Moses und Aron (1973): Schönberg's Portrayal

This is part 4 of a series of posts about Straub and Huillet's film adaptation of Schönberg's opera "Moses und Aron". You can read them all here. Still from the 1968 performance in Düsseldorf.
As I demonstrated in my previous post on this subject, Schönberg uses a variety of musical techniques to portray the leading characters in his opera in various different ways: he uses sprechstimme to emphsise Moses' difficulty with speech; he uses the perfection and inclusivity of twelve-tone serialism to display the perfection of God; and, he has Aron distort the God's initial tone row to highlight the compromises and distortions that Aron makes in order to enable the people to comprehend the God that is reaching out to them.

I want to expand these observations now to look at Schönberg's portrayal of the four key 'characters' in the opera.

Moses - The Inflexible Idealist
In contrast to most dramatisations of the life of Moses, Schönberg's opera truncates almost his entire backstory. There is no account of his birth, his parents, his sister Miriam, or his upbringing in the Egyptian court. There is a brief mention in act I scene 3 of his murdering the Egyptian guard and fleeing, but no mention of his subsequent meeting with Jethro, or his marriage to Zipporah. Schönberg, then, has little interest in Moses' biography, only in his theology and his present beliefs.

As with the majority of artistic portrayals, Schönberg seeks to depict Moses as a character of particular significance and prominence. As Sir John Tomlinson puts it "Moses is an exceptional character...he’s not normal" (Opera on 3). It is he alone who hears God speak. Yet whilst this is a special privilege, it also carries a significant burden. Moses has a unique insight into the nature of God, but he struggles to percive how he can communicate it, not least because he is a man who can only speak in a world where everybody sings.

Initially, Moses is optimistic and seems to believe he will be able to explain to others the insight he has gained. However, his experiences with Aron and then the people lead him to realise that his task is a difficult one.

Paramount in Moses' understanding is his determination that images are at best an inadequate way of communicating the nature of God and, at worst, dangerously heretical. "For this Moses...the second commandment, which prohibits images of God, is not merely a fundamental condition of Jewish monotheism and a meaningful life, it is virtually the only condition". (Goldstein 163).

Moses strongly maintains this position in the face of mounting opposition. Whilst Aron initially seems willing to try and understand, a combination of his failure to fully grasp Moses' ideal and his natural pragmatic streak lead him to reject his brother's position. The people show even less inclination to adopt Moses' imageless faith than Aron, indeed seemingly the biggest reason Aron seeks to amend Moses' message is to fashion it into a form which will be both comprehensible and acceptable to the people.

However evidence begins to emerge that Moses' position is even more extreme than God's. Towards the end of act I, and in the face of Moses' refusal to compromise, Aron performs of the two biblical miracles, the transformation of Moses' staff into a snake and the leprous hand. But these two signs appear to be acts of God, miracles performed to communicate to the people. It seems that God has more belief in the validity of imagery than his most faithful servant.

As the second act begins, the extent of this problem becomes clearer. Ultimately "Moses' conviction that God cannot be represented and that truth, and not beauty, must be maintained, makes him an ineffective leader. " (Batnitzky 2001: 12). He is unable to lead the people, because he lacks their support. When he leaves them to spend time with God they rebel against and seek not a image from God such as the signs, but a human-made image of God.

By the time Moses finally appears in Act II, the people have delved into a full blown paganistic orgy. Indignant at what he sees and emboldened by his time with his god he orders the golden calf "Vergeh" ("Begone") and it disappears. He then scolds Aron, the two argue over the way they have each sought to lead the people. When Aron tells Moses he is too closely bound to his ideas ("Du bist an deinen Gedanken gebunden!"), Moses argues that the two tablets bearing the Ten Commandments which express this same idea. When Aron retorts "die auch nur ein Bild" ("They are also images") Moses smashes the two tablets. In contrast to the biblical account where Moses does this in anger, here it is to express the intensity of his belief and the extremes he will go to in order to follow them. But yet again God seems to undermine Moses' strict idealism. As with the end of act I, where Moses' staff became a snake, here God sends the pillars of fire and cloud. Whilst Moses initially expresses it as a "Götzenbilder!" ("Godless image!") he quickly realises that he too has fashioned a false image "So habe ich mir ein Bild gemacht, falsch". The libretto's final words in Act II are a stage direction "Moses sinkt verzweifelt zu Boden." ("Moses sinks to the ground in despair").

Whilst many productions of the opera end it at this point, thus leaving their audience with the sympathetic impression of a great man overwhelmed by the enormity of the challenge he faces, Schönberg clearly intended something different as indicated by his work on the unfinished third act. Whereas Act II ends with a Moses who "seems less angry with what has happened than despairing" (Cooke, Opera on 3) when we rejoin the action at the start of Act III he appears a far more strident and determined figure. He conducts a token trial of Aron before condemning him and whilst Aron is ultimately released, the events leading up to this announcement have been so horrific that he falls down dead.

The unfinished nature of the third act is interesting because it raises further questions as to whether Moses is meant to be the hero or the villain. Are we to meant to aspire to be like him, or to be different from him? If the opera ended at the end of Act II then whilst Moses' inflexible idealism has not persuaded his people, or even his brother, to follow him, he has stuck steadfastly to his beliefs. Was he right to do so? However, if the opera ends at the end of Act III, then Moses has ultimately become something of a monster, a man who abuses his brother to the point of death over an issue of theology.

In Schöenberg's own life there are two important parallels to consider. The first is the rise, and then fall, of Hitler and the Nazis and anti-Semitism inherent in their ideology. But, again, there are two opposing interpretations. Is Moses the Jewish hero standing up against the appropriation of images in the face of sizeable opposition as Goldstein suggests (165)? Or is he, by the end of Act III at least, a dangerous idealist who ousts his brother to become a somewhat brutal dictator?

The other parallel is Schöenberg involvement with a movement to unite the Jewish people in their own state, not only for their own safety, but also in order to preserve the idea of the unrepresentable God. Indeed, according to Goldstein, Schönberg "was willing and ready to assume the leadership" of this movement in particular because of "his hardheadedness, his obduracy", his inflexibility and devotion to the idea" the very traits he bequeathed to Moses (Goldstein 166). Schönberg seemingly creates Moses into the kind of person he perceived himself to be. It is possible Schönberg saw himself as a kind of Moses figure. Certainly he was "(i)nspired by the biblical figure of Moses" both in the pioneering nature of his music and his politics (Feisst 83)

Perhaps, it is because of these questions and seeming contradictions that Schönberg found it impossible to finish the work. Whilst he identified with his image of Moses, he was also wary of the dangers of an unblinking devotion to an idealistic cause.

