Erwartung (Expectation), Op. 17, is a one-act monodrama in four scenes by Arnold Schoenberg to a librettobyMarie Pappenheim [de]. Composed in 1909, it was not premiered until 6 June 1924 in Prague conducted by Alexander Zemlinsky with Marie Gutheil-Schoder as the soprano. The opera takes the unusual form of a monologue for solo soprano accompanied by a large orchestra. In performance, it lasts for about half an hour. It is sometimes paired with Béla Bartók's opera Bluebeard's Castle (1911), as the two works were roughly contemporary and share similar psychological themes.[citation needed] Schoenberg described Erwartung, saying "the aim is to represent in slow motion everything that occurs during a single second of maximum spiritual excitement, stretching it out to half an hour."[1]
Philip Friedheim has described Erwartung as Schoenberg's "only lengthy work in an athematic style", where no musical material returns once stated over the course of 426 measures. In his analysis of the structure, one indication of the complexity of the music is that the first scene of over 30 bars contains 9 meter changes and 16 tempo changes.[2] Herbert Buchanan has countered this description of the work as "athematic", and the general impression of it as "atonal", in his own analysis.[3]
A woman is in an apprehensive state as she searches for her lover. In the darkness, she comes across what she first thinks is a body, but then realises is a tree-trunk. She is frightened and becomes more anxious as she cannot find the man she is looking for. She then finds a dead body, and sees that it is her lover. She calls out for assistance, but there is no response. She tries to revive him, and addresses him as if he were still alive, angrily charging him with being unfaithful to her. She then asks herself what she is to do with her life, as her lover is now dead. Finally, she wanders off alone into the night.
Wickes, Lewis (1989). "Schoenberg, Erwartung, and the Reception of Psychoanalysis in Musical Circles in Vienna until 1910/11". Studies in Music. 23: 88–106.
