Schönberg: "the most influential composer of the 20th century" - Interview with Zoltán Kocsis

It seems there are some devout Schönberg fans around, considering that someone has stolen your laptop that included the act you had completed...

 

I am afraid the thief was not motivated by an interest in music and the laptop is probably at the bottom of the Danube... But fortunately I always have backups of the things I am working on so the composition was not lost.

 

 

If we had only played the completed two acts of the opera, I would have been satisfied with them. But the third act was also presented, in prose. I thought it was ridiculous that we were standing in the orchestra pit with arms crossed listening to the lyrics. And then playing something again from the second act. The only benefit was that I extended the six-tone melody that expresses Moses' doubts in the second act to a true twelve-tone one. If you get immersed in a composition, then you can identify with its style and you become able to speak in the same language. Just like there are a whole lot of people who write Mozart cadences or missing Bach themes. Schönberg's language is a very peculiar musical language that allows great freedom despite the restrictions. It delineates the playing field and the rules. No doubling of octaves, small second dissonance... During the prosaic ending in Miskolc, I decided that even if I compose an inferior music score to the Schönberg opera, that will still be better than reciting the lyrics.

 

 

But eventually I decided against that because Moses does not turn back, his character remains unchanged. He behaves like a very serious politician, insisting on his principles. Today's politicians should learn from him. And this is what lifts him morally above Aaron and all the people, so his role as a leader is unquestionable. This is why Moses is entitled to pass judgment over Aaron, on behalf of God. It is all a matter of faith, like everything else. I think without faith it's impossible to pursue any activity and that's what Schönberg's opera teaches us.

 

 

Real composition is the creation and arrangement of musical ideas. To dress something in a new robe or reduce it to one instrument without losing its effect is a different activity for a composer. Perhaps not as highly rated as the first one. Interestingly, however, Béla Bartók said that even the art of performance, if it suits the spirit of the work, should be given equal rank to composition. And he has proven this idea right when acting as a performer.

 

 

They were not as rigorous as copyright holders. Schönberg's heirs are good-willed people who are glad about everything that happen in connection with their grandfather. Not to mention the fact that as a result, public attention is now focused on Schönberg in an important region of the world. And I m must again emphasise that he is perhaps the most influential composer of the 20th century.

 

In Hungary it is difficult to make audiences like this musical world. As you have stated in the past, Schönberg's music will never become something loved by everybody.

 

Hungary's musical life is characterised by a dichotomy today. On the one hand, everything sells, even terrible pieces can be successful, also among critics...At the same time, the public is full of prejudices. I think this is because audiences are less educated and they therefore tend to appreciate any skilful performance. Additionally, listeners are also less knowledgeable and they automatically take over the prejudices expressed by others. Many people say that Schönberg is characterised by cacophony without ever listening to any Schönberg piece in their life. The reception of Bartók is very interesting these days because his works have somehow started breaking through such prejudices. I recently toured with Barnabás Kelemen playing Bartók's Sonata No. 1 throughout Europe. This piece was met with great success in all places, from Kaposvár to Tatabánya to Bad Reichenhall. Yet, this is the piece that gets furthest to Schönberg's achievements. The Sonata No. 1 is practically a 12-tone composition but people somehow sense the presence of individuality. Bartók did not disown his style even when making a 12-tone composition. It is the power of his personality. Schönberg's personality is also strongly felt in both of his operas but especially in Moses and Aaron. But this personality is rather strange, not easily approachable for average people and ordinary listeners. It is somewhat schizoid, somewhat biblical and above all, polemic. Not a simple case.

 

 

There will be no breaking of the stone tablets and no golden calf. At the Miskolc performance, despite the effective music performance, many people disliked the neologist environment.

 

 

I have found most musicians' reactions to Schönberg's music very interesting and one to follow. I rehearsed the wind quintet with members of the Festival Orchestra and they initially had strong reservations. But eventually they grew to like the composition so much that they requested more rehearsals. And I noticed the same with other musicians. The power of the music eventually convinces them. Unfortunately, I cannot say the same about audiences. It is fortunate in the case of Moses that there is great tension in the drama. As a result, the public, even if unconsciously, responds more intensely. I hope that Schönberg's works will survive. Musicians will from time to time return to his compositions and some of them have already taken strong hold in repertoires around the world. Recently, in connection with my third act, I received plenty of reactions from musicians stating that it is difficult to perform. The original piece is also very complicated. Listening to each other is rarely as important as in the case of this style.

 

 

I have received permission just for this performance. Publishing the score does not concern me so much, I am more interested in performance. Because that's how the work gets to the people. It is why the performance will be available for a few days on classiclive.com. Continuation depends on many factors. One question is to what extent my music will prove viable in the long term. Whether the differences that divide the two acts are not too strong. I can imagine that other operas would also play the performance in this form. But it is also possible that my example will encourage others to write a better third act.

 

And are you going to continue composing? Is there a new piece in the works?

 

I always do some paperwork and I have recently written a serious piece but this should remain a surprise... The fact is that I much prefer to serve than to push myself in the foreground. And I am primarily in the service of music from 6am to 2am. That's why I am fighting for the survival of the orchestra. Behind all my artistic ambitions, there is an effort to make improvements.

 

 

Not at all. Our situation is once again very difficult, they have cut our budget again and have frozen some funds. And all we can keep repeating - which we do all the time - is that they should be careful, because sooner of later, culture will be the only reason why this country gets any attention. If we allow all these things we call Hungarian culture to wither then there will be big trouble. On the one hand, because all the talents will leave the country, which has already started. It is a warning sign that several excellent Hungarian composers have moved away. If we continue treating the talent we have in the Carpathian Basin in such a wasteful and irresponsible way, then we will face serious problems. One must not forget that there is a harsh fight for survival in the musical world of Hungary. Yet, I think all talented musicians should get the living space they deserve.

 

Interviewer: Zsuzsanna Réti / Photo: Dániel Kováts