Aaron
The title - "Moses und Aron" - reflects the dispute at the heart of the work. It's two eponymous leads personify the different sides of the debate over the question of whether an incomprehensible God can be, or indeed ought to be, represented using imagery. Thus Aron is presented as a counterfoil to his brother. If Moses is the inflexible idealist, Aaron is the pliable pragmatist, always seeking to find a compromise in order to ensure the people as a whole move forward together. "While for Moses God is and remains invisible and ineffable, an idea that cannot be represented (‘Unrepresentable God!/Unspeakable, ambiguous idea!’ [194]), Aaron, occupied with formulating expressive means sure to please, insists on the efficacy of constructing familiar and attractive images of the deity" (Goldstein 156). Whereas Moses fixates more on the abstract, Aaron "seeks a representation of God tailored to the people’s needs and to the religious and social conventions known to them" (Goldstein 156).

Another way to look at the dispute between the two men is to see it as competing understandings of freedom. For Goldstein, Aron is hunting for freedom from "the oppression of slavery", whereas his brother sees it more as "freedom from what is transitory" (156). Moses adheres adamantly to this second view of freedom; Aaron almost exclusively to a "freedom from physical bondage".

However, the reasons behind Aron's compromising approach are less clear. Is his pragmatism merely his desire for love, popularity or power; or rooted in a passionate love of the people, and a belief in unity, which rivals Moses' passionate defense of God's pure and unrepresentable nature; or even a combination of both?

On the one hand, it's notable, for example that when Moses first meets his brother after his encounter with God, Aron asks him - before Moses can even speak - if he is sent by mighty God ("schickt dich mir der große Gott?") and he also uses the word "Allmächtige" ("Almighty") before Moses can offer any kind of description.

Yet on the other hand Aron seems to have a genuine feeling for the the people that Moses cannot match. In the climatic fifth scene of Act II Aron declares "Ich liebe diese Volk, ich liebe für es und wikk es efhakten!" ("I love this humble folk, I live for them and want to satisfy them"). Moses counters not with is own declaration of love for the people, but for his love for his idea. When Aron suggests his brother would love the people if only he spent time with them, Moses insists that "Es muß den Gednaken er fassen!" ("They must comprehend the idea!").

By this stage what had started off as a failure to understand Moses' key message has turned sour. Whilst Moses convened with God, Aron strengthened his bond with the people. When Moses loses the argument over symbolism, he goes away broken, but returns to wrestle power back from his brother in the final act. For Wörner, Aron's distortion of Moses' message has a negative psychological effect on Aron. "The recognition of the pure idea by human imagination signifies a diminution, a darkening; and this diminution eventually turns into denial and betrayal (Wörner 67)." But it affects Moses for the worse as well making him inflexible and unwilling to declare a love for the people even if he disagrees with them.

Judging by the music, however, the suggestion seems to be that Schönberg sides with Moses more than his brother. When Aron sings, he distorts God's original tone row. "In all other contexts, Aaron’s musical characterisation is that of a sorcerer, an artist of transmutation, a seducer and demon, equivocal, restless, carrying good and evil within himself, but affecting evil, destruction." (Wörner 84).

God
At the heart of the dispute between the two leads is Moses' vision of God. Indeed the opera's opening words are Moses describing God as "Einziger, ewiger, allgegenwärtiger, unsichtbarer und unvorstellbarer Gott!" ("Unique, eternal, omnipresent one, invisible and inconceivable God!"). Quite a list of adjectives. God's response is to assert the holiness that surrounds him by ordering Moses to remove his shoes. Moses then calls God the God of his fathers, Abraham, Isaac and Jacob but tries to turn down the opportunity to be God's prophet ("verkünde"). God then talks about the enslavement of Moses' people and tells him "du mußt dein Volk daraus befrein!" ("You must free your people/folk").

What Moses takes away from this encounter in scene one we discover as he speaks to Aron in scene two and the people in scene four. In his initial conversation with Aron he describes God as "der Allgegenwärtige nicht Raum" ("The Almighty that exists outside of men") and as both "Unsichtbaren" ("invisible/unseen") and "Unvorstellbaren" ("unimageable"). Both of these terms become crucial in the discussion about God's nature the former being used nine times and the later eleven. Furthermore, as Batnitzky observes, "both Moses and Aron refer to God as unvorstellbar" going on to note the word's "connotations of unrepresentable, unimaginable, and ultimately inconceivable" (2001: 11-12).

These two terms along with "Einzige" ("unique/only one", used eleven times) and "ewige" ("eternal/everlasting", used thirteen times) form the key part of the work's understanding of God as "an ineffable deity" to the extent that he may indeed be "unrepresentable" (Goldstein 152). If Moses' is correct, then, as Tomlinson puts it, the "true idea of God is so pure that it is inexpressible” (Opera on 3).

The ideas flowing from this idea of God as unrepresentable are present in some of Schönberg's other religious works. As Steiner explains "Moses and Aaron is thematically and psychologically related to an entire set of works in which Schoenberg sought to express his highly individual, though at the same time profoundly Judaic concept of identity, of the act of spiritual creation, and of the dialogue— so inherent in music— between the song of man and the silences of God" (41). At the same time the ideas about God he is exploring also flow from many other Jewish thinkers, and say something about the Jewish people as a whole. “Like Graetz, Cohen, and Schoenberg, Freud maintains that a self-imposed, Jewish resistance to visuality marks Judaism as a rationally and morally advanced civilization” (Batnitzky 2004: 8).

Yet despite the opera's overall emphasis on God's unique, eternal, unrepresentable and unchangeable nature, it also offers several indications from a different perspective. In particular, for all Moses' insistence that God does not communicate through symbol, or perhaps even at all, we find four incidents when God does indeed appear to intervene and communicate something of himself: when the staff turns into a snake at the end of Act I; when the golden calf vanishes ("vergeht") at the end of act II scene 4; through the pillars of fire and cloud in the following scene; and the water flowing from the rock which is discussed in Act III.

Of course other explanations can always be found for such phenomena, but there's little in the libretto to give oxygen to such theories, not least because Schönberg so pointedly draws attention to the disappearance of the golden calf, which is, in any case, his own invention. There are two further considerations within the final act. The first is the suddenness of Aron's death. Whilst most commentators have inferred this was due to fear or stress arising from his confrontation with Moses, the possibility that this is God's final judgement on the dispute between the two protagonists. Secondly, Moses also appears to have finally softened slightly his previously hard-line stance on the prohibition of images.

The People
One of the relatively unusual things that Schönberg does with "Moses und Aron" is the way he makes the chorus almost into a principle character. As a group they regular speak as one voice and in dialogue with Aron and, to a lesser extent, Moses. The reasons for this seems to be Schönberg's desire to engage a modern Jewish audience in a debate about their shared future.

