"Summer Morning By A Lake"
According to Robert Erickson, "harmonic and melodic motion is curtailed, in order to focus attention on timbral and textural elements." Blair Johnston claims that this movement is actually titled "Chord-Colors", that Schoenberg "removes all traditional motivic associations" from this piece, that it is generated from a single harmony: C-G♯-B-E-A (the 'Farben' chord), found in a number of chromatically altered derivatives, and is scored for "a kaleidoscopically rotating array of instrumental colors". Whether or not this was an early example of what Schoenberg later called "Klangfarbenmelodie" (in his Harmonielehre of 1911) is a matter of dispute. One scholar holds that Schoenberg's "now-famous statements about 'Klangfarbenmelodie' are, however, reflections, which have no direct connection to the Orchestra Piece op. 16, no. 3". An attempt to refute this view was published in the same journal issue. Schoenberg explains in a note added to the 1949 revision of the score, "The conductor need not try to polish sounds which seem unbalanced, but watch that every instrumentalist plays accurately the prescribed dynamic, according to the nature of his instrument. There are no motives in this piece which have to be brought to the fore"
Read more about this topic: Five Pieces For Orchestra
Famous quotes containing the words summer, morning and/or lake:
“The woods decay, the woods decay and fall,
The vapours weep their burthen to the ground,
Man comes and tills the field and lies beneath,
And after many a summer dies the swan.”
—Alfred Tennyson (1809–1892)
“Jane, Jane,
Tall as a crane,
The morning light creaks down again;”
—Dame Edith Sitwell (1887–1964)
“Like a canoe route across the great lake on whose shore
One is left trapped, grumbling not so much at bad luck as
Because only this one side of experience is ever revealed.
And that meant something.”
—John Ashbery (b. 1927)