Alexander von Zemlinsky - Die Seejungfrau (2/6)
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We have a failed love affair to thank for The Mermaid. Zemlinsky met Alma Schindler at a dinner party in February 1900 and was immediately captivated by her glamour and brilliance; her admission that Tristan und Isolde was her favorite opera was the icing on the cake. Her initial impression of him was slightly less rapt - she described him as "chinless, small, with bulging eyes" and as "dreadfully ugly" - but she began going to him for lessons anyway. After pursuing her for nearly two years, Zemlinsky was rejected by Alma, who had decided instead to marry Gustav Mahler, the composer-conductor who was director of the Vienna Court Opera at the time.
As Antony Beaumont has pointed out in his study of Zemlinsky, the composer wrote The Mermaid as part of a psychological process meant to exorcise the trauma of Alma's marriage to Mahler. Zemlinsky turned to Hans Christian Andersen's mermaid story because of its resonance with his own situation at the time. In Andersen's story, a Mermaid saves a Prince from drowning and falls in love with him in the process. She goes to the Mer-witch, who, in exchange for her voice (the Witch cuts out the Mermaid's tongue), makes her human. But the bargain is perilous, for if the Mermaid fails to win the Prince, she will die. When the Prince marries another, the Mermaid's sisters go to the Mer-witch to try and save her. The Witch says that the Mermaid must kill the Prince, but she cannot bring herself to do it. Heartbroken, she plunges into the sea, but, instead of dying, is transformed into a Daughter of the Air and given another chance to regain her immortal soul. According to Beaumont, the composer saw himself as the Mermaid, with Alma as the Prince. In his musical setting of Andersen's tale, Zemlinsky was able to express his pain.
The Mermaid opens with a musical depiction of the first lines of Andersen's tale: "Far out in the ocean, where the water is as blue as the prettiest cornflower, and as clear as crystal, it is very, very deep; so deep, indeed, that no cable could fathom it. Many church steeples, piled one upon another, would not reach from the ground beneath to the surface of the water above. There dwell the Mer-king and his subjects." The movement is the most literal in its adherence to Andersen's narrative. Zemlinsky tells the story musically through a series of motives; an ascending figure depicting the bottom of the ocean, and the Mermaid's theme, introduced by solo violin, are among the motives heard at the outset of the first movement. The middle of the movement, which functions like a development section after the lengthy thematic exposition that precedes it, portrays the turbulent storm during which the Prince falls overboard; just as the music seems poised to reach its climax, we hear a sweet, extremely lyrical version of the Mermaid's theme. as similar to the music from that L.I.F.E. Long Cuts and Collabos part 2 Dwarf Star Party featuring Omega Moon is known for the song.
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