In particular, it is noticeable how in the very first scene, God addresses the future of his people in a way that goes beyond the text of Exodus 3-4.

"Und ihr werdet gesegnet sein.
Denn das gelobe ich dir:
Dieses Volk ist auserwählt,
vor allen Völkern,
das Volk des einzigen Gottes zu sein,
daß es ihr erkenne
und sich ihm allein ganz widme;
daß es at Prüfungen bestehe,
denen - in Jahrtausenden
der Gedanke ausgesetzt ist.
Und das verheiße ich dir:
Ich will euch dorthin führen,
wo ihr mit dem Ewigen einig
und allen Völkern ein Vorbild werdet."

"And your people will now be blessed.
Because I promise you:
Your people are the chosen people
before all the others,
They are the people of the only God.
They are thus to know him
and give worship to him alone.
Also they will undergo all trials
that over millennia
can ever be conceived.
And this I promise you:
I shall take you forward
to where united with the infinite eternal one
you will be a model for all people."

Given that Schönberg was writing during the rise of Nazi Germany and was spurred on by personal encounters with anti-Semitism, it's not hard to see what was at the forefront of his mind when he wrote about undergoing all the trials that could be conceived over the millennia. Moses' final words to the people are also significant, outlining the way the people will be repeatedly thrown back to the "Wüste" ("wasteland/desert") before ultimately concluding that "Aber in der Wüste seid ihr unüberwindlich und werdet das Ziel erreichen: Vereinigt mit Gott." ("But in the wasteland you shall be insurmountable and shall acheive the goal: unity with God.")

That said, the opera does paint the people in a very poor light. Whilst the people are initially excited by the prospect of Moses liberating them from Pharaoh, they quickly leap to calling for "Blutopfer" ("blood offerings"). Neither Moses, nor Aron, believe them capable of conceiving of God as they do, and once Moses is out of the way they quickly end up holding an orgy, murdering dissidents and sacrificing young women.

It is difficult, then, to extract what Schönberg wants to say to his own people from what he felt was necessary from a dramatic point of view, not to mention his interpretation of the biblical material. Feisst suggests that "he perceived himself as an outsider from the Jewish community, despite his desire to become accepted by this group" (84). It is, therefore, crucial to remember then that this forms part of a discussion within Judaism and also that the chorus also represent humanity in general.

Indeed one of the things Schönberg seems to be suggesting is that without order chaos ensues. This not only the expressed in the film's narrative arc, but also in the order inherent in Schönberg's use of  twelve-tone serialism. It is perhaps also Schönberg's vision of the chaos that was sweeping Europe and the threat it posed to his people. "(S)eeking the way out of a deadly wilderness. He made his way out of Europe, but could not bring his people with him" (Goldstein 167).

As discussed above, Schönberg came to the conclusion that the only solution was for an independent Jewish state (Stuckenschmidt 541-542). These beliefs can be traced back to before his 1927 play "Der biblische Weg" which reflected "Herzl's idea of a provisional Jewish state outside Palestine" (Feisst 86). Schönberg did not find the majority of his people responsive to his ideas, which is no doubt reflected in the way the chorus in "Moses und Aron" fail to join Moses' cause. Just as Schönberg felt estranged from his people even as he longed for their acceptance, so the Moses of the opera find that his "God and divine mission bind him to a people from whom he could only be estranged since his idea of God precludes any means for communicating that idea" (Goldstein 160).

It's is noticeable, too, that when the people do finally rally, it occurs between the second and third acts such that is unclear quite what he has done to turn the tide. The gap leaves room for speculation - some may even be well founded - but the lack of a clear answer reflects Schönberg's failure to find a way of convincing his people to follow him, at least until it was too late.

It is precisely because of the size of the issues raised by "Moses und Aron" that Steiner argues that the opera, both in terms of medium and message,

"belongs to that very small group of operas which embody so radical and comprehensive an act of imagination, of dramatic and philosophic argument articulated by poetic and musical means, that there are aspects of it which go well beyond the normal analysis of an operatic score. It belongs not only to the history of modern music— in a critical way, as it exemplifies the application of Schoenberg's principles on a large, partly conventional scale— but to the history of the modern theater, of modern theology, of the relationship between Judaism and the European crisis." (40)

The work which, in some ways, is based largely on just two men, explores its theme, speculates about the nature of its god, and expands its vision, not just to cover the nation in Moses' day, but also all of their descendants and, to some extent, the whole world.
=============

- Batnitzky, Leora. (2001). Schoenberg's Moses Und Aron and the Judaic Ban on Images. Journal for the Study of the Old Testament. 25. 73-90.

- Feisst, Sabine (2011) Schoenberg's New World: The American Years. New York: Oxford University Press

- Goldstein, Bluma (1992) Reinscribing Moses: Heine, Kafka, Freud, and Schoenberg in a European Wilderness, London: Harvard University Press.

- Opera on 3: Schoenberg’s Moses und Aron, (2014) - BBC Radio 3 programme featuring interviews with Christopher Cooke, 13 June 2014. Available online -http://www.bbc.co.uk/programmes/p020y7jq

- Steiner, George (1965) 'Schoenberg’s “Moses und Aron”' Encounter (June), pp.40-46.

- Stuckenschmidt, Hans Heinz (1977) Schoenberg: His Life, World, and Work. Trans. Humphrey Searle. New York: Schirmer.

- Wörner, Karl H. ([1963] 1959) Schoenberg’s ‘Moses und Aron’ trans. Paul Hamburger, London: Faber and Faber.

Moses und Aron (1973): Schönberg's Techniques

This is part 3 of a series of posts about Straub and Huillet's film adaptation of Schönberg's opera "Moses und Aron". You can read them all here. Still from the 1965 Covent Garden performance in London.
Given the particular manner in which Schönberg selects, edits and adapts the biblical material it's temptingly simple to concentrate solely on the words of the opera's libretto and not consider what he is trying to achieve with his music. Yet clearly, particularly for an experimental and pioneering composer such as Schönberg, his unique approach to the opera's composition is hugely significant. Indeed, as Steiner puts it, "it is difficult to conceive of a work in which music and language interact more closely than in Arnold Schoenberg's Moses und Aron (40)." Indeed he even goes as far to suggest that it is "impertinent to write about the opera if one is unable to analyse its powerful, immensely original musical structure" (Steiner 40).

