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# Cím Abstract Szerző Folyóirat Oldalszám
"A teljes letre tant" : beszlgets Kocsis Zoltnnal Arnold Schnberg Mzes s ron cm operjrl s az ltala komponlt harmadik felvonsrl abs.
It Teaches Us to Live Our Life as a Whole Zoltn Kocsis talks about Schnbergs Moses and Aron and the third act composed by him Tnde Szitha In the summer of 2009 Zoltn Kocsis completed Arnold Schnberg's unfinished opera Moses and Aron with a third act, closely following the libretto the composer had left behind. This completed version was premiered by the National Philharmonic Orchestra and Chorus featuring Wolfgang Schne as Moses and Daniel Brenna as Aron) on 16th January, 2010 in Budapest, conducted by Zoltn Kocsis. This interview is focused on the motivation and compositional methods of his work. Kocsis accepts the general judgement of the musical world, which regards Moses and Aron as one of the most complete unfinished works" of music history. However, in the course of the Hungarian premiere of the original form at the Miskolc National Opera Festival (2009) he experienced the theatrical and musical absurdity of performing the third act in prose form. Although Schnberg had authorized the staging of the third act in this way, according to Kocsis the speech mode equalizes the role and dramatic power of the personalities of Moses and Aron, firmly distinguished by Sprechgesang and bel canto singing in the first and second acts. This was the first motive that prompted him to write a score. The other was his desire to find a strong musical reply to the fiasco of Moses, to answer his open-ended sentence O Wort, du Wort, was du mir fehlst..." and to expand the two dimensions of the first two acts (Moses: canon and discipline Aron/people: pragmatism, caducity and outrage) with a third one (God: transcendency and judgement), which can be detected in the libretto. The most important task for Kocsis was to compose the third act to Schnberg's music as coherently as possible from the distance of almost eight decades. He made use of the three fragments of sketches preserved in the Arnold Schnberg Center in Vienna; he composed his own inventions as well in the system of consequent dodecaphony; he maintained the twelve-tone Reihe of the opera as a basic structural and melodic principle; he quoted the six-chord opening phrase of the first act in several forms of variations as the icon of the divine canon; and at several points he used quotations, allusions and paraphrases from the first two acts. Nevertheless he considers the third act as his own music with strong references to Schnberg. He invented a number of illustrative instrumental interludes to depict the visual element of the libretto, included a passage of jazz crosstalk in Moses' last scene (which has more connection with contemporary jazz style, than with Schnberg's era), and - by giving a central role to F sharp almost throughout the act - he effected a melodic and harmonic release at the end of the opera: as a symbol of God this motif leads the marching people forward to the desert and affords resignation to Moses.
Szitha Tnde 2010., 48. évf. 3. szám 253. - 276.o