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Hans Gál: Das Lied der Nacht

  • 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
  • Duration: 130’
  • 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)
  • Choir: SATB
  • Composer: Hans Gál
  • Text author: Karl M. von Levetzow

The complete perusal score (PDF-preview)

World première

Location:
Opernhaus, Breslau (DE)
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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