Twelve Tone Atonal Serialism
Much of this relates to Schönberg's use of twelve-tone atonal serialism. This broke away from the traditional method of composition where a piece of music prioritises a particular note as the "key". Instead it sought to give all 12 notes in an octave equal footing. Schönberg had been experimenting with atonality as early as the 1910s, long before "Moses und Aron", but this particular form of it developed in the early 1920s, and it rarely made such a key contribution as it does here.  Of course, there are various other techniques which he uses to impart meaning to the work. It is, therefore, well worth recalling Wörner's observation that “(I)t is not the text, but the score...which gives us the key to Aaron’s character”, applies to the work in general (83).

There were a number of different factors that led Schönberg to develop twelve-tone serialism. On the one hand, his belief that tonal music had lost its capacity to produce the tension necessary for musical meaning" had driven him towards atonality in the first place (Batnitzky 2001: 10). However, he felt that what the existing forms of atonal music lacked was a "firmer structural basis" (Reti 62). A third problem was that "'atonal' music no longer led to the resolution that would create melodies as western music had come to recognize them" (Batnitzky 2001: 10). The tension that produced musical expression had been lost in early forms of tonality due to this lack of order.

The result was Twelve Tone Atonal Serialism, an organised tonality which arranges all twelve notes into a strict order (or 'series') and then derives the melodies from that. As Reti explains "(t)o replace one structural force (tonality) with another (increased thematic oneness) is indeed the fundamental idea behind the twelve note technique" (63). "The series thus provides a coherent framework whose structural functions replace those of traditional tonality...By seeking to create melodies using serialism, Schoenberg aimed to reinstate the tension necessary for musical expression that tonality had lost.” (Batnitzky 2001: 10)

The key ideas in all of this, then, the sense of order, the sense of unity and the sense of equality between differently pitched notes fitted well with the religious ideas Schönberg wished to explore. However, whilst these ideas could be embraced by a number of major religious philosophies, Schönberg also saw his work not only as of Judaism, but indeed advancing its cause. His experiences with anti-Semitism had convinced him of the need to embolden his people, who he realised would never be accepted by the German people, and ultimately to argue for their unique place in the world. Again this was as much about the music as it was about the libretto as Steiner makes clear:

“By introducing into music, whose classical development and modes seemed to embody the very genius of the Christian and Germanic tradition, a new syntax, an uncompromisingly rational and apparently dissonant ideal, Schoenberg was performing an act of great psychological boldness and complexity. Going far beyond Mahler, he was asserting a revolutionary—to its enemies an alien, Jewish—presence in the world of Bach and Wagner. Thus the twelve-tone system is related, in point of sensibility and psychological context, to the imaginative radicalism, to the ‘subversiveness’ of Cantor’s mathematics or Wittgenstein’s epistemology.” (Steiner 42)

The result is a work that "is technically more demanding than any other major opera" (Steiner 41). Performers from the 2014 Welsh National Opera production described it as "fiendish" noting how the "concentration levels required are immense, if you lose concentration for a second you can be gone for pages" (Opera on 3). For Steiner "the quality of the religious-philosophic conflict requires from the performers and producer an unusual range of insight and sympathy (Steiner 41). It is worth repeating an extensive quote from Louise Ratcliffe, a member of the chorus from the Welsh National Opera to give an insight into the difficulty in performing the piece:

"There’s no melody and that makes it very difficult. The only thing I can compare it to, is if you’re an actor learning a script in English, but all of the lines have English words in them but they don’t make a proper sentence so you have to learn each word individually because you can’t just think of the sentence, and then you’ve got two acts like that, and then you’ve got six different lines all doing different things and then you’ve got to put it all together.” (Opera on 3)

The complexity faced by performers is a result of “the vast creative opportunities inherent in serial composition” (Johnson 3). The absence of a key means that the absence of the kinds of melodies that are typical of western compositions and the need to vary the rhythm and octave of each note means that the next few notes are usually difficult to predict. As Wörner explains “Each single note may appear within the range of any octave... furthermore, the rhythmic combinations in which the notes may be grouped, are unlimited, the number of possibilities becomes well-nigh inexhaustible” (93).

For Johnson, “twelve-tone serialism emerged as a method of bringing order and structure to the world of atonality. Schoenberg's new compositional technique is built on the systematic ordering of all twelve pitch classes of the chromatic scale rather than any sort of tonal hierarchy” (18). Each composition is based on an initial 'tone row', an specific ordering of the twelve chromatic notes where each is used only once. The tone row is then repeated throughout the opera, but rhythm, octave and the length of each note can be ordered. It is also possible to make other changes to the way that pattern appears, such as playing them in reverse order (called 'retrograde' transformation), or inverting them (so that going down two notes in the original tone row equals going up two notes in the inversion). Also because the central idea is to do with how the notes relate to the initial note, that initial note can be of any pitch, so long as those that follow it are shifted up or down by the corresponding number of notes.

Perle summarises twelve-tone serialism as having four main characteristics:
1. The row is a specific ordering of all twelve notes of the chromatic scale (without regard to octave placement).
2. No note is repeated within the row.
3. The row may be subjected to interval-preserving transformation - that is, it may appear in inversion, retrograde, or retrograde-inversion, in addition to its "original" or prime form.
4. The row in any of its four transformations may begin on any degree of the chromatic scale, in other words it may be freely transposed. Transpositions are indicated by an integer between a and 11 denoting the number of semitones: thus if the original form of the row is denoted P0,then P1 denotes its transposition upward by one semitone. (Perle 27)

It is also worth pointing out that, in an orchestral situation such as with an opera, the different parts of any sequence can be performed by any of the instruments, so one instrument might begin the series of twelve notes, another might continue it and another might complete the row.

The Tone Row
However, whilst this is the musical basis for the opera, one of the techniques that Schönberg applies is for the initial row to become 'distorted' as the opera goes on. Deviations from the original tone row, aside from the variations outlined by Perle, are possible, and indeed allowable, particularly if making a point, but Schönberg reckoned this ought not to happen until “the later part of a work, when the set had already become familiar to the ear” (Schoenberg and Stein: 226)

This is why the point at which Schönberg begins the narrative is particularly significant. By beginning just as God is about to speak to Moses for the first, and most decisive time, means that the opening notes - the twelve notes that define the tone row upon which the whole opera is written - come from the voice of God, expressing his desire to communicate to humanity. "Schoenberg utilizes the purest form of his twelve-tone system, the opening notes through which the entire Opera is developed, to represent God" (Batnitzky 2001: 11). As Johnson notes, “the tone row becomes a character in-and-of itself, transforming and shifting to mirror dramatic events and becoming a driving force throughout the opera” (Johnson 1).

Whilst Batnitzky seems to include allowable variations within his use of the term 'distortion' he nevertheless summarises how Schönberg uses this technique to create meaning.

