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RELEASE
ALBUMS
- String Quartet No. 3, Op. 30: I. Moderato
- String Quartet No. 3, Op. 30: II. Adagio
- String Quartet No. 3, Op. 30: III. Intermezzo
- String Quartet No. 3, Op. 30: IV. Rondo
- String Quartet No. 4, Op. 37: I. Allegro molto; Energico
- String Quartet No. 4, Op. 37: II. Comodo
- String Quartet No. 4, Op. 37: III. Largo
- String Quartet No. 4, Op. 37: IV. Allegro
- Phantasy for Violin with Piano Accompaniment, Op. 47
- Gurrelieder: Orchestral Prelude
- Gurrelieder: Nun dämpf die Dämmerung jeden Ton
- Gurrelieder: O, wenn des Mondes Strahlen leise gleiten
- Gurrelieder: Ross! Mein Ross! Was schleichst du so träg
- Gurrelieder: Stern jubeln, das Meer es leuchtet
- Gurrelieder: So tanzen die Engel vor Gottes Thron nicht
- Gurrelieder: Nun sag'ich dir zum ersten Mal
- Gurrelieder: Es ist Mitternachts Zeit
- Gurrelieder: Du sendest mir einen Liebesblick
- Gurrelieder: Du wunderliche Tove!
- Gurrelieder: Orchestral Prelude
- Gurrelieder: Tauben von Gurre! Sorge quält mich
- Verklärte Nacht, Op. 4
- Chamber Symphony No.1, Op.9: I. Langsam, Sehr rasch
- Chamber Symphony No.1, Op.9: II. Feurig, Hauptzeitmaß, ruhiger, Sehr rasch -
- Chamber Symphony No.1, Op.9: III. Viel langsamer, fließender, schwungvoll,Hauptzeitmaß
- Chamber Symphony No.1, Op.9: IV. Etwas ruhiger, steigernd, Hauptzeitmaß
- Chamber Symphony No.2, Op.38: I. Adagio
- Chamber Symphony No.2, Op.38: II. Con fuoco, Molto adagio
- Concerto for violin and orchestra, Op. 36: I. Poco allegro
- Concerto for violin and orchestra, Op. 36: II. Andante grazioso
- Concerto for violin and orchestra, Op. 36: III. Finale. Allegro
- Concerto for violin and orchestra in D minor, Op. 47: I. Allegro moderato
- Concerto for violin and orchestra in D minor, Op. 47: II. Adagio di molto
- Concerto for violin and orchestra in D minor, Op. 47: III. Allegro, ma non tanto
- Herzgewächse, Op. 20 (feat. soprano: Eileen Hulse, harp: Sioned Williams, celesta: Tim Carey, harmonium: John Alley)
- Pierrot Lunaire, Op. 21 (feat. soprano: Anja Silja): Part I, I. Mondestrunken
- Pierrot Lunaire, Op. 21 (feat. soprano: Anja Silja): Part I, II. Columbine
- Pierrot Lunaire, Op. 21 (feat. soprano: Anja Silja): Part I, III. Der Dandy
- Pierrot Lunaire, Op. 21 (feat. soprano: Anja Silja): Part I, IV. Eine Blasse Wäscherin
- Pierrot Lunaire, Op. 21 (feat. soprano: Anja Silja): Part I, V. Valse De Chopin
- Pierrot Lunaire, Op. 21 (feat. soprano: Anja Silja): Part I, VI. Madonna
- Pierrot Lunaire, Op. 21 (feat. soprano: Anja Silja): Part I, VII. Der Kranke Mond
- Pierrot Lunaire, Op. 21 (feat. soprano: Anja Silja): Part II, VIII. Nacht (Passacaglia)
- Pierrot Lunaire, Op. 21 (feat. soprano: Anja Silja): Part II, IX. Gebet an Pierrot
- Pierrot Lunaire, Op. 21 (feat. soprano: Anja Silja): Part II, X. Raub
- Pierrot Lunaire, Op. 21 (feat. soprano: Anja Silja): Part II, XI. Rote Messe
- Pierrot Lunaire, Op. 21 (feat. soprano: Anja Silja): Part II, XII. Galgenlied
- Pierrot Lunaire, Op. 21 (feat. soprano: Anja Silja): Part II, XIII. Enthauptung
- Pierrot Lunaire, Op. 21 (feat. soprano: Anja Silja): Part II, XIV. Die Kreuze
- Pierrot Lunaire, Op. 21 (feat. soprano: Anja Silja): Part III, XV. Heimweh
- Pierrot Lunaire, Op. 21 (feat. soprano: Anja Silja): Part III, XVI. Gemeinheit!
- Pierrot Lunaire, Op. 21 (feat. soprano: Anja Silja): Part III, XVII. Parodie
- Pierrot Lunaire, Op. 21 (feat. soprano: Anja Silja): Part III, XVIII. Der Mondfleck
- Pierrot Lunaire, Op. 21 (feat. soprano: Anja Silja): Part III, XIX. Serenade
- Pierrot Lunaire, Op. 21 (feat. soprano: Anja Silja): Part III, XX. Heimfahrt (Barcarolle)
- Pierrot Lunaire, Op. 21 (feat. soprano: Anja Silja): Part III, XXI. O Alter Duft
- 4 Lieder, Op. 22 (feat. mezzo-soprano: Catherine Wyn-Rogers): I. Seraphita
- 4 Lieder, Op. 22 (feat. mezzo-soprano: Catherine Wyn-Rogers): II. Alle, Welche Dich Suchen
- 4 Lieder, Op. 22 (feat. mezzo-soprano: Catherine Wyn-Rogers): III. Mach Mich Zum Wächter Deiner Weiten
- 4 Lieder, Op. 22 (feat. mezzo-soprano: Catherine Wyn-Rogers): VI. Vorgefühle
- Kammersymphonie No. 1 E-dur, Op. 9
- Sunshine Polka U10
- "Alliance" Waltz U10
- Song Without Words in Bb major U10
- Idyllic Song Without Words in C major U10
- Song Without Words in A minor U10
- Birthday March [1 part] U10
- Romance in D minor [2 parts] U10
- String Quartet in F major [fragment] U119
- Gavotte and Musette [original version] U193
- 11 Waltzes for String Orchestra: I. Kräftig U566
- 11 Waltzes for String Orchestra: II. Nicht zu rasch U567
- 11 Waltzes for String Orchestra: III. Etwas langsam U568
- 11 Waltzes for String Orchestra: IV. Etwas rasch U569
- 11 Waltzes for String Orchestra: V. Rasch U571
- 11 Waltzes for String Orchestra: VI. U573
- 11 Waltzes for String Orchestra: VII. Kräftig U582
- 11 Waltzes for String Orchestra: VIII. Getragen U584
- 11 Waltzes for String Orchestra: IX. Lebhaft U586
- 11 Waltzes for String Orchestra: X. Nicht rasch U575
- 11 Waltzes for String Orchestra: XI. Allegro rasch [fragment] U578
- Toter Winkel [fragment] U167
- String Quartet in D minor: Nicht rasch [fragment] U121
- String Quartet in D minor: Langsam sketch 1 [fragment] U129
- String Quartet in D minor: Langsam sketch 2 [fragment] U129
