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Gurre-Lieder
' is a massive cantata for five vocal soloists, narrator, chorus and large orchestra, composed by Arnold Schoenberg, on poems by the Danish novelist Jens Peter Jacobsen (translated from Danish to German by Robert Franz Arnold). The title means ''Songs of Gurre'', referring to Gurre Castle in Denmark, scene of the medieval love-tragedy (related in Jacobsen's poems) revolving around the Danish national legend of the love of the Danish king Valdemar Atterdag (Valdemar IV, 1320–1375, spelt Waldemar by Schoenberg) for his mistress Tove, and her subsequent murder by Valdemar's jealous Queen Helvig (a legend which is historically more likely connected with his ancestor Valdemar I).
==Composition==
In 1900, Schoenberg began composing the work as a song cycle for soprano, tenor and piano for a competition run by the ''Wiener Tonkünstler-Verein'' (Vienna Composers' Association). It was written in a lush, late-romantic style heavily influenced by Richard Wagner. According to Schoenberg, however, he "finished them half a week too late for the contest, and this decided the fate of the work."〔Newlin, Dika. 1978. ''Bruckner, Mahler, Schoenberg.'' Rev. ed. New York: Norton. ISBN 978-0-393-02203-2〕 Later that year, he radically expanded his original conception, composing links between the first nine songs as well as adding a prelude, the ''Wood Dove's Song'', and the whole of Parts Two and Three. He worked on this version sporadically until around 1903, when he abandoned the mammoth task of orchestrating the work and moved on to other projects.
By the time he returned to the piece in 1910, he had already written his first acknowledged atonal works, such as the ''Three Pieces for Piano'', Op. 11, ''Five Pieces for Orchestra'', Op. 16 and ''Erwartung'', Op.17. He had also come under the spell of Gustav Mahler, whom he had met in 1903 and whose influence may be discernible in the orchestration of the latter parts of the ''Gurre-Lieder''. Whereas Parts One and Two are clearly Wagnerian in conception and execution, Part Three features the pared-down orchestral textures and kaleidoscopic shifts between small groups of instruments favoured by Mahler in his later symphonies. In ''Des Sommerwindes wilde Jagd'', Schoenberg also introduced the first use of Sprechgesang (or Sprechstimme), a technique he would explore more fully in ''Pierrot Lunaire'' of 1912.〔Soder, Aidan. 2008. "Sprechstimme In Arnold Schoenberg's Pierrot Lunaire - A Study of Vocal Performance Practice" (The Edwin Mellen Press, 2008) page 5. ISBN 978-0-7734-5178-0〕
The orchestration was finally completed in November 1911.〔Malcolm MacDonald: 'Schoenberg' (Oxford University Press, 2008)〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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