"However, with God's communication of God's self to Moses, the notes begin to sound distorted. The distortion of the notes in 'Moses und Aron'...reaches its height in the character of Aron, to reflect the implicit tension that arises in the finite human's desire to know the infinite God. The distortion of the notes results from the notes representing God's self” (Batnitzky 2001: 11).

"Aron's presence in the opera is marked by yet a further distortion of the original series that comes with God's communication. The difference between Aron's distortion and the distortion that comes from God's own speaking is that Aron's distortion actually verges on tonality. Aron's distortion involves chords with intervals of thirds and sevenths, intervals closely associated with traditional tonality" (Batnitzky 2001: 13).

In other words, God's message, his self-communication if you will, is perfect and defines the basis for all that follows, but as Aron tries firstly to understand it, and then to communicate it to his people, before lastly attempting to get them to accept it, the music deviates more and more from the tone row that God's voice initially established. As Aron compromises God's message more and more, the more the music breaks the rules of twelve-tone serialism.

Sprechstimme / Sprechgesang
In contrast, to his treatment of Aaron, Schönberg uses another specific technique to bolster his characterisation of Moses. Taking seriously Moses' admission in Exodus 4:10 that far from being eloquent he was actually "slow of speech", Schönberg does not have Moses sing (except for one line).¹ Instead he delivers his lines in a style that is neither spoken nor sung, but is somewhere in between. This 'in-between' style is known variously as either sprechstimme or sprechgesang, where the former is closer to speech and the latter to singing. On the score to "Moses and Aron" his notes have a pitch, that is a place on the stave, but instead of beginning round notes, they are marked by crosses.²

According to Sir John Tomlinson, who has played the role of Moses numerous times since 1999, and will be reprising it in Dresden later this year, there "is a continual tension between how much this part should be sung and how much it should be spoken. Now if he [Moses] were completely normal and fluent on the opera stage, Moses would be singing the whole role, but he isn’t. He is disabled to some extent, psychologically and physically. He is not fluent in speech” (Opera on 3).

This contrasts strongly with Aron who "has a gift of fluency, which is readily apparent in his agile bel canto singing style” (Goldstein 155). As Batnitzky puts it “Aron sings while Moses speaks. This has the obvious effect of associating Aron with beauty and Moses with thought” (2001: 13). It's an effective way of highlighting one of the key details we know about Moses that most dramatic portrayals leave out. It does however mean that the opera does not translate well into other languages and so is best appreciated in the original German. As Steiner observes “To alter the words— their cadence, stress, tonalities— as must be done in translation, is tantamount to altering the key relations or orchestration in a piece of classical music.” (Steiner 42)

Schönberg's use of sprechgesang is also a good example of another key element of the piece: the interplay between opposites. In an opera where everybody else sings, Moses is only given “a speaking role; the proclaimer of the idea, significantly, is denied song” (Wörner 83). Tomlinson cites various examples of such "struggle and tension between opposites" including the "musical opposites of the twelve tone system versus tonality" and "the religious idea of the purity of God versus the profanity of the orgy scene in the second act" (Opera on 3). Clearly the characters of Moses and Aron are in some sense opposites, though, interestingly, some productions have tried to physically portray them as similarly as possible to make them appear like opposing forces within the same personality. At the same time, it is also important to note that by making the role of Moses “a speaking role; the proclaimer of the idea, significantly, is denied song” (Wörner 83).

Sixes and Twelves
For Wörner, it seems "that some mystical number-symbolism is at the back of Schoenberg’s music, as it is of Bach’s" (88). Indeed David Poutney has said, that for Schönberg, “music is maths plus mysticism” (Opera on 3).³

This interest in numbers affects the work in a number of different ways. It is notable, for example, that the title of the piece "Moses und Aron" is twelve letters long, when the natural German title ("Moses und Aaron" would be thirteen. Whilst most scholars take the view that this is due more to Schönberg's superstitious beliefs about the number thirteen, it seems likely that the idea of a twelve lettered title for a work of twelve-tone serialism was also a factor.

The atonal nature of the piece and its emphasis on the twelve notes, make the importance of the number twelve clear, but it also appears that the number six has a certain significance within the work. As Wörner observes "Six notes, twice three, are contained in the symbols of divine will. Six solo voices form the (sung) voice of God; a six-part speaking chorus forms the voice from the Burning Bush that conveys the biddings of the divine will” (89).

But Wörner  sees additional significant uses of the number six. “Throughout the opera, the major sixth symbolizes the people of Israel;” (72). Furthermore, "(t)he major sixth is characteristic of God’s promise to the people, while the minor sixth a kind of inflection of it, and as such specially characteristic of Aaron, with his exuberance, his emphatic intensity and his thinking in images”. (74). For a while, “Aaron still tries to mediate (vacillation between major and minor sixth)" (72), but ultimately in "the songs of jubilation (‘Joyous Israel!’) which precede the worship of the Golden Calf, the sixth is no longer to be found;” (72).


Ultimately, then, Schönberg uses a number of techniques to enhance the meanings inherent within his opera, most significantly the way he uses the twelve note atonal serialism and in particular the tone row, Moses' use of Sprechstimme / Sprechgesang and the use of the numbers six and twelve. But beyond these issues relating to his themes in this piece, the work has a broader significance. As Steiner concludes "Schoenberg has deliberately used a genre saturated with nineteenth-century values of unreality and modish display to express an ultimate seriousness. In so doing he reopened the entire question of opera.” (41). His opera was not so much an attempt to create a historically sound portrayal of its two protagonists, but an exploration of the tension inherent in the idea of an eternal, unique, and inconceivable God seeking to communicate with humanity.

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1 - The line Moses sings falls "at the conclusion of initial discussion with Aaron, in a plea to 'Purify your thinking'” (Goldstein 157).
2 - It is important to note as Laurence Cole, one of the performers from the Welsh National Opera production, does, that “the rhythm is almost as important as the pitch”. They apparently worked for hours at a time just practising the rhythm (Opera on 3).
3 - Poutney is the creative director at Welsh National Opera who performed this piece at various locations across the UK in 2014.


- Batnitzky, Leora. (2001). Schoenberg's Moses Und Aron and the Judaic Ban on Images. Journal for the Study of the Old Testament. 25. 73-90.

- Goldstein, Bluma (1992) Reinscribing Moses: Heine, Kafka, Freud, and Schoenberg in a European Wilderness, London: Harvard University Press.

- Johnson, William E. (2015) Tone Row Partitions in Schoenberg's "Moses und Aron" The Volk Partition and the Zwischenspiel Partition. Butler University Graduate Thesis Collection. 264. Available online at
https://digitalcommons.butler.edu/grtheses/264

- Opera on 3: Schoenberg’s Moses und Aron, (2014) - BBC Radio 3 programme featuring interviews with Christopher Cooke, 13 June 2014. Available online -http://www.bbc.co.uk/programmes/p020y7jq

- Perle, George (1991) Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern. Berkeley: University of California Press.

