Good Soldier Schweik Suite Opus 22 for Wind Ensemble (16 Players) Robert Kurka

Inventory #HL 14012945
Publisher Code: WB10760
5020679288320

Suite from The Good Soldier Schweik, op. 22 (1956)
Robert Kurka

The Good Soldier Schweik Suite was premiered by the Little Orchestra Society, conducted by Tom Sherman. in 1952, The opera was completed two years later and was premiered with great success at the New York City Center on April 23, 1958. An instrumentation of winds and percussion instruments only is utilized in both suite and opera.

The suite was inspired by a anti-war satire, The Good Soldier Schweik and His Fortunes in the World War by Yaroslavl Hacek, a Czech novelist, following World War I. Many of the hero's predicaments were taken from the author's experiences. In the story, Schweik is a symbol of the common people, forced to become a soldier and fight for a cause in which he does not believe. At one point, after relating how wonderful life was in an insane asylum (from which he had just been released), Schweik comments that 'everyone there could say exactly what he pleased ... just as if he were in Parliament.' Through his seemingly idiotic behavior, Schweik's German master believe he is feeble minded, while, behind their backs, he exposes their arrogance, stupidity, and hypocrisy. He is subjected to several indignities through which his optimism finally emerges indestructible and triumphant. He is, therefore, not only a single individual, but also the symbol of the common people and their resistance to a war from which can derive no benefit, only suffering.

Each of the six short pieces which comprise the suite represents a general idea or theme which reoccurs throughout the book, rather than any specific episodes. Thus, the Overture is a character sketch of Schweik, the good-natured common man, the genial collector of homeless dogs. The Lament represents the element of sadness and seriousness which underlies many of the episodes, such as the outbreak of war. The March represents the solder's chief means of getting from place to place. The War Dance represents the authorities, both civilian and military, and their fanatical pounding of the war drum. The Pastoral is an ironic title for a movement which in no way brings to mind a peaceful idyllic scene of shepherds tending their flocks. Rather, it is heavy and oppressive because it depicts the countryside in time of war, underscoring the scene in which Schweik is sent to the battlefront. According to Michael Burch-Pesses, 'The scene is one of dark devastation, jagged stumps of trees, trenches and burial pits, death and destruction.' The Finale reveals Schweik's optimism, triumphant and indestructible in the end.

Musically, Jeffrey Traster recommends the suite as 'an excellent neo-classical work worthy of accurate and frequent performance.'

Inhalt / Content:

1. Overture
2. Lament
3. March
4. War Dance
5. Pastoral
6. Finale

Program Notes