Arnold Schönberg
Die glückliche Hand
Short instrumentation: 5 4 6 4 - 5 4 7 1 - timp, perc, hp, cel, tr, str
Duration: 20'
Übersetzer: Michel Ancey
Libretto von: Arnold Schönberg
Choir: SATB
Roles:
Ein Mann
Bariton / Eine Frau
Ein Herr: stumme Rollen
Instrumentation details:
piccolo (+4thpl)
1st flute
2nd flute
3rd flute (+2ndpicc)
1st oboe
2nd oboe
3rd oboe
cor anglais
clarinet in in D
1st clarinet in Bb
2nd clarinet in Bb
3rd clarinet in Bb
bass clarinet in Bb
1st bassoon
2nd bassoon
3rd bassoon
contrabassoon
1st horn in F
2nd horn in F
3rd horn in F
4th horn in F
1st trumpet in Bb
2nd trumpet in Bb
3rd trumpet in Bb
1st trombone
2nd trombone
3rd trombone
4th trombone
bass tuba
timpani
percussion
celesta
harp
violin I
violin II
viola
violoncello
contrabass
music cont.aind the scene: piccolo
clarinet in in Eb
horn in F
trumpet in Bb
1st trombone
2nd trombone
3rd trombone
triangle (+cym)
Schönberg - Die glückliche Hand
Translation, reprints and more
Arnold Schönberg
Schönberg: Die glückliche Hand - op. 18Type: Libretto/Textbuch
Language: Deutsch
Arnold Schönberg
Schönberg: Die glückliche Hand for 2 pianos 4 hands - op. 18Orchestration: for 2 pianos 4 hands
Type: Noten
Language: Deutsch
Arnold Schönberg
Schönberg: Die glückliche Hand for baritone, 2 silent roles, 3 sopranos, 3 altos, 3 tenors, 3 basses and orchestra - op. 18Orchestration: for baritone, 2 silent roles, 3 sopranos, 3 altos, 3 tenors, 3 basses and orchestra
Type: Partitur
Language: Deutsch
Arnold Schönberg
TexteOrchestration: für Soli, gemischten Chor und Orchester
Type: Libretto/Textbuch
Language: Deutsch
Audio preview
Work introduction
Schönberg’s “Drama with Music in one act” was first performed in the Vienna Volksoper on 14 October 1924, although it had been composed quite some time earlier. Schönberg had already published the text, as his first completed and separately published literary work, in the Merker already in 1911. It was written as soon as he had finished composing Erwartung (“Expectation”) between September 1909 and June 1910. Although Schönberg had at the same time started on drafts for the music but – unusually for a work that lasts only 20 minutes – it was only at the end of 1913, as he wrote to Franz Schreker, that he took the work at last “in his lucky hand.” Egon Wellesz characterized the composition as an exemplary work of musical expressionism, giving as his reason especially the use of “Strindberg’s technique of short scenes as a drama form of the individual seeking to make his way through an alien world instead of relying on human relationships.” And in fact, in the stylized characters and the static scenery, the influence particularly of Ein Traumspiel, but also of Der Vater or of the first part of Nach Damaskus can be seen.
Matthias Schmidt (c) Arnold Schönberg Center
View the full text on the website of the Arnold Schönberg Center.