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The Summer Festival closes with a powerful hymn to the wonders of a nature that is constantly emerging and passing away: with Arnold Schoenberg’s Gurre-Lieder, a work that addresses nothing less than the mystery of eternal life. Around 300 performers - six soloists, three choirs, and the large NDR Elbphilharmonie Orchestra under Alan Gilbert - will tell Jens Peter Jacobsen’s tragic story of King Waldemar and his lover Tove, who is murdered by the jealous queen. Schoenberg worked for almost ten years on this enormous score, which speaks an entirely late-Romantic musical language and ends with a triumphant sunrise. But even here, curiosity drove him to undertake fascinating experiments, such as Expressionist melodrama in which the vocal part is not sung but performed as Sprechgesang: here, by the famous baritone Thomas Quasthoff, who actually retired from his singing career in 2012. At the world premiere of Gurre-Lieder in 1913, the Viennese audience cheered Schoenberg frenetically. But he took no satisfaction, remarking: “I foresaw that this success would have no influence on the fate of my later works.” You should celebrate the good things when they happen.