- Reti,Rudolph. (1958) "Tonality, Atonality, Pantonality: A Study of Some Trends in Twentieth Century Music." Rockliff, California: University of California Press.

- Schoenberg, Arnold and Stein, Leonard (1975) Style and Idea: Selected Writings of Arnold Schoenberg. New York: St. Martin's Press

- Steiner, George (1965) 'Schoenberg’s “Moses und Aron”' Encounter (June), pp.40-46.

- Wörner, Karl H. ([1963] 1959) Schoenberg’s ‘Moses und Aron’ trans. Paul Hamburger, London: Faber and Faber.

Moses und Aron (1973):The Narrative

This is part 2 of a series of posts about Straub and Huillet's film adaptation of Schönberg's opera "Moses und Aron". You can read them all here. Still from the 1957 Zürich stage production.
Schönberg's libretto for "Moses und Aron" takes a highly selective approach to the story of Moses. Many of the most iconic scenes are excluded in their entirety. Moses' birth and childhood is excluded, his conflict with Pharaoh is absent, even the parting of the red sea/sea of reeds is omitted. “The emphasis here...accounts for the absence of those aspects of the biblical story which have little to do with revelation and communication - for example, Moses’ birth, his confrontation with the Pharaoh, and Mosaic legislation (Goldstein 155).

Instead the film starts fairly late in the story, with Moses facing the burning bush at the moment God speaks to him (Ex 3-4). There is no build up, nor even any setting of the scene, we're not even shown Moses spying the bush burning from afar (Ex 3:2-3). The first sounds we hear are the sound of God. This moment is crucial from a musical point of view however, as the 12-note tone row upon which Schönberg bases the opera's music all derives from God's voice as variation and distortion. As Batnitzky explains:

“The opera begins with a series of notes that express God’s presence at the scene of the burning bush.  These opening notes are the only text-expressive idea or theme dominating the entire opera.  However, with God's communication of God's self to Moses, the notes begin to sound distorted.  Schoenberg utilizes the purest form of his twelve-tone system, the opening notes through which the entire Opera is developed, to represent God.  He uses the distortion of the notes, which, as we will see, reaches its height in the character of Aron, to reflect the implicit tension that arises in the finite human's desire to know the infinite God.  (Batnitzky 2004: 6)

Moses perceives God as "Einziger, ewiger, allgegenwärtiger, unsichtbarer und unvorstellbarer" ("Unique, eternal, omnipresent, unperceived and inconceivable") and hears God tell him to free his people ("Du mußt dein Volk daraus befrein!"), though it is not entirely clear as to what this means. When Moses expresses his concern that he will not be believed, God promises him that he will perform miracles ("Vor ihren Ohren wirst du Wunder - ihre Augen werden sie anerkennen") and when he continues to raise concerns, God tells him that Aron will be his mouthpiece ("Aron will ich erleuchten, er soll dein Mund sein").

Scene 2 finds Moses returning to the "wateland" and meeting Aron, the two discuss God's message before returning to their people in Egypt. It's clear however, that not only does Aron not fully understand what Moses is telling him, but that neither he, nor Moses have fully comprehended what God has said. Moses insists that God is inconceivable and unseen; Aron questions how it is even possible to "worship what you dare not even conceive" ("kannst du lieben, was du dir nicht vorstellen darfst?").

The two men return to Egypt to tell their people of God's message, but before they even arrive the people are speculating about the God that Moses is about to unveil (Scene 3). Before Moses can even begin to explain his vision of God they press upon him their idea of what God will be like, a God to whom they can make offerings, even "Leben opfern" ("living offerings"). When Moses tells them that God does not want offerings but demands everything ("fordert das Ganze") they reject him and his message. Whilst Aron continues to attempt to persuade them, Moses withdraws and doesn’t speak to the people again until he comes down from the mountain towards the end of Act 2.

As Scene 4 continues Aron gradually concedes ground to the people, subverting Moses’ message still further. He turns Moses' staff into a snake, Moses' hand leprous and the waters of the Nile into blood. Wörner argues that essentially “Aaron’s miracles are feats of sorcery” (59). Certainly it's no accident that here it's Aron that strikes the rock, rather than Moses. Ultimately Aron even ends up promising the people physical good fortune ("leiblichen Glücks"). Eventually Aron's efforts at modifying his message in order to win the people's support pay off. “Aaron’s success with the people is evident in the concluding chorus of the first act, when they sing of Aaron’s promise” (Goldstein 158)

Somewhat surprisingly, the second act starts with Moses on Mount Sinai convening with God. An interlude before the start of the second act has the chorus inquiring as to Moses' whereabouts. In other words Schönberg's libretto skips out several of the major incidents that dramatisations of the Exodus story usually include. So aside from the water turning to blood, all of the Moses' confrontation with Pharaoh, including the other plagues, is omitted. The instigation of the Passover and the death of the firstborn are also absent, as is the exodus itself. Perhaps for a work originally envisioned for the stage, the absence of the parting of the Red Sea / sea of reeds is not surprising, but certainly when considering Straub / Huillet's film, given the enormity of DeMille's two depictions of the event, its omission is striking. Lastly a number of other, less significant stories are excluded, such as the victory over the Amalekites (Ex 17) are excluded, those these have proven far less popular with filmmakers.

Act II proper begins with unrest starting to come to a head in the Israelite camp.Under pressure, Aron creates the golden calf at the start of scene 3 and an orgy ensues. It's the opera's longest scene and features animal and human sacrifice, four naked virgins, widespread drunkenness, and the murder of a youth who speaks out against what is happening. Suddenly Moses reappears and at his command the golden calf simply disappears (Scene 4).

The act's final scene, then, is a confrontation between Moses and his brother. “Moses smashes the Tablets not out of anger but to prove a point” (Tugenhaft), but the point is lost on Aron who has gained more confidence in his ideas about the importance of image in communicating God's message to the people. Aron argues that Moses destruction of the golden calf, and various other symbols, are themselves, other words that “word banishing image is also merely a representation of spiritual power” (Goldstein 158). When, at the end of the scene, the pillars of fire and cloud appear - symbols that could only originate from God himself - Aron seizes on them as examples of a "Gottes Zeichen" ("God-sent signal") thus arguing that God himself uses images to communicate to the people. As Aron exits with the people and God goes silent, Moses (and particularly his final lines) imply that “Moses, may indeed be guilty of having created an image - albeit a false one - of God, and image of God as an ineffable idea.” (Goldstein 159). Struck by this revelation Moses "sinkt verzweifelt zu Boden" ("sinks to the ground in despair") and Act II comes to a sudden close.