- String Quartet in D minor: Langsam sketch 3 [fragment] U130
- String Quartet in D minor: Langsam double fugue 1 [fragment] U121
- String Quartet in D minor: Langsam double fugue 2 [fragment] U125
- String Quartet in C major [fragment] U142
- String Quintet in D major [fragment] Sk45
- String Septet [fragment] U175
- String Quartet Movement [fragment] U133
- String Quartet 1926: beginning 1 [fragment] U137
- String Quartet 1926: beginning 2 [fragment] U137
- String Quartet 1926: beginning 3 [fragment] U138
- String Quartet 1926: theme [fragment] U137
- String Quartet 1926: violin|cello theme [fragment] U139
- String Quartet 1926: violin theme [fragment] U141
- Untitled in D major [fragment] U549
- String Quartet in C major [fragment] U107
- Mirror Canon in A major XXXIII
- Fugue [fragment] Ms95
- String Quartet No. 5: I. [fragment] U143
- String Quartet No. 5: II. [fragment] U144
- String Quartet No. 5: III. [fragment] U145
- String Quartet No. 5: IV. [fragment] U147
- Chamber Symphony No. 1, Op. 9: Langsam - Sehr rasch
- Chamber Symphony No. 1, Op. 9: Feurig - Hauptzeitmaß - ruhiger - sehr rasch
- Chamber Symphony No. 1, Op. 9: Viel langsamer - fließender - schwungvoll - Hautzeitmaß
- Chamber Symphony No. 1, Op. 9: Etwas ruhiger - steigernd - Hauptzeitmaß
- Piano Quartet No. 1 in G minor, Op. 25: I. Allegro
- Piano Quartet No. 1 in G minor, Op. 25: II. Intermezzo. Allegro ma non troppo
- Piano Quartet No. 1 in G minor, Op. 25: III. Andante con moto
- Piano Quartet No. 1 in G minor, Op. 25: IV. Rondo alla zingarese. Presto
- Five Pieces for Orchestra, Op. 16: I. Premonitions
- Five Pieces for Orchestra, Op. 16: II. The Past
- Five Pieces for Orchestra, Op. 16: III. Chord-Colours
- Five Pieces for Orchestra, Op. 16: IV. Peripeteia
- Five Pieces for Orchestra, Op. 16: V. The Obbligato Recitative
- Cello Concerto: I. Allegro moderato
- Cello Concerto: II. Andante, alla marcia
- Cello Concerto: III. Tempo di minuetto
- Piano Quartet in G minor, Op. 25 (arr. Schoenberg): I. Allegro
- Piano Quartet in G minor, Op. 25 (arr. Schoenberg): II. Intermezzo: Allegro ma non troppo
- Piano Quartet in G minor, Op. 25 (arr. Schoenberg): III. Andante con moto
- Piano Quartet in G minor, Op. 25 (arr. Schoenberg): IV. Rondo alla zingarese: Presto
- Friede Auf Erden, opus 13
- Farben, opus 16 #3
- Drei Volksliedsätze : Schein Uns, Du Liebe Sonne
- Drei Volksliedsätze : Es Gingen Zwei Gespielen Gut
- Drei Volksliedsätze : Herzlieblich Lieb, Durch Scheiden
- Friede Auf Erden, opus 13
- Kammersymphonie Für 15 Solo-instrumente, opus 9
- Verbundenheit, opus 35 #6
- Dreimal Tausend Jahre, opus 50a
- De Profundis, opus 50b
- Gurrelieder - Teil 1 - Orchestervorspiel
- Gurrelieder - Teil 1 - Nun daempft die Daemm'rung (Waldemar)
- Gurrelieder - Teil 1 - O, wenn des Mondes Strahlen (Tove)
- Gurrelieder - Teil 1 - Ross! Mein Ross! (Waldemar)
- Gurrelieder - Teil 1 - Sterne jubeln (Tove)
- Gurrelieder - Teil 1 - So tanzen die Engel vor Gottes Thron nicht (Waldemar)
- Gurrelieder - Teil 1 - Nun sag ich dir zum ersten Mal (Tove)
- Gurrelieder - Teil 1 - Es ist Mitternachtszeit (Waldemar)
- Gurrelieder - Teil 1 - Du sendest mir einen Liebesblick (Tove)
- Gurrelieder - Teil 1 - Du wunderlische Tove! (Waldemar)
- Gurrelieder - Teil 1 - Orchesterzwischenspiel
- Gurrelieder - Teil 1 - Tauben von Gurre! (Waldtaube)
Verklärte Nacht - Pelléas et Mélisande (Philharmonia Orchestra feat. conductor: Giuseppe Sinopoli)
Released 2000
Released 2000
- Pelléas et Mélisande, op. 5: Die Viertel ein wenig bewegt - zögernd
- Pelléas et Mélisande, op. 5: Heftig
- Pelléas et Mélisande, op. 5: Lebhaft
- Pelléas et Mélisande, op. 5: Sehr rasch
- Pelléas et Mélisande, op. 5: Ein wenig bewegt
- Pelléas et Mélisande, op. 5: Langsam
- Pelléas et Mélisande, op. 5: Ein wenig bewegter
- Pelléas et Mélisande, op. 5: Sehr langsam
- Pelléas et Mélisande, op. 5: Etwas bewegt
- Pelléas et Mélisande, op. 5: In gehender Bewegung
- Pelléas et Mélisande, op. 5: Breit
- Verklärte Nacht, op. 4: Grave
- Verklärte Nacht, op. 4: Molto rallentando
- Verklärte Nacht, op. 4: Pesante
- Verklärte Nacht, op. 4: Adagio
- Verklärte Nacht, op. 4: Adagio
- Quartett D Moll, Op. 7: I. Nicht zu rasch
- Quartett D Moll, Op. 7: II. Kräftig
- Quartett D Moll, Op. 7: III. Mäßig
- Quartett D Moll, Op. 7: IV. Mäßig
- Streichquartett II Fis Moll, Op. 10: I. Mäßig
- Streichquartett II Fis Moll, Op. 10: II. Sehr rasch
- Streichquartett II Fis Moll, Op. 10: III. "Litanei" Langsam
- Streichquartett II Fis Moll, Op. 10: IV. "Entrückung" Sehr langsam
- Part 1 - 1. Mondestrunken
- Part 1 - 2. Colombine
- Part 1 - 3. Der Dandy
- Part 1 - 4. Eine blasse Wäscherin
- Part 1 - 5. Valse de Chopin
- Part 1 - 6. Madonna
- Part 1 - 7. Der kranke Mond
- Part 2 - 1. Nacht
- Part 2 - 2. Gebet an Pierrot
- Part 2 - 3. Raub
- Part 2 - 4. Rote Messe
- Part 2 - 5. Galgenlied
- Part 2 - 6. Enthauptung
- Part 2 - 7. Die Kreuze
- Part 3 - 1. Heimweh
- Part 3 - 2. Gemeinheit!
- Part 3 - 3. Parodie
- Part 3 - 4. Der Mondfleck
- Part 3 - 5. Serenade
- Part 3 - 6. Heimfahrt
- Part 3 - 7. O alter Duft
- 1. Szene: 'Hier hinein... man sieht den Weg nicht...'
- 2. Szene: 'Ist das noch der weg... hier ist es eben...'
- 3. Szene: 'Da kommt ein Licht! Ach! Nur der Mond...'
- 4. Szene: 'Er ist auch nicht da...'
