposite sides of the world, are related in the way they describe social injustice, a subject that also captured Vučković's attention as a prominent leftist and active member of the communist movement. During the German occupation of Belgrade, on December 25, 1942, Vučković was arrested by the special police and, together with his wife, the painter Fani Politeo, who these two poems are dedicated to, he was murdered in captivity at the age of 32.
The 1930s and 1940s represented a turning point in the works of two Italian composers - Goffredo Petrassi and Luigi Dallapiccola. Italian artists found themselves in a more favorable position than their German contemporaries because censorship in Italy was milder. Petrassi spent the war years as the director of the Venetian opera house La Fenice and as a professor of composition at the Roman Conservatory. His music reflects his revolt against the actions of the fascist regime and the disappointment following Italy's entry into the war. Among his vocal-instrumental works from 1941, the cycle "Chorus of the Dead" and "Two Lyrical Songs" stand out. Written in a neoclassical idiom, these two songs are inspired by lyrics full of erotic charge by the ancient Greek poetess Sappho.
The cycle of Four Chinese poems by Czech composer Pavel Haas was written in the spring of 1944 at the Theresienstadt concentration camp. It is dedicated to the baritone Karel Berman, who premiered the songs in June of the same year at one of the concerts regularly organized by numerous interned artists in Theresienstadt. Alongside Viktor Ullmann's song "Tired Soldier" (from the program "Songbook for Our Times 1"), the texts for this cycle ("I Heard the Call of Wild Geese," "In the Bamboo Forest," "The Moon Is Far from Home," and "Sleepless Night") were selected from a book of old Chinese poetry chants brought to the camp by one of the prisoners. The four songs explore the themes of suffering and nostalgia and form a cohesive entity with pervasive musical quotations, including the chorale of St. Wenceslaus (a symbol of the invincibility of the Czech national spirit under occupation) and Moravian folk dances from Haas's hometown of Brno. In the fall of 1944, in anticipation of the Red Army's invasion, the Theresienstadt camp was closed, and most of the residents were transferred to Auschwitz under emergency procedures, where they were executed in gas chambers on the same day. Pavel Haas was among them.
Witold Lutosławski belongs to a slightly younger generation of composers who came into their own and reached maturity only in the post-war period. After escaping from German captivity, the only place where he could perform art music on the piano was in Warsaw taverns because, during the occupation, only German music was allowed in the concert halls. A short poem titled "One Word, One Sign," with text by Zofia Zawadska, is part of the cycle "Poems of Underground Struggle," which the author dedicated to his friends, the fighters of the Polish resistance movement.
Luigi Dallapiccola's music, which combines lyrical expression with Webernian serialism, had a decisive influence on the development of an authentic modern style in post-war Italy. Although initially a sympathizer of Benito Mussolini and the Fascist Party, Dallapiccola came to recognize his errors. His sobriety, revolt, and open criticism of fascism are clearly reflected in works from this period. One of his most famous works is the vocal-instrumental composition "Songs of Imprisonment," written as a reaction to the introduction of racial laws in Italy in 1938. In the years that followed, Dallapiccola and his family were forced to live in hiding due to his wife Laura's Jewish origin. The cycle of poems "Four Lyrics of Antonio Machado" represents a return to optimism after years of despair. Written in 1948 and based on a two-part dodecaphonic series, the songs accompany the meditative and symbolic text of the Spanish poet, who speaks about the return of spring and man's inability to understand the dark side of God. The voiceless sigh in the last song brings this program to a close