As noted in my previous post, many productions of the opera end at this point, with Moses in despair at his failure to get his message across. Schönberg completed the orchestration for Act II, but left little music for Act III. There is, however, a completed libretto and the third, unfinished, act produces a very different conclusion to the story to that from the end of Act II. For David Poutney, who was the artistic director for Welsh National Opera's 2014 production of the opera, ending a production at the end of the second act gives a "rather false impression of the work, because we’re left with this ending with this kind of cliché... of the tragic ruler overwhelmed by his task, ‘heavy is the head’ and all that. Whereas actually the end was meant to be Act III [which] begins with Moses now surrounded by soldiers, not the people (Opera on 3).

Once again there has been a significant passage of time between acts. The tide has turned such that Moses has once again gained the upper hand and Aron is now a prisoner. According to Goldstein, in the third act “Moses reappraises his ideas, assumes direct control”and speaks to the people directly for the first time" (Goldstein 161). He begins to use more powerfully communicative imagery, such as putting Aron in chains, or conducting a show trial. Aron is “accused of neglecting the word and constructing images that were estranged from idea...it is not Aaron’s images, but his false images” that are the problem (Goldstein 162).

Furthermore, the lack of a musical accompaniment to the act adds to this idea. "(I)n an environment without music and song, he [Aron] can fall back on neither the ornamentation of his images nor the seductive beauty and overpowering effect of the bel canto tenor. The victory of Moses is complete and fully apparent” (Goldstein 164). This is, as Poutney says “a very brutal political conclusion to the opera” (Opera on 3). Seeing the failure of his initial message, and challenged by God's apparent use of imagery, Moses changes his position. However, whilst his new position is closer to the view that his brother had been arguing for, he does not team up with him, but supplant him, reclaiming his position and leaving his brother as a political prisoner.

The end of the opera is even more surprising and, once again, rather sudden. Having seen Aron imprisoned and accused, the soldiers ask Moses if they should kill him ("Sollen wir ihn töten?"). Moses appears to have mercy and cast him into the wasteland, but Aron - whether due to a prior beating, or, perhaps, God's judgement - falls down dead. Moses reaction is to pronounce what appears to be a political slogan "Aber in der Wüste seid ihr unüberwindlich werdet" ("But in the desert you shall be invincible").

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- Batnitzky, Leora. (2004). The Image of Judaism: German-Jewish Intellectuals and the Ban on Images. Jewish Studies Quarterly. 11. 259-281.
- Goldstein, Bluma (1992) Reinscribing Moses: Heine, Kafka, Freud, and Schoenberg in a European Wilderness, London: Harvard University Press.
- Opera on 3: Schoenberg’s Moses und Aron, (2014) - BBC Radio 3 programme featuring interviews with Christopher Cooke, 13 June 2014. Available online -http://www.bbc.co.uk/programmes/p020y7jq
- Tugenhaft, Aaron (1997) "Schoenberg’s Moses und Aron" in Sources: The Chicago Undergraduate Journal of Jewish Studies. Volume III. Retrieved from http://web.archive.org/web/20031013145056/
http://humanities.uchicago.edu:80/journals/jsjournal/tugendhaft.html
- Wörner, Karl H. ([1963] 1959) Schoenberg’s ‘Moses und Aron’ trans. Paul Hamburger, London: Faber and Faber.

Moses und Aron (1973): An Introduction

Still from the 1959 Berlin performance
Moses und Aron (1973) is arguably the most mentally challenging of all biblical films. The lack of discussion of it amongst scholars of the Bible on Film is not, to misquote G.K. Chesterton,  because it has been tried and found wanting, but that it has been found difficult and not tried. The film is directed by Jean Marie Straub and Danièle Huillet, two filmmakers who though born in France went on to make most of their films in Germany and who are renowned for their austere and inaccessible style. Furthermore it is based on a complex and difficult atonal opera by Arnold Schönberg / Schoenberg, one of the best known examples of twelve-tone serialism. The result is a dense and challenging work that "manages to combine biblical commentary with timely political propaganda" (Tugenhaft). It's a piece that will alienate the vast majority of audiences but still have much to say, reflecting a key dilemma when looking at biblical films: the more entertaining and accessible they become, the less spiritual and vice versa.

Given Straub and Huillet's unique filmmaking style, and in particular the faithful yet innovative way they handle their source material, it makes sense to examine Schönberg's contribution first in some detail, so that Straub and Huillet's treatment of it becomes clearer in future posts.

For Schönberg, "Moses und Aron" was the culmination of his work adapting biblical narratives. His "interest in the musical statement of religious thought" first came to fruition with his oratorio "Die Jakobsleiter", based on the story of Jacob's Ladder, in 1917 Steiner, 41). Around this time he began to experiment with twelve-tone technique that typified the third, and final, phase in his career. Ten years later he wrote a play "Der biblische Weg" (The Biblical Way) which, like Preminger's Exodus (1960), explored the idea of a modern Jewish state whilst drawing on the biblical narratives about Moses. Later works included "Psalm 130" (1950) and the also unfinished "Modern Psalms".

Initially Schönberg developed "Der biblische Weg" into an oratorio before converting it into a full blown opera, "Moses und Aron", and by the end of 1932 he had finished the first two acts and written the libretto for the third. Sadly it was to remain largely in that form even though "Schoenberg’s letters leave no room for doubt that he was firmly resolved to complete the work’s composition” (Wörner 91). The transition between to two pieces also coincides with Schönberg's return to Judaism, which was sparked by an anti-Semitic incident in Mattsee, Austria in 1921 but did not become official until he had fled from Berlin to Paris in 1933.

Schönberg died in 1951 with the third and final act still unfinished. It did not even receive a full concert performance until 1954 in Hamburg and the first proper performance of the opera did not come until Zurich in 1957 (Wörner 104). Following its German premiére in Berlin, 1959 (pictured above), it was performed on only a few more occasions before Straub and Huillet decided to adapt it for the screen in the early seventies.

The unfinished nature of the final act has led to different approaches towards its performnace. Performances have tended to either end at the close of Act II, or perform the final section without music. Indeed the lack of agreement as to the best approach goes back to the first two performances. “In Zurich it had been decided to close the performance with the end of the second act; the text of the third act was reproduced in the programme-book. In Berlin, the text of the third act was spoken on the stage by Moses and Aaron, in the manner of spoken drama, while, as a very soft background, the music of the first scene was relayed through a loudspeaker.” (Wörner 105) More recently, Hungarian composer Zoltán Kocsis developed his own score for the missing section, which was performed in Budapest in 2010 (Jeffries). Goldstein summarises a range of theories as to why Schönberg failed to complete the opera (151), before concluding that it is best to "explore the aesthetic implications of the opera as one whose third act is spoken and to resist speculating about the philosophical implications" of that for opera (152).

