{"id":4379,"date":"2012-06-18T16:44:42","date_gmt":"2012-06-18T15:44:42","guid":{"rendered":"http:\/\/kennethwoods.net\/blog1\/?p=4379"},"modified":"2014-05-26T10:15:54","modified_gmt":"2014-05-26T10:15:54","slug":"explore-the-score-hans-krasa-string-trios","status":"publish","type":"post","link":"https:\/\/kennethwoods.net\/blog1\/2012\/06\/18\/explore-the-score-hans-krasa-string-trios\/","title":{"rendered":"Explore the Score- Hans Kr\u00e1sa, String Trios"},"content":{"rendered":"

Re-blogged from the Ensemble Epomeo website<\/a><\/p>\n

____________________________________________________________<\/p>\n

 <\/p>\n

\"\"<\/a><\/p>\n

\u2018If I state that I was influenced by Sch\u00f6nberg, by that I wish to emphasize the fact that I am trying all the more to avoid the emptiness which is so favoured. I try to write in such a way that every bar, every recitative and every note is necessarily a solid part of the whole. This logic, without which every composition has no spirit, can, however, degenerate into mathematic-scientific music if the iron law of opera is not heeded, namely that the sense and aim of opera is the singing. I am sufficiently daring, as a modern composer, to write melodic music.\u2019<\/em><\/strong><\/p>\n

Hans Kr\u00e1sa, 1938<\/p>\n

 <\/p>\n

Czech-born Hans Kr\u00e1sa was one of the leading talents of a generation of composers inspired by Mahler, Schoenberg and Zemlinsky. After a string of early successes, Kr\u00e1sa took a seven-year break from composition before coming into his full maturity in the 1930s. He is best remembered today for his 1938 children\u2019s opera,\u00a0Brundib\u00e1r,\u00a0<\/em>a work that would be performed 55 times during Kr\u00e1sa\u2019s internment in the Terezin Ghetto during the Second World War.<\/p>\n

Kr\u00e1sa\u2019s called his first string trio, completed in 1944,\u00a0Tanec,<\/em>\u00a0or \u2018Dance,\u2019 but the title seems intentionally misleading. The churning ostinato with which the cello begins the piece is just the first of several bits of music tone-painting that evoke the sound-world of trains, in an atmosphere that ranges from eerie nostalgia, to barely contained menace, to explicit violence. The main dance theme, heard first in the violin, is frequently poised on the edge of mania, finally tipping over the edge on the work\u2019s final page.<\/p>\n

The Passacaglia and Fugue from later that same year was Kr\u00e1sa\u2019s final completed work. Kr\u00e1sa takes these two ancient forms, in which the rules of rhetoric are traditionally engaged to give structure and lucidity to the exchange and development of ideas among independent voices, and profoundly deconstructs them. Rather than contrapuntal engagement leading towards reason and clarity, both the Fugue, and the Passacaglia that precedes it, essentially \u2018fail\u2019, as discussion degenerates into argument and argument descends into violence.<\/p>\n

The primary theme of the work, the repeated figure that forms the structure of the Passacaglia, is first heard in the cello, but also often present is the \u2018dance\u2019 theme of the earlier\u00a0Tanec<\/em>. The Passacaglia opens in gravely austere beauty, but in the course of the variations that follow, the emotional temperature gradually rises until all hell breaks loose. After a desolate codetta, the viola begins the Fugue, on a speeded up version of the cello\u2019s Passacaglia theme. The contrapuntal exchanges gradually become more rapid and intense, until, in the coda, the developmental process breaks down. Rather than engaging in reasoned dialogue and perpetual development, the music becomes violent and primitive. The cello repeats the passacaglia\/fugue theme obsessively,\u00a0fortissimo<\/em>, all pretense of development abandoned, while the violin and viola scream out the \u2018Tanec\u2019 theme and the work drives headlong to a terrifying conclusion.<\/p>\n

Kr\u00e1sa was deported by train to Auschwitz alongside his fellow composers Gideon Klein, Viktor Ullmann and Pavel Haas on 16 October 1944 and was killed in the gas chambers two days later.<\/p>\n