String Quartets No. 2 & 4 (feat. Leipziger Streichquartett, soprano: Christiane Oelze)
Released 1999
Released 1999
- String quartet No. 2 op 10, I: Mäßig
- String quartet No. 2 op 10, II: Sehr rasch
- String quartet No. 2 op 10, III: Litanei. Langsam
- String quartet No. 2 op 10, IV: Entrückung. Sehr langsam
- String quartet No. 4 op 37, I: Allegro molto; energico
- String quartet No. 4 op 37, II: Commodo
- String quartet No. 4 op 37, III: Largo
- String quartet No. 4 op 37, IV: Allegro
- Pelleas und Melisande, Op. 5
- Variations for Orchestra, Op. 31: I. Introduction
- Variations for Orchestra, Op. 31: II. Theme
- Variations for Orchestra, Op. 31: III. Variation I
- Variations for Orchestra, Op. 31: IV. Variation II
- Variations for Orchestra, Op. 31: V. Variation III
- Variations for Orchestra, Op. 31: VI. Variation IV
- Variations for Orchestra, Op. 31: VII. Variation V
- Variations for Orchestra, Op. 31: VIII. Variation VI
- Variations for Orchestra, Op. 31: IX. Variation VII
- Variations for Orchestra, Op. 31: X. Variation VIII
- Variations for Orchestra, Op. 31: XI. Variation IX
- Variations for Orchestra, Op. 31: XII. Finale
- Suite for String Orchestra in G (1934): I. Ouverture
- Suite for String Orchestra in G (1934): II. Adagio
- Suite for String Orchestra in G (1934): III. Menuet and Trio
- Suite for String Orchestra in G (1934): IV. Gavotte
- Suite for String Orchestra in G (1934): V. Gigue
- Chamber Symphony No. 2, Op. 38: I. Adagio
- Chamber Symphony No. 2, Op. 38: II. Con Fuoco
- Theme and Variations, Op. 43b
- Gurrelieder: I. Teil: Orchester-Vorspiel
- Gurrelieder: I. Teil: Waldemar: "Nun dämpft die Dämm'rung jeden Ton"
- Gurrelieder: I. Teil: Tove: "O, wenn des Mondes Strahlen milde gleiten"
- Gurrelieder: I. Teil: Waldemar: "Roß! Mein Roß! Was schleichst du so träg!"
- Gurrelieder: I. Teil: Tove: "Sterne jubeln, das Meer, es leuchtet"
- Gurrelieder: I. Teil: Waldemar: "So tanzen die Engel vor Gottes Thron nicht"
- Gurrelieder: I. Teil: Tove: "Nun sag' ich dir zum ersten Mal"
- Gurrelieder: I. Teil: Waldemar: "Es ist Mitternachtzeit"
- Gurrelieder: I. Teil: Tove: "Du sendest mir einem Liebesblick"
- Gurrelieder: I. Teil: Waldemar: "Du wunderliche Tove!"
- Gurrelieder: I. Teil: Orchester-Zwischenspiel
- Gurrelieder: I. Teil: Waldtaube: "Tauben von Gurre!"
- Verklärte Nacht, Op. 4: I
- Verklärte Nacht, Op. 4: II
- Verklärte Nacht, Op. 4: III
- Verklärte Nacht, Op. 4: IV
- Verklärte Nacht, Op. 4: V
- Chamber Symphony No. 1, Op. 9
- Friede auf Erden, Op. 13
- Lied der Waldtaube
- Zwei Gesänge, Op. 1 Nr. 1: Dank
- Zwei Gesänge, Op. 1 Nr. 2: Abschied
- Vier Lieder, Op. 2 Nr. 1: Erwartung
- Vier Lieder, Op. 2 Nr. 2: Schenk mir deinen goldenen Kamm
- Vier Lieder, Op. 2 Nr. 3: Erhebung
- Vier Lieder, Op. 2 Nr. 4: Waldsonne
- Das Buch der hängenden Gärten, Op. 15: I. Unterm schutz von dichten blättergründen
- Das Buch der hängenden Gärten, Op. 15: II. Hain in diesen paradiesen
- Das Buch der hängenden Gärten, Op. 15: III. Als neuling trat ich ein in dein gehege
- Das Buch der hängenden Gärten, Op. 15: IV. Da meine lippen reglos sind und brennen
- Das Buch der hängenden Gärten, Op. 15: V. Saget mir, auf welchem pfade
- Das Buch der hängenden Gärten, Op. 15: VI. Jedem werke bin ich fürder tot
- Das Buch der hängenden Gärten, Op. 15: VII. Angst und hoffen wechselnd mich beklemmen
- Das Buch der hängenden Gärten, Op. 15: VIII. Wenn ich heut nicht deinen leib berühre
- Das Buch der hängenden Gärten, Op. 15: IX. Streng ist uns das glück und spröde
- Das Buch der hängenden Gärten, Op. 15: X. Das schöne beet betracht ich mir im harren
- Das Buch der hängenden Gärten, Op. 15: XI. Als wir hinter dem beblümten tore
- Das Buch der hängenden Gärten, Op. 15: XII. Wenn sich bei heilger ruh in tiefen matten
- Das Buch der hängenden Gärten, Op. 15: XIII. Du lehnest wider eine silberweide
- Das Buch der hängenden Gärten, Op. 15: XIV. Sprich nicht immer
- Das Buch der hängenden Gärten, Op. 15: XV. Wir bevölkerten die abend-düstern lauben
- 3 Satiren für gemischten Chor, Op. 28: I. Am Scheideweg
- 3 Satiren für gemischten Chor, Op. 28: II. Vielseitigkeit
- 3 Satiren für gemischten Chor, Op. 28: III. Der neue Klassizismus
- 4 Stücke für gemischten Chor, Op. 27: I. Unentrinnbar
- 4 Stücke für gemischten Chor, Op. 27: II. Du sollst nicht, du musst
- 4 Stücke für gemischten Chor, Op. 27: III. Mond und Menschen
- 4 Stücke für gemischten Chor, Op. 27: IV. Der Wunsch des Liebhabers
- 6 Stücke für Männerchor, Op. 36: I. Hemmung
- 6 Stücke für Männerchor, Op. 36: II. Das Gesetz
- 6 Stücke für Männerchor, Op. 36: III. Ausdrucksweise
- 6 Stücke für Männerchor, Op. 36: IV. Glück
- 6 Stücke für Männerchor, Op. 36: V. Landsknechte
- 6 Stücke für Männerchor, Op. 36: VI. Verbundenheit
- 3 Volkslieder, Op. 49: I. Es gingen zwei Gespielen gut
- 3 Volkslieder, Op. 49: II. Der Mai tritt ein mit Freuden
- 3 Volkslieder, Op. 49: III. Mein Herz in steten Treuen
- Friede auf Erden, Op. 30
- Dreimal tausend Jahre, Op. 50a
- Psalm 130 "De profundis", Op. 50b
Moses und Aron (Rundfunk-Sinfonie-Orchester Leipzig, Rundfunkchor Leipzig feat. conductor Herbert Kegel)
Released 1994
Released 1994
- Moses und Aron: Act I, Scene I. The Calling of Moses. "Einziger, ewiger, allgegenwärtiger"
- Moses und Aron: Act I, Scene II. Moses meets Aron in the Wasteland. "Du Sohn meiner Väter"
- Moses und Aron: Act I, Scene III. Moses and Aron bring God's Message to the People. "Ich hab' ihn gesehn"
- Moses und Aron: Act I, Scene IV. "Bringt ihr Erhörung" - "In der Wüste wird euch die Reinheit"
- Pelleas und Melisande, Op. 5: I. Anfang
- Pelleas und Melisande, Op. 5: II. Heftig
- Pelleas und Melisande, Op. 5: III. Lebhaft
- Pelleas und Melisande, Op. 5: IV. Sehr rasch
- Pelleas und Melisande, Op. 5: V. Ein wenig bewegt
- Pelleas und Melisande, Op. 5: VI. Langsam
- Pelleas und Melisande, Op. 5: VII. Ein wenig bewegter
- Pelleas und Melisande, Op. 5: VIII. Sehr langsam
- Pelleas und Melisande, Op. 5: IX. Etwas bewegt
- Pelleas und Melisande, Op. 5: X. In gehender Bewegung
- Pelleas und Melisande, Op. 5: XI. Breit
- Verklärte Nacht, Op. 4: I. Grave
- Verklärte Nacht, Op. 4: II. Molto rallentando
- Verklärte Nacht, Op. 4: III. Pesante
- Verklärte Nacht, Op. 4: IV. Adagio
- Moses und Aaron: I. Akt, Szene I Moses Berufung
- Moses und Aaron: I. Akt, Szene II Moses begegnet Aaron in der Wüste
- Moses und Aaron: I. Akt, Szene III Moses und Aaron verkünden dem Volk die Botschaft Gottes
- Moses und Aaron: I. Akt, Szene IV Chor "Bringt ihr Erhörung"
- Moses und Aaron: I. Akt, Szene IV "Allmächtiger, meine Kraft ist zu Ende"
- Moses und Aaron: I. Akt, Szene IV Chor "Ein Wunder erfüllt uns mit Schrecken"
- Moses und Aaron: I. Akt, Szene IV "Erkennt euch darin"
- Moses und Aaron: I. Akt, Szene IV "Er hat uns auserwählt"
- Moses und Aaron: Zwischenspiel
- Erwartung, Op.17: 1. Szene "Hier hinein?"
