Die glückliche Hand

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← Previous revision Revision as of 00:29, 18 April 2026 Line 32: Line 32: Working with [[monologist]]s at the [[Überbrettl]] cabaret (1901–02) may have influenced his use of {{lang|de|[[Sprechstimme]]}} (half speech, half song), including in ''Lucky Hand''.{{sfn|Shawn|2003|loc=25, 36–42, 142–143, 157}}{{efn|[[Engelbert Humperdinck (composer)|Engelbert Humperdinck]] first used {{lang|de|[[Sprechstimme]]}} in ''[[Königskinder]]'' (1897).{{sfn|Shawn|2003|loc=25}} Schoenberg asked that his 1899 [[musical setting]] of [[Hugo von Hofmannsthal]]'s "Die Beiden" be "less sung than declaimed"{{sfn|Shawn|2003|loc=143}} and first used {{lang|de|Sprechstimme}} in ''[[Gurre-Lieder]]''.{{sfn|Shawn|2003|loc=25}}}} This and his work orchestrating many [[operetta]]s during their Silver Age heyday may have led to his evocative and sometimes [[spatial music|spatial]] use or [[parody]] of [[light music]], not unlike [[Gustav Mahler]] or [[Charles Ives]].{{sfnm|Paland|2002|1loc=27–28, 57|Shawn|2003|2loc=8, 33, 37–42, 105–110, 136–141, 265, 281}} In ''Lucky Hand'', he used derisive laughter, often with a small, [[Offstage instrument or choir part in classical music|off-stage]] wind band, as [[foreshadowing|prolepsis]] (scene 1 m. 26; obliquely: scene 3 mm. 104 and 125) and [[anagnorisis]] ([[reprise]]: scene 3 m. 200).{{sfnm|Paland|2002|1loc=38–39, 92, 125, 169|Shawn|2003|2loc=159, 161, 163–164}}{{efn|Op. 16/iv "Peripetie" ("[[Peripeteia]]") has been interpreted as being about his turns of fortune, including in terms of [[audience reception]].{{cn|date=September 2025}}}} [[Waltz]]-like passages, often involving violin, are like [[leitmotif]]s for the Woman (e.g., scene 2 m. 30, scene 3 m. 156).{{sfnm|Paland|2002|1loc=68–71|Shawn|2003|2loc=163}} Working with [[monologist]]s at the [[Überbrettl]] cabaret (1901–02) may have influenced his use of {{lang|de|[[Sprechstimme]]}} (half speech, half song), including in ''Lucky Hand''.{{sfn|Shawn|2003|loc=25, 36–42, 142–143, 157}}{{efn|[[Engelbert Humperdinck (composer)|Engelbert Humperdinck]] first used {{lang|de|[[Sprechstimme]]}} in ''[[Königskinder]]'' (1897).{{sfn|Shawn|2003|loc=25}} Schoenberg asked that his 1899 [[musical setting]] of [[Hugo von Hofmannsthal]]'s "Die Beiden" be "less sung than declaimed"{{sfn|Shawn|2003|loc=143}} and first used {{lang|de|Sprechstimme}} in ''[[Gurre-Lieder]]''.{{sfn|Shawn|2003|loc=25}}}} This and his work orchestrating many [[operetta]]s during their Silver Age heyday may have led to his evocative and sometimes [[spatial music|spatial]] use or [[parody]] of [[light music]], not unlike [[Gustav Mahler]] or [[Charles Ives]].{{sfnm|Paland|2002|1loc=27–28, 57|Shawn|2003|2loc=8, 33, 37–42, 105–110, 136–141, 265, 281}} In ''Lucky Hand'', he used derisive laughter, often with a small, [[Offstage instrument or choir part in classical music|off-stage]] wind band, as [[foreshadowing|prolepsis]] (scene 1 m. 26; obliquely: scene 3 mm. 104 and 125) and [[anagnorisis]] ([[reprise]]: scene 3 m. 200).{{sfnm|Paland|2002|1loc=38–39, 92, 125, 169|Shawn|2003|2loc=159, 161, 163–164}}{{efn|Op. 16/iv "Peripetie" ("[[Peripeteia]]") has been interpreted as being about his turns of fortune, including in terms of [[audience reception]].{{cn|date=September 2025}}}} [[Waltz]]-like passages, often involving violin, are like [[leitmotif]]s for the Woman (e.g., scene 2 m. 30, scene 3 m. 156).{{sfnm|Paland|2002|1loc=68–71|Shawn|2003|2loc=163}}

