Hans Gál: Das Lied der Nacht

Hans Gál Das Lied der Nacht
Das Lied der Nacht

Hans Gál: Das Lied der Nacht

Opus:
op. 23
Year of composition:
1924/1925
Composer:
Hans Gál
Text author:
Karl M. von Levetzow
Choir:
SATB
Instrumentation:
3 3 3 3 - 4 6 3 1 - timp, perc(3), hp, cel, str, stage music: 1st trp in C, 2nd trp in C, 3rd trp in C, deep bells
Instrumentation details:
1. Teil der Partitur
2. Teil der Partitur
3. Teil der Partitur
1st flute
2nd flute
3rd flute (+picc)
1st oboe
2nd oboe
cor anglais
1st clarinet in A (+cl(Bb))
2nd clarinet in A (+cl(Bb)
cl in D)
bass clarinet in Bb (+3rdcl(A))
1st bassoon
2nd bassoon
contrabassoon
1st horn in F
2nd horn in F
3rd horn in F
4th horn in F
1st trumpet in C
2nd trumpet in C
3rd trumpet in C
1st trombone
2nd trombone
3rd trombone
bass tuba
timpani
1, 2th percussion(2) (+tr
cym
s.d
b.d
t.d
t-tam
tamb
Ratsche
glock
xyl)
3rd percussion (+s.d
b.d
tr
xyl
glock
tamb
cym
t-tam)
th harp
celesta
violin I
violin II
viola
violoncello
double bass
1st trumpet in C (+stage music)
2nd trumpet in C (+stage music)
3rd trumpet in C
tiefe Glocken (+stage music)
Scenery:
2 Bühnenbilder
Duration:
130’
More Less

The complete perusal score (PDF-preview)

World première

Location:
Breslau
Date:
24.04.1926
Conductor:
Hans Gál

Press reviews

A great success. For me personally the evening was altogether one of the most powerful operatic experiences ever! Music and poetic conception combined in the happiest fashion. [Schlesische Tagespost, April 1926]

One doesn't know whether to emphasise the extraordinary variety and expressive colour in his music, which confronts us in the exposition, or the magnificent musical construction of the second ‘Scene’, which has rarely been equalled in the operatic literature. Corresponding to this exuberant lyricism in mood and solemnity there is the depth of symphonic ideas, whose working out reveals the hand of the mature practitioner. The harmonic combinations are thoroughly modern, but modern in the best sense; they signify an enrichment of the expressive palette, they are spiritually conceived, they communicate throughout an original experience of beauty … All in all, therefore, the new opera constitutes an enormous advance for the composer, as, alongside the mastery and creativity which we had already admired in the Heilige Ente, it opens up for the first time the fullness of his heart. And so it will always be considered the most valid testimony of his talent so far. [Breslauer Zeitung]

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