- Erwartung, Op.17: 2. Szene "Ist das noch der Weg?"
- Erwartung, Op.17: 3. Szene "Da kommt ein Licht!"
- Erwartung, Op.17: 4. Szene "Er ist auch nicht da"
- Erwartung, Op.17: "Das Mondlicht"
- Erwartung, Op.17: "Aber so seltsam ist dein Auge"
- Erwartung, Op.17: "Du siehst wieder dort hin!"
- Erwartung, Op.17: "Für mich ist kein Platz da"
- Erwartung, Op.17: "Liebster, Liebster, der Morgen kommt"
- Brettl-Lieder: Galathea (Frank Wedekind)
- Brettl-Lieder: Gigerlette (Otto Julius Bierbaum)
- Brettl-Lieder: Der genügsame Liebhaber (Hugo Salus)
- Brettl-Lieder: Einfältiges Lied (Hugo Salus)
- Brettl-Lieder: Mahnung (Gustav Hochstetter)
- Brettl-Lieder: Jedem das Seine (Colly)
- Brettl-Lieder: Arie aus dem Spiegel von Arcadien (Emanuel Schikaneder)
- Brettl-Lieder: Nachtwandler (Gustav Falke)
Pierrot Lunaire (Ensemble Musique Oblique feat. conductor: Philippe Herreweghe; soprano: Marianne Pousseur)
Released 1993
Released 1993
- Pierrot Lunaire, Op. 21: Part I, I. Mondestrunken
- Pierrot Lunaire, Op. 21: Part I, II. Columbine
- Pierrot Lunaire, Op. 21: Part I, III. Der Dandy
- Pierrot Lunaire, Op. 21: Part I, IV. Eine blasse Wäscherin
- Pierrot Lunaire, Op. 21: Part I, V. Valse de Chopin
- Pierrot Lunaire, Op. 21: Part I, VI. Madonna
- Pierrot Lunaire, Op. 21: Part I, VII. Der kranke Mond
- Pierrot Lunaire, Op. 21: Part II, I. Die Nacht
- Pierrot Lunaire, Op. 21: Part II, II. Gebet an Pierrot
- Pierrot Lunaire, Op. 21: Part II, III. Raub
- Pierrot Lunaire, Op. 21: Part II, IV. Rote Messe
- Pierrot Lunaire, Op. 21: Part II, V. Galgenlied
- Pierrot Lunaire, Op. 21: Part II, VI. Enthauptung
- Pierrot Lunaire, Op. 21: Part II, VII. Die Kreuze
- Pierrot Lunaire, Op. 21: Part III, I. Heimweh
- Pierrot Lunaire, Op. 21: Part III, II. Gemeinheit
- Pierrot Lunaire, Op. 21: Part III, III. Parodie
- Pierrot Lunaire, Op. 21: Part III, IV. Der Mondfleck
- Pierrot Lunaire, Op. 21: Part III, V. Serenade
- Pierrot Lunaire, Op. 21: Part III, VI. Heimfahrt
- Pierrot Lunaire, Op. 21: Part III, VII. O alter Duft
- Chamber Symphony No. 1 in E major, Op. 9
Suite / Verklärte Nacht / 3 Pieces (Members of the Ensemble InterContemperain feat. conductor: Pierre Boulez)
Released 1993
Released 1993
- Suite, Op. 29: I. Overtüre
- Suite, Op. 29: II. Tanzschritte
- Suite, Op. 29: III. Thema mit Variationen
- Suite, Op. 29: IV. Gigue
- Verklärte Nacht, Op. 4
- 3 Pieces for Chamber Orchestra: I. Rasche Viertel
- 3 Pieces for Chamber Orchestra: II. Mäßige Viertel
- 3 Pieces for Chamber Orchestra: III. Gehende Viertel
- Die glückliche Hand, Op. 18: Scene I
- Die glückliche Hand, Op. 18: Scene II
- Die glückliche Hand, Op. 18: Scene III. Kräftig bewegt
- Die glückliche Hand, Op. 18: Scene III. Viel rascher
- Die glückliche Hand, Op. 18: Scene III. Mäßig bewegt
- Die glückliche Hand, Op. 18: Scene IV
- Variations for Orchestra, Op. 31: Introduction. Mässig, ruhig
- Variations for Orchestra, Op. 31: Thema. Molto moderato
- Variations for Orchestra, Op. 31: Variation I. Moderato
- Variations for Orchestra, Op. 31: Variation II. Langsam
- Variations for Orchestra, Op. 31: Variation III. Mässig
- Variations for Orchestra, Op. 31: Variation IV. Walzertempo
- Variations for Orchestra, Op. 31: Variation V. Bewegt
- Variations for Orchestra, Op. 31: Variation VI. Andante
- Variations for Orchestra, Op. 31: Variation VII. Langsam
- Variations for Orchestra, Op. 31: Variation VIII. Sehr rasch
- Variations for Orchestra, Op. 31: Variation IX. L'itesso tempo; aber etwas langsamer
- Variations for Orchestra, Op. 31: Finale. Mäßig schnell
- Verklärte Nacht, Op. 4: Grave
- Verklärte Nacht, Op. 4: Molto rallentando [bar 100]
- Verklärte Nacht, Op. 4: Pesante [bar 201]
- Verklärte Nacht, Op. 4: Adagio [bar 229]
- Verklärte Nacht, Op. 4: Adagio [bar 370]
- Die Jakobsleiter: "Ob rechts, ob links" (Gabriel, Chor)
- Die Jakobsleiter: "Ohne zu fragen" (Chor, Gabriel)
- Die Jakobsleiter: "Gleichviel! Weiter!" (Gabriel, ein Berufener)
- Die Jakobsleiter: "Du bist immerhin" (Gabriel, ein Aufrührerischer)
- Die Jakobsleiter: "Dies Entweder und dies Oder" (Gabriel, ein Ringender)
- Die Jakobsleiter: "Gegen seinen und euren Willen" (Gabriel)
- Die Jakobsleiter: "Ich sollte nicht näher" (Der Auserwählte, Gabriel)
- Die Jakobsleiter: "Herr, verzeih meine Überhebung" (Der Mönch, Gabriel)
- Die Jakobsleiter: "Herr, mein ganzes Leben lang" (Der Sterbende)
- Die Jakobsleiter: "Nahst du wieder dem Licht" (Gabriel, Chor)
- Die Jakobsleiter: Großes symphonisches Zwischenspiel
- Chamber Symphony No. 1, Op 9
- Begleitmusik zu einer Lichtspielszene, Op 34
Verklärte Nacht, Op. 4 / Trio, Op. 45 (Juilliard String Quartet, feat. viola: Walter Trampler, cello: Yo-Yo Ma)
Released 1993
Released 1993
- Verklärte Nacht, Op. 4: I. Sehr langsam (Bar 1)
- Verklärte Nacht, Op. 4: II. Breiter (Bar 100)
- Verklärte Nacht, Op. 4: III. Schwer betont (Bar 201)
- Verklärte Nacht, Op. 4: IV. Sehr breit und langsam (Bar 229)
- Verklärte Nacht, Op. 4: V. Sehr ruhig (Bar 370)
- String Trio, Op. 45: Part 1 (Bar 1)
- String Trio, Op. 45: 1st Episode (Bar 52)
- String Trio, Op. 45: Part 2 (Bar 133)
- String Trio, Op. 45: 2nd Episode (Bar 180)
- String Trio, Op. 45: Part 3 (Bar 208)
- String Quartet No. 3, Op. 30: I. Moderato
- String Quartet No. 3, Op. 30: II. Adagio
- String Quartet No. 3, Op. 30: III. Intermezzo, Allegro Moderato
- String Quartet No. 3, Op. 30: IV: Rondo. Molto Moderato