Like ''Erwartung'', ''Pierrot'', and parts of ''[[Moses und Aron]]'' (1923–37), ''Lucky Hand'' may be considered a dreamlike [[monodrama]].{{sfn|Shawn|2003|loc=93–99, 157, 228}} But it should be more [[abstraction|abstract]] and [[surrealism|surreal]] than a dream, Schoenberg wrote his publisher [[Emil Hertzka]] at [[Universal Edition]].{{sfn|Krones|2004|loc=25–26, quoting Schoenberg: "{{lang|de|italics=no|Höchste Unwirklichkeit [...] nicht wie ein Traum [... sondern] wie Akkorde [...] als Spiel [...] von Farben und Formen}}" ("highest unreality [...] not like a dream [... rather] like [[chord (music)|chord]]s ... a game [...] of colors and forms")}} Some would have known [[psychoanalysis|psychoanalyst]] Sigmund Freud's ''[[The Interpretation of Dreams]]'' (1900),{{sfn|Shawn|2003|loc=6–8, 94}}{{efn|[[Sigmund Freud]] and physician [[Josef Breuer]] discussed [[Bertha Pappenheim]], ''Erwartung'' librettist [[:de:Marie Pappenheim|Marie Pappenheim]]'s cousin, as "Anna O." in ''[[Studies on Hysteria]]'' (1895).{{sfn|Shawn|2003|loc=94}}}} and many consulted, whether for guidance or [[gambling]], more popular [[dream dictionary|dream books]] ({{lang|de|[[:de:Losbuch|Losbücher]]}}), shaping cultural imagination.{{sfn|Krones|2004|loc=25–27}} In writing ''Lucky Hand'', Schoenberg may have used these latter books' [[color symbolism]] and [[numerology]], purportedly drawn from ancient works like Artemidorus' ''[[Oneirocritica]]''.{{sfn|Krones|2004|loc=25–33}}{{multiple image|total_width=200|image1=Aunt Sally's Policy Players Dream Book 1889 4-11-44.jpg|image2=Complete Fortune-Teller and Dream-Book, or, An Infallible Guide to the Hidden Decrees of Fate- Being a New and Regular System for Foretelling Future Events, by Dreams, Moles, &c. &c - DPLA - 204a3f7ac6a491feea41483aa102d65f (page 1).jpg|footer=19th-century dream books showing a gambling play (left) and promising an "infallible" fate [[divination]] system (right)}} {{multiple image|total_width=200|image1=Aunt Sally's Policy Players Dream Book 1889 4-11-44.jpg|image2=Complete Fortune-Teller and Dream-Book, or, An Infallible Guide to the Hidden Decrees of Fate- Being a New and Regular System for Foretelling Future Events, by Dreams, Moles, &c. &c - DPLA - 204a3f7ac6a491feea41483aa102d65f (page 1).jpg|footer=19th-century dream books showing a gambling play (left) and promising an "infallible" fate [[divination]] system (right)}}Like ''Erwartung'', ''Pierrot'', and parts of ''[[Moses und Aron]]'' (1923–37), ''Lucky Hand'' may be considered a dreamlike [[monodrama]].{{sfn|Shawn|2003|loc=93–99, 157, 228}} But it should be more [[abstraction|abstract]] and [[surrealism|surreal]] than a dream, Schoenberg wrote his publisher [[Emil Hertzka]] at [[Universal Edition]].{{sfn|Krones|2004|loc=25–26, quoting Schoenberg: "{{lang|de|italics=no|Höchste Unwirklichkeit [...] nicht wie ein Traum [... sondern] wie Akkorde [...] als Spiel [...] von Farben und Formen}}" ("highest unreality [...] not like a dream [... rather] like [[chord (music)|chord]]s ... a game [...] of colors and forms")}} Some would have known [[psychoanalysis|psychoanalyst]] Sigmund Freud's ''[[The Interpretation of Dreams]]'' (1900),{{sfn|Shawn|2003|loc=6–8, 94}}{{efn|[[Sigmund Freud]] and physician [[Josef Breuer]] discussed [[Bertha Pappenheim]], ''Erwartung'' librettist [[:de:Marie Pappenheim|Marie Pappenheim]]'s cousin, as "Anna O." in ''[[Studies on Hysteria]]'' (1895).{{sfn|Shawn|2003|loc=94}}}} and many consulted, whether for guidance or [[gambling]], more popular [[dream dictionary|dream books]] ({{lang|de|[[:de:Losbuch|Losbücher]]}}), shaping cultural imagination.{{sfn|Krones|2004|loc=25–27}} In writing ''Lucky Hand'', Schoenberg may have used these latter books' [[color symbolism]] and [[numerology]], purportedly drawn from ancient works like Artemidorus' ''[[Oneirocritica]]''.{{sfn|Krones|2004|loc=25–33}}

===Literary–dramatic connections=== ===Literary–dramatic connections===