Arnold Schönberg
Pelleas und Melisande
Short instrumentation: 4 4 5 4 - 8 4 5 1 - timp(2), perc(3), hp(2 od. 4), str(16 16 12 12 8)
Duration: 45'
Klavierauszug von: Felix Greissle, Heinrich Jalowetz
Sujet von: Maurice Maeterlinck
Thematische Analyse von: Alban Berg
Instrumentation details:
piccolo
1. flute
2. flute
3. flute (+picc.)
1. oboe
2. oboe
3. oboe (+c.a.)
cor anglais
clarinet in Eb
1. clarinet in A
2. clarinet in A
3. clarinet in A (+2. bass cl(Bb))
bass clarinet in A (+bass cl.(Bb))
1. bassoon
2. bassoon
3. bassoon
contrabassoon
1. horn in F
2. horn in F
3. horn in F
4. horn in F
5. horn in F
6. horn in F
7. horn in F
8. horn in F
1. trumpet in F (+tpt in E)
2. trumpet in F (+tpt in E)
3. trumpet in F (+tpt in E)
4. trumpet in F (+tpt in E)
altotrombone
1. tenor bass trombone
2. tenor bass trombone
3. tenor bass trombone
4. tenor bass trombone
contrabass tuba
1.2. timpani
perc
1. harp
2. harp
I/II. harp
III/Iv. harp
violin I
violin II
viola
violoncello
contrabass
Schönberg - Pelleas und Melisande for orchestra
Printed/Digital
Translation, reprints and more
Arnold Schönberg
Schönberg: Pelleas und Melisande - op. 5Orchestration: für großes Orchester
Type: Dirigierpartitur
Language: Deutsch
Arnold Schönberg
Schönberg: Pelleas und Melisande von Arnold Schönberg. Thematische Analyse. (Pelleas und Melisande by Arnold Schoenberg. Thematic Analysis) - German - op. 5Orchestration: für großes Orchester
Type: Buch
Language: Deutsch
Arnold Schönberg
Schönberg: Pelleas und Melisande, Short Thematic Analysis by Alban Berg - op. 5Orchestration: für großes Orchester
Type: Buch
Language: Deutsch
Sample pages
Work introduction
Arnold Schönberg wrote Pelleas and Melisande in 1902 after Strauss had recommended to him Maurice Maeterlinck’s five-act drama with its sequence of mood and scene paintings heavily laden with symbolism.
The post-Romantic musical gestures of the large-scale orchestra are never “purely descriptive”, as Alban Berg insists in his analysis, but revolve around the aesthetic idea of interpreting the subject not as content of, but as pre-condition for the music (Therese Muxeneder).
The first performance in Vienna in 1905, under Schönberg’s direction, unleashed a grand furore – one of the critics suggested putting me in a mental institution and keeping manuscript paper out of my reach (Arnold Schönberg).