- String Quartet No. 4, Op. 37: I. Allegro Molto. Energico
- String Quartet No. 4, Op. 37: II. Comodo
- String Quartet No. 4, Op. 37: III. Largo
- String Quartet No. 4, Op. 37: IV. Allegro
- Arnold Schoenberg and the members of the Kolisch Quartet at the conclusion of String Quartet No. 1
- Arnold Schoenberg at the conclusion of the first movement of String Quartet No. 2
- Arnold Schoenberg at the conclusion of String Quartet No. 3
- Pierrot Lunaire, Première partie
- Pierrot Lunaire, Deuxième partie
- Pierrot Lunaire, Troisième partie
- La Vie en rouge
- Pierrot Lunaire. Part I
- Pierrot Lunaire. part II
- Pierrot Lunaire. Part III
- Concerto, Op. 24. Etwas lebhaft
- Concerto, Op. 24. Sehr langsam
- Concerto, Op. 24, Sehr rasch
- Erwartung, Op. 2 No. 1
- Schenk mir deinen goldenen Kamm, Op. 2 No. 2
- Wie Georg von Frundsberg von sich selber sang, Op. 3 No. 1
- Die Aufgeregten, Op. 3 No. 2
- Warnung, Op. 3 No. 3
- Geübtes Herz, Op. 3 No. 5
- Deinem Blick mich zu bequemen
- Traumleben, Op. 6 No. 1
- Verlassen, Op. 6 No. 4
- Der Wanderer, Op. 6 No. 8
- Der verlorene Haufen, Op. 12 No. 2
- Ich darf nicht dankend..., Op. 14 No. 1
- Am Strande
- Sommermüd, Op. 48 No. 1
- Tot, Op. 48 No. 2
- Vielgeliebte schöne Frau, Op. 5 No. 1
- Geliebte Schöne, Op. 9 No. 2
- Schattenleben, Op. 9 No. 3
- Schlummerlose Nächte, Op. 11 No. 3
- Es wandelt, was wir schauen, Op. 12 No. 2
- Im Morgengrauen, Op. 13 No. 2
- Grabschrift, Op. 13 No. 3
- Erster Verlust, Op. 15 No. 2
- Er klaft, daß der Frühling so kortz blüht
- Über den Bergen
- Am Strande
- Sehnsucht II, Op. 5 No. 2
- Sehnsucht III, Op. 6 No. 1
- Ich liebe Dich, Op. 6 No. 2
- Ferne Leider, Op. 6 No. 3
- Regen
- Winter
- Traurigkeit
- Spaziergang
Kammersymphonie Op. 9 / Suite Op. 29 / Kaiserwalzer (Wiener Concert-Verein feat. conductor: Martin Sieghart)
Released 1990
Released 1990
- Suite Op. 29: I. Ouverture: Allegretto
- Suite Op. 29: II. Tanzschritte: Moderato
- Suite Op. 29: III. Thema mit Variationen
- Suite Op. 29: IV. Gigue
- Chamber Symphony No. 1 in E major, Op. 9
- Kaiserwalzer
- Friede auf Erden, op 13
- Kol Nidre, op 39
- Drei Volkslieder, op 49 - 1 Es gingen zwei Gespielen gut
- Drei Volkslieder, op 49 - 2 Der Mai tritt ein mit Freuden
- Drei Volkslieder, op 49 - 3 Mein Herz in steten Treuen
- Zwei Kanons nach Goethe - Wenn der schwer Gedrueckte klagt
- Zwei Kanons nach Goethe - O dass der Sinnen doch so viele sind
- Drei deutsche Volkslieder - 1 Es gingen zwei Gespielen gut
- Drei deutsche Volkslieder - 2 Herzlieblich Lieb, durch Scheiden
- Drei deutsche Volkslieder - 3 Schein uns, du liebe Sonne
- Drei Klavierstücke, Op. 11: I. Mäßig
- Drei Klavierstücke, Op. 11: II. Sehr langsam
- Drei Klavierstücke, Op. 11: III. Bewegt
- Fünf Klavierstücke, Op. 23: I. Sehr langsam
- Fünf Klavierstücke, Op. 23: II. Sehr rasch
- Fünf Klavierstücke, Op. 23: III. Langsam
- Fünf Klavierstücke, Op. 23: IV. Schwungvoll
- Fünf Klavierstücke, Op. 23: V. Walzer
- Sechs kleine Klavierstücke, Op. 19: I. Leicht, zart
- Sechs kleine Klavierstücke, Op. 19: II. Langsam
- Sechs kleine Klavierstücke, Op. 19: III. Sehr langsam
- Sechs kleine Klavierstücke, Op. 19: IV. Rasch, aber leicht
- Sechs kleine Klavierstücke, Op. 19: V. Etwas rasch
- Sechs kleine Klavierstücke, Op. 19: VI. Sehr langsam
- Suite für Klavier, Op. 25: I. Prelude
- Suite für Klavier, Op. 25: II. Gavotte; Musette
- Suite für Klavier, Op. 25: III. Intermezzo
- Suite für Klavier, Op. 25: IV. Menuet & Trio
- Suite für Klavier, Op. 25: V. Gigue
- Klavierstück, Op. 33a: I. Mäßig
- Klavierstück, Op. 33b: II. Mäßig - Langsam
- Three Piano Pieces, Op. 11: I. Mäßig
- Three Piano Pieces, Op. 11: II. Mäßige Achtel
- Three Piano Pieces, Op. 11: III. Bewegt
- Six Little Piano Pieces, Op. 19: I. Leicht, zart
- Six Little Piano Pieces, Op. 19: II. Langsam
- Six Little Piano Pieces, Op. 19: III. Sehr langsame Viertel
- Six Little Piano Pieces, Op. 19: IV. Rasch, aber leicht
- Six Little Piano Pieces, Op. 19: V. Etwas rasch
- Six Little Piano Pieces, Op. 19: VI. Sehr langsam
- Five Piano Pieces, Op. 23: I. Sehr langsam
- Five Piano Pieces, Op. 23: II. Sehr rasch
- Five Piano Pieces, Op. 23: III. Langsam
- Five Piano Pieces, Op. 23: IV. Schwungvoll
- Five Piano Pieces, Op. 23: V. Walzer
- Suite for Piano, Op. 25: Präludium. Rasch
- Suite for Piano, Op. 25: Gavotte. Etwas langsam, nicht hastig (attacca)
- Suite for Piano, Op. 25: Musette. Rascher
- Suite for Piano, Op. 25: Gavotte (da capo)
- Suite for Piano, Op. 25: Intermezzo
- Suite for Piano, Op. 25: Minuett. Moderato – Trio
- Suite for Piano, Op. 25: Gigue. Rasch
- Piano Piece, Op. 33a: Mäßig
- Piano Piece, Op. 33b: Mäßig langsam
- Violin Concerto Op. 36: I. Poco allegro - Vivace
- Violin Concerto Op. 36: II: Andante grazioso
- Violin Concerto Op. 36: III. Finale: Allegro
- Piano Concerto Op. 42: Andante - Molto allegro - Giocoso (Moderato) - Commodo grazioso - Stretto
Verklärte nacht / Streichtrio (LaSalle Quartet feat. viola: Donald McInnes, cello: Jonathan Pegis)
Released 1984
Released 1984
- Verklärte nacht: Sehr langsam
- Verklärte nacht: Breiter
- Verklärte nacht: Schwer betont
- Verklärte nacht: Sehr breit ung langsam
- Verklärte nacht: Sehr ruhig
- Streichtrio: Part 1
- Streichtrio: 1st Episode
- Streichtrio: Part 2
- Streichtrio: 2nd Episode
- Streichtrio: Part 3
- Wozzeck: Act 1, Scene 1, Langsam, Wozzeck, langsam!
