Raymond MONELLE: "Musical uniqueness as a function of the text" (15/17)

 
222
Now the singer, having become an actor in the drama, declaims in accompanied recitative, with the violins and violas playing tremolandi. When she protests that she must disobey the angel and return to God ("Ich bin von Gott und will wieder zu Gott!") her rising excitement is portrayed in the simplest possible manner: each measure is transposed up one semitone, like a music-hall act (Figure 4). This is naiveté of a different kind, a sort of cheap staginess. Quite abruptly, the chorale tune, from measure 23, is taken up in its original form, "wie zum Anfang". The voice returns to prayerful anonymity.
 
 
Figure 4
 
 
 


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AS/SA Nº4, Article 4 : Page 15 / 17
 
© 1997 by AS/SA

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21.12.1997