In future posts I'm going to explore in more detail the story, the techniques Schönberg uses and key elements of his portrayal, before going on to look at Straub and Huillet's film in more detail.
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- Goldstein, Bluma (1992) Reinscribing Moses: Heine, Kafka, Freud, and Schoenberg in a European Wilderness, London: Harvard University Press.
- Jeffries, Stuart (2014) "Schoenberg's Moses und Aron: the opera that comes complete with an orgy". The Guardian 15th May. Available online at - https://www.theguardian.com/music/2014/may/15/schoenberg-moses-und-aron-opera-orgy 
- Steiner, George (1965) “Schoenberg’s “Moses und Aron” Encounter (June), pp.40-46.
- Tugenhaft, Aaron (1997) "Schoenberg’s Moses und Aron" in Sources: The Chicago Undergraduate Journal of Jewish Studies. Volume III. Retrieved from http://web.archive.org/web/20031013145056/
http://humanities.uchicago.edu:80/journals/jsjournal/tugendhaft.html 
- Wörner, Karl H. ([1963] 1959) Schoenberg’s ‘Moses und Aron’ trans. Paul Hamburger, London: Faber and Faber.

Moses und Aron (2010)

As this is a film blog, rather than an opera blog, reviewing a filmed version of a live theatre performance of Schöenberg's opera Moses und Aron is a little outside of my normal habitat, although it's not without precedent. Nevertheless with a new version of Straub and Huillet's 1973 film being released on DVD later this month, I thought it would be useful to look at some other adaptations of a complicated piece, starting with the 2010 filmed version, directed by Willie Decker.

There has been a significant growth in films of 'live' theatre performances in recent years. Going to the cinema to join in on someone else's trip to the theatre was largely unheard of a decade or so ago, yet today it's common, if not a regular occurrence, at many cinemas. By the time these performances are recorded (even if only at the point it is committed to DVD) these have moved, to a certain extent,  from the theoretical category of a broadcast into the realm of documentary. Whilst it's perhaps more of a continuum rather than two distinct poles of "drama" and "documentary" this kind of performance is far less concerned with convincing its audience that the narrative's central characters are the people they are portraying.

In a way, this takes us back towards some of the concerns that Straub and Huillet are exploring. Both 'films' give their actors costumes and sets, without expecting their audience to be able to entirely suspend their disbelief. Interestingly, in this respect it's Decker's film, which is closer towards the documentary end of the spectrum, that utilises a more typical acting style. Lead actor, Dale Duesing, for example, does a fine job of portraying the agony Moses feels at having experienced God but lacking the necessary skills to convey it to the people he has been called to lead.

The opera was staged in Bochum's Jahrhunderthalle and Decker's opening shot gives a sense of the venue's industrial past as both an exhibition venue and, later, a compressor hall. In contrast, the staging, is innovative and modern. From first view two steeply diagonal rows of seats face each other with only a narrow "stage" between them, but as things progress the seats move back and forth to create a greater (or lesser) performance between them. The orchestra sits off to the side, oftentimes concealed and, from time to time, the camera shoots across the stage from behind them.

There are various other innovations as well, though some are hardly original, such as cast members starting the performance in their seats, the use of seats on both sides also meaning that the actors ascend both sides of aisle stairs in certain scenes. In Act I much of the action takes place within a semi-transparent box which fills the stage. It's large enough that at times the entire cast stand inside it, and dominant enough to symbolise the people of Israel's captivity in Egypt. It also forms a convenient surface on which to project the images of Moses's two miracles occurring. In stark contrast to the more minimalist treatment of these incidents in the Straub/Huillet film here they are projected to such a huge size that the psychological impact of these miracles is still the focus. They two dominate the Israelites, yet the transparency of the box's sides gives an ethereality to the images. Were they something real or imagined?

The film's other props and furniture are similarly modern, ambiguous, functional and symbolic: Moses' staff resembles, in some ways, a giant pencil and is used to draw on occasion; the golden calf is neither gold. nor particularly impressive; instead of two tablets of stone Moses drags a huge sheet with the words written on them instead (pictured above). There are few other props.

Schöenberg's second act is, perhaps, best known for its orgy scene and the four characters described simply as "four naked virgins". Here, by the end, they are hoisted on people's shoulders and smeared in blood (which looks perhaps, a little too like red corm syrup). The extend scene's function in the script is to emphasise the people's need for something more tangible in which to place their faith, and the sense of what happens when it does, but I'm not convinced how well this scene works here. Does making these images so inedible not also accuse us of the same offence? Perhaps that is the point.

As is typical of most stage versions of Schöenberg's opera his unfinished third act is omitted. This means the performance ends with Moses as something of a broken man. Despite his best efforts to communicate to his people the essence of God, in fact, arguably because of it, they have ended up in idolatry, death and mob rule. The unscored final act sees Moses seize power once again and is arguably a more subversive ending. Ending the production after two acts makes Moses seem like a victim, whose lofty ideal has failed, but who remains sympathetic. His very idea of understanding God without resorting to imagery undone by the power of the imagery of the production.

Two other filmed live versions of the opera have also been released on DVD in recent years. Reto Nickler's 2006 version, performed by the Orchestra and Chorus of the Vienna State Opera dwells on the opulence of its location in the Vienna State Opera House in its opening moments. This contrasts strongly with the appearance of Moses, Aron and the rest of the company, who are costumed in the style of European Jews attempt to escape Nazi-era Germany (as Schöenberg himself was at the point at which he was struggling to complete his opera). Francois-Rene Martin's 2014/2015 version also seeks to harness powerful imagery including huge backdrops of mountain ranges, bright white suits for some of the chorus and the presence of a lone naked woman on the DVD cover. I'm not sure Schöenberg's Moses would have approved.

Arnold Schoenberg Play on Radio 4

This is slightly off the beaten track for this blog, but recently I've been researching information about Arnold Schönberg, the Austrian composer who wrote the (unfinished) opera Moses und Aron. The opera was made into a film by Danièle Huillet and Jean-Marie Straub. I've also just started reading Bluma Goldstein's "Reinscribing Moses. Heine, Kafka, Freud and Schoenberg in a European Wilderness" which obviously features a chapter on the work.

So I was pleased to catch Radio 4's afternoon play on Friday which was a drama about Schoenberg's personal life c.1907-08. I've never been a huge fan of the artistic medium "Radio Play", and this one has hardly converted me, but it's worth listening to if you have some interest in Schönberg. The play can be downloaded from the BBC website.