- Wozzeck: Act 1, Scene 1, Wir arme Leut! Sehn Sie, Herr Hauptmann, Geld, Geld!
- Wozzeck: Act 1, Scene 2; 'Du, der Platz ist verflucht!'
- Wozzeck: Act 1, Scene 3, Tschin Bum, Tschin Bum, Bum, Bum, Bum!
- Wozzeck: Act 1, Scene 3, Wer da?
- Wozzeck: Act 1, Scene 4, Was erleb' ich, Wozzeck?
- Wozzeck: Act 1, Scene 5, Geh' einmal vor Dich hin!
- Wozzeck: Act 2, Scene 1, Was die Steine glänzen?
- Wozzeck: Act 2, Scene 1, Was hast da¿
- Wozzeck: Act 2, Scene 2, Wohin so eilig, geehrtester Herr Sargnagel?
- Wozzeck: Act 2, Scene 2, He Wozzeck! Was hetzt Er sich so uns vorbei?
- Wozzeck: Act 2, Scene 3, Guten Tag, Franz
- Wozzeck: Act 2, Scene 4, Ich hab' ein Hemdlein an, das is nicht mein..
- Wozzeck: Act 2, Scene 4, Er! Sie! Teufel!
- Wozzeck: Act 2, Scene 4, Jedoch, wenn ein Wanderer, der gelehnt steht an dem Strom der Zeit
- Wozzeck: Act 2, Scene 5, Andres! Andres! Ich kann nicht schlafen
15 Poems from Das Buch der hängenden Gärten / Eight Songs, Op. 6 (Erika Sziklay feat. piano: Jenő Jandó)
Released 1979
Released 1979
- Acht Lieder, Op. 6 Nr. 1: Traumleben
- Acht Lieder, Op. 6 Nr. 2: Alles
- Acht Lieder, Op. 6 Nr. 3: Mädchenlied
- Acht Lieder, Op. 6 Nr. 4: Verlassen
- Acht Lieder, Op. 6 Nr. 5: Ghasel
- Acht Lieder, Op. 6 Nr. 6: Am Wegrand
- Acht Lieder, Op. 6 Nr. 7: Lockung
- Acht Lieder, Op. 6 Nr. 8: Der Wanderer
- Das Buch der hängenden Gärten, Op. 15: I. Unterm schutz von dichten blättergründen
- Das Buch der hängenden Gärten, Op. 15: II. Hain in diesen paradiesen
- Das Buch der hängenden Gärten, Op. 15: III. Als neuling trat ich ein in dein gehege
- Das Buch der hängenden Gärten, Op. 15: IV. Da meine lippen reglos sind und brennen
- Das Buch der hängenden Gärten, Op. 15: IX. Streng ist uns das glück und spröde
- Das Buch der hängenden Gärten, Op. 15: V. Saget mir, auf welchem pfade
- Das Buch der hängenden Gärten, Op. 15: VI. Jedem werke bin ich fürder tot
- Das Buch der hängenden Gärten, Op. 15: VII. Angst und hoffen wechselnd mich beklemmen
- Das Buch der hängenden Gärten, Op. 15: VIII. Wenn ich heut nicht deinen leib berühre
- Das Buch der hängenden Gärten, Op. 15: X. Das schöne beet betracht ich mir im harren
- Das Buch der hängenden Gärten, Op. 15: XI. Als wir hinter dem beblümten tore
- Das Buch der hängenden Gärten, Op. 15: XII. Wenn sich bei heilger ruh in tiefen matten
- Das Buch der hängenden Gärten, Op. 15: XIII. Du lehnest wider eine silberweide
- Das Buch der hängenden Gärten, Op. 15: XIV. Sprich nicht immer
- Das Buch der hängenden Gärten, Op. 15: XV. Wir bevölkerten die abend-düstern lauben
- Moses und Aron: I. Akt "Einziger, Ewiger, Allgegenwärtiger"
- Moses und Aron: I. Akt "Du Sohn meiner Väter"
- Moses und Aron: I. Akt "Ich hab' ihn gesehn"
- Moses und Aron: I. Akt "Lästre nicht!"
- Moses und Aron: I. Akt "Bringt ihr Erhörung"
- Moses und Aron: I. Akt "Der Einzige, Ewige, Allmächtige"
- Moses und Aron: I. Akt "Der Gerechte sieht ihn"
- Moses und Aron: I. Akt "Dieser Stab führt euch"
- Moses und Aron: I. Akt "Ein Wunder erfüllt uns mit Schrecken"
- Moses und Aron: I. Akt "Dein Stab zwingt uns"
- Moses und Aron: I. Akt "Alles für die Freiheit!"
- Moses und Aron: I. Akt "In der Wüste wird euch die Reinheit"
- Concerto for Piano and Orchestra, Op 42: Andante
- Concerto for Piano and Orchestra, Op 42: Molto allegro
- Concerto for Piano and Orchestra, Op 42: Adagio
- Concerto for Piano and Orchestra, Op 42: Giocoso [Moderato]
- Concerto for Piano and Orchestra No. 2 in A major: Adagio sostenuto assai - Allegro agitato assai
- Concerto for Piano and Orchestra No. 2 in A major: Allegro moderato
- Concerto for Piano and Orchestra No. 2 in A major: Allegro deciso - Marziale un poco meno Allegro
- Concerto for Piano and Orchestra No. 2 in A major: Allegro animato
- Concerto for Piano and Orchestra No. 1 in A-flat major: Allegro maestoso
- Concerto for Piano and Orchestra No. 1 in A-flat major: Quasi Adagio
- Concerto for Piano and Orchestra No. 1 in A-flat major: Allegretto vivace - Allegro animato
- Concerto for Piano and Orchestra No. 1 in A-flat major: Allegretto marziale animato
- Kammerkonzert : I. Thema Scherzoso Con Variazioni
- Kammerkonzert : II. Adagio
- Kammerkonzert : III. Rondo Ritmico Con Introduzione ('Kadenz')
- Kammersymphonie Op. 9 für 15 solo instruments
- "Verklärte Nacht" - Grave
- Molto Rallentando
- A Tempo
- Adagio
- Adagio, Molto Tranquillo
- "Three Piano Pieces", Op. 11 - Mäßige Viertel
- Mäßige Achtel
- Bewegte Achtel
- "Five Orchestral Pieces," Op. 16 - Vorgefühle
- Vergangenes
- Farben
- Peripetie
- Das Obligate Rezitativ
- "Six Little Piano Pieces," Op. 19 - Leicht, Zart
- Langsam
- Sehr Langsame Viertel
- Rasch, Aber Leicht
- Etwas Rasch
- Sehr Langsam
- "Piano Piece," Op. 11, No.2 - Konzertmäßige Interpretation
- Pierrot Lunaire: Mondotrinken
- Pierrot Lunaire: Colombine
- Pierrot Lunaire: Der Dandy
- Pierrot Lunaire: Eine blasse Wäscherin
- Pierrot Lunaire: Valse de Chopin
- Pierrot Lunaire: Madonna
- Pierrot Lunaire: Der kranke Mond
- Pierrot Lunaire: Die Nacht
- Pierrot Lunaire: Gebet an Pierrot
- Pierrot Lunaire: Raub
- Pierrot Lunaire: Rote Messe
- Pierrot Lunaire: Galgenlied
- Pierrot Lunaire: Enthauptung
- Pierrot Lunaire: Die Kreuze
- Pierrot Lunaire: Heimweh
- Pierrot Lunaire: Gemeinheit
- Pierrot Lunaire: Parodie
- Pierrot Lunaire: Der Mondfleck
- Pierrot Lunaire: Serenade
- Pierrot Lunaire: Heimfahrt
- Pierrot Lunaire: O alter Duft
- Kammersymphonie No. 1, Op. 9: I. Langsam
- Kammersymphonie No. 1, Op. 9: II. Sehr rasch
- Kammersymphonie No. 1, Op. 9: III. Viel langsamer, doch fließend
- Kammersymphonie No. 1, Op. 9: IV. Viel langsamer
- Kammersymphonie No. 1, Op. 9: V. Etwas bewegter
- Three Orchestral Pieces, Op. 6: I. Präludium. Langsam
- Three Orchestral Pieces, Op. 6: II.Reigen. Anfangs etwas zögernd - Leicht beschwingt
- Three Orchestral Pieces, Op. 6: III.Marsch. Mässiges Marschtempo
- Six Pieces for Orchestra, Op. 6: I. Etwas bewegte Achtel
- Six Pieces for Orchestra, Op. 6: II. Bewegt
- Six Pieces for Orchestra, Op. 6: III. Zart bewegt
- Six Pieces for Orchestra, Op. 6: IV. Langsam
- Six Pieces for Orchestra, Op. 6: V. Sehr langsam
- Six Pieces for Orchestra, Op. 6: VI. Zart bewegt
- Five Orchestral Pieces, Op. 16: I. Vorgefühle. Sehr rasch
- Five Orchestral Pieces, Op. 16: II. Vergangenes. Mässige Viertel
- Five Orchestral Pieces, Op. 16: III. Farben. Mässige Viertel
- Five Orchestral Pieces, Op. 16: IV. Peripetie. Sehr rasch
- Five Orchestral Pieces, Op. 16: V. Das obligate Rezitativ. Bewegte Achtel
- Pierrot Lunaire op.21: Mondestrunken
- Pierrot Lunaire op.21: Colombine
- Pierrot Lunaire op.21: Der Dandy
- Pierrot Lunaire op.21: Eine blasse Wäscherin
- Pierrot Lunaire op.21: Valse de Chopin
- Pierrot Lunaire op.21: Madonna
- Pierrot Lunaire op.21: Der kranke Mond
- Pierrot Lunaire op.21: Nacht
- Pierrot Lunaire op.21: Gebet an Pierrot
- Pierrot Lunaire op.21: Raub
- Pierrot Lunaire op.21: Rote Messe
- Pierrot Lunaire op.21: Galgenlied
- Pierrot Lunaire op.21: Enthauptung
- Pierrot Lunaire op.21: Die Kreuze
- Pierrot Lunaire op.21: Heimweh
- Pierrot Lunaire op.21: Gemeinheit!
- Pierrot Lunaire op.21: Parodie
- Pierrot Lunaire op.21: Der Mondfleck
- Pierrot Lunaire op.21: Serenade
- Pierrot Lunaire op.21: Heimfahrt
- Pierrot Lunaire op.21: O alter Duft
- Herzgewächse op. 20
- Ode to Napoleon Buonaparte op. 41
Born: 1874-09-13
Died: 1951-07-13
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Arnold Schoenberg: Kammersymphonie op. 9
- Order: Reorder
- Duration: 7:27
- Updated: 14 Feb 2007
Chamber Symphony op. 9; Sinfonieorchester des Südwestfunks, conducted by Erich Leinsdorf (recorded 1984). Score available at www.universaledition.com
http://wn.com/Arnold_Schoenberg_Kammersymphonie_op_9
Chamber Symphony op. 9; Sinfonieorchester des Südwestfunks, conducted by Erich Leinsdorf (recorded 1984). Score available at www.universaledition.com
Arnold Schoenberg, String Quartet No. 1 in d minor, op. 7
- Order: Reorder
- Duration: 42:26
- Updated: 12 Jul 2011
...I abandoned program music and turned in the direction that was much more my own than all the preceding. It was the First String Quartet, Opus 7, in which I combined all the achievements of my time (including my own) such as: the construction of extremely large forms; greatly emancipated melodies based on a richly moving harmony and new chord progressions; and a contrapuntal technique that solved problems offered by superimposed, individual parts which moved freely in more remote regions of tonality and met frequently in vagrant harmonies.
In accommodation to the faith of the time, this large form was to include all the four characters of the sonata type in one single, uninterrupted movement. Durchführungen (development) should not be missing and there should be a certain degree of thematic unity within the contrasting sections.
The great expansion of this work required careful organization. It might perhaps interest an analyst to learn that I received and took advantage of the tremendous amount of advice suggested to me by a model I had chosen for this task: the first movement of the Eroica Symphony. Alexander von Zemlinsky told me that Brahms had said that every time he faced difficult problems he would consult a significant work of Bach and one of Beethoven, both of which he always used to keep near his standing-desk (Stehpult]. How did they handle a similar problem? Of course the model was not copied mechanically, but its mental essence was applied accordingly. In the same manner I learned, from the Eroica, solutions to my problems: how to avoid monotony and emptiness; how to create variety out of unity; how to create new forms out of basic material; how much can be achieved by slight modifications if not by developing variation out of often rather insignificant little formulations. From this masterpiece I learned also much of the creation of harmonic contrasts and their application.
Brahms' advice was excellent and I wish this story would persuade young composers that they must not forget what our musical forefathers have done for us.
Arnold Schoenberg
http://wn.com/Arnold_Schoenberg,_String_Quartet_No_1_in_d_minor,_op_7
...I abandoned program music and turned in the direction that was much more my own than all the preceding. It was the First String Quartet, Opus 7, in which I combined all the achievements of my time (including my own) such as: the construction of extremely large forms; greatly emancipated melodies based on a richly moving harmony and new chord progressions; and a contrapuntal technique that solved problems offered by superimposed, individual parts which moved freely in more remote regions of tonality and met frequently in vagrant harmonies.
In accommodation to the faith of the time, this large form was to include all the four characters of the sonata type in one single, uninterrupted movement. Durchführungen (development) should not be missing and there should be a certain degree of thematic unity within the contrasting sections.
The great expansion of this work required careful organization. It might perhaps interest an analyst to learn that I received and took advantage of the tremendous amount of advice suggested to me by a model I had chosen for this task: the first movement of the Eroica Symphony. Alexander von Zemlinsky told me that Brahms had said that every time he faced difficult problems he would consult a significant work of Bach and one of Beethoven, both of which he always used to keep near his standing-desk (Stehpult]. How did they handle a similar problem? Of course the model was not copied mechanically, but its mental essence was applied accordingly. In the same manner I learned, from the Eroica, solutions to my problems: how to avoid monotony and emptiness; how to create variety out of unity; how to create new forms out of basic material; how much can be achieved by slight modifications if not by developing variation out of often rather insignificant little formulations. From this masterpiece I learned also much of the creation of harmonic contrasts and their application.
Brahms' advice was excellent and I wish this story would persuade young composers that they must not forget what our musical forefathers have done for us.
Arnold Schoenberg
- published: 12 Jul 2011
- views: 28403
Arnold Schoenberg, Transfigured Night Op. 4 (1899) I
- Order: Reorder
- Duration: 14:54
- Updated: 16 Apr 2011
artwork by Arnold Schoenberg, Verklärte Nacht sections 1-3
http://wn.com/Arnold_Schoenberg,_Transfigured_Night_Op_4_1899_I
artwork by Arnold Schoenberg, Verklärte Nacht sections 1-3
- published: 16 Apr 2011
- views: 12046
Peripetie - Arnold Schoenberg
- Order: Reorder
- Duration: 2:10
- Updated: 26 Jan 2010
A GCSE music presentation on the expressionist piece 'Peripetie', by Arnold Schoenberg.
http://wn.com/Peripetie_Arnold_Schoenberg
A GCSE music presentation on the expressionist piece 'Peripetie', by Arnold Schoenberg.
- published: 26 Jan 2010
- views: 82044
Arnold Schoenberg: Piano Concerto op. 42 (Excerpt)
- Order: Reorder
- Duration: 5:43
- Updated: 20 Feb 2007
Mitsuko Uchida, soloist. Rotterdams Philharmonisch Orkest, conducted by Jeffrey Tate. Score available at www.schoenbergmusic.com.
http://wn.com/Arnold_Schoenberg_Piano_Concerto_op_42_Excerpt
Mitsuko Uchida, soloist. Rotterdams Philharmonisch Orkest, conducted by Jeffrey Tate. Score available at www.schoenbergmusic.com.
- published: 20 Feb 2007
- views: 300687
Schoenberg: Verklärte Nacht, Op.4 - Boulez.
- Order: Reorder
- Duration: 29:26
- Updated: 12 Nov 2011
Arnold Schoenberg (1874-1951): Verklärte Nacht (Transfigured Night / La Nuit transfigurée), Op.4 (1899)
Pierre Boulez: Membres de L'Ensemble Intercontemporain
Charles-André Linale: violin / violon
Maryvonne Le Dizès-Richard: violin / violon
Jean Sulem: viola / alto
Garth Knox: viola / alto
Philippe Muller: cello / violoncelle
Pieter Strauch: cello / violoncelle
http://wn.com/Schoenberg_Verklärte_Nacht,_Op4_Boulez
Arnold Schoenberg (1874-1951): Verklärte Nacht (Transfigured Night / La Nuit transfigurée), Op.4 (1899)
Pierre Boulez: Membres de L'Ensemble Intercontemporain
Charles-André Linale: violin / violon
Maryvonne Le Dizès-Richard: violin / violon
Jean Sulem: viola / alto
Garth Knox: viola / alto
Philippe Muller: cello / violoncelle
Pieter Strauch: cello / violoncelle
- published: 12 Nov 2011
- views: 71169
Arnold Schoenberg's Twelve-Tone Method (English)
- Order: Reorder
- Duration: 5:23
- Updated: 05 Jan 2007
Introduction to the twelve-tone method of Arnold Schoenberg (1874-1951), Austrian composer.
http://wn.com/Arnold_Schoenberg's_Twelve-Tone_Method_English
Introduction to the twelve-tone method of Arnold Schoenberg (1874-1951), Austrian composer.
- published: 05 Jan 2007
- views: 254992
Arnold Schoenberg - Fantasy for Violin and Piano
- Order: Reorder
- Duration: 8:45
- Updated: 24 May 2011
Fantasy for violin & piano, Op. 47 (1949)
I. Grave -- Più mosso -- Meno mosso -- Lento -- Grazioso -- Tempo I -- Più mosso --
II. Scherzando -- Poco tranquillo -- Scherzando -- Meno mosso -- Tempo I
Israel Baker, violin
Glenn Gould, piano
In 1934, Arnold Schoenberg made a general assessment of his music: "I will not show you that my music is beautiful. You know it is not; I know it is not." The Fantasy for Violin and with Piano accompaniment, Op. 47, composed in March 1949, does nothing to overturn this judgment; Schoenberg's last instrumental work (his final years were devoted mainly to vocal works, mostly on religious themes, and an attempt to complete the opera, Moses und Aron), it represents the height of the composer's twelve-tone complexity and the complete subordination of aural concerns to those of rigorous order and derivation.
The title of the Fantasy is appropriate, given the process used in its composition: Schoenberg composed the solo violin melody first alone, and then wrote a separate piano accompaniment to go with it. The composition of the melody apart from the accompaniment was no doubt facilitated by the twelve-note idiom, applied here with the same kind of rigor as in the much earlier Piano Pieces, Op. 33a & b.
The Fantasy was composed for violinist Adolf Koldofsky (1905-51), a native of Los Angeles, and was first performed by him on the International Society for Contemporary Music's concert in commemoration of Schoenberg's seventy-fifth birthday (13 September 1949).
The Fantasy is not large--only 166 measures in length--but is among Schoenberg's densest works. In the first movement, marked Grave at the outset, the pianist fills in row forms around the sustained tones of the violinist, who is often instructed to perform harmonics and pizzicato notes. About midway through the movement a recurring trilled passage in the piano accompanies a quiet, sustained melody in the violin. This gives way to a return of the opening tempo and an ensuing segment featuring strong rhythmic drive derived from repeated notes and rhythmic figures in both the violin and piano. Without pause, the second movement, Scherzando, begins with an angular tune on the violin played in double stops. The generally detached playing of the first section becomes more connected as the violin enters with a repeated rhythmic figure similar to the one in the middle of the first movement. In the last measures, the "octave equivalency" aspect of the twelve-note method comes to the fore as pitches are played in drastically different registers on the violin. A few trills on the violin precede the work's screechingly abrupt close. [Allmusic.com]
Art by Joseph Beuys
http://wn.com/Arnold_Schoenberg_Fantasy_for_Violin_and_Piano
Fantasy for violin & piano, Op. 47 (1949)
I. Grave -- Più mosso -- Meno mosso -- Lento -- Grazioso -- Tempo I -- Più mosso --
II. Scherzando -- Poco tranquillo -- Scherzando -- Meno mosso -- Tempo I
Israel Baker, violin
Glenn Gould, piano
In 1934, Arnold Schoenberg made a general assessment of his music: "I will not show you that my music is beautiful. You know it is not; I know it is not." The Fantasy for Violin and with Piano accompaniment, Op. 47, composed in March 1949, does nothing to overturn this judgment; Schoenberg's last instrumental work (his final years were devoted mainly to vocal works, mostly on religious themes, and an attempt to complete the opera, Moses und Aron), it represents the height of the composer's twelve-tone complexity and the complete subordination of aural concerns to those of rigorous order and derivation.
The title of the Fantasy is appropriate, given the process used in its composition: Schoenberg composed the solo violin melody first alone, and then wrote a separate piano accompaniment to go with it. The composition of the melody apart from the accompaniment was no doubt facilitated by the twelve-note idiom, applied here with the same kind of rigor as in the much earlier Piano Pieces, Op. 33a & b.
The Fantasy was composed for violinist Adolf Koldofsky (1905-51), a native of Los Angeles, and was first performed by him on the International Society for Contemporary Music's concert in commemoration of Schoenberg's seventy-fifth birthday (13 September 1949).
The Fantasy is not large--only 166 measures in length--but is among Schoenberg's densest works. In the first movement, marked Grave at the outset, the pianist fills in row forms around the sustained tones of the violinist, who is often instructed to perform harmonics and pizzicato notes. About midway through the movement a recurring trilled passage in the piano accompanies a quiet, sustained melody in the violin. This gives way to a return of the opening tempo and an ensuing segment featuring strong rhythmic drive derived from repeated notes and rhythmic figures in both the violin and piano. Without pause, the second movement, Scherzando, begins with an angular tune on the violin played in double stops. The generally detached playing of the first section becomes more connected as the violin enters with a repeated rhythmic figure similar to the one in the middle of the first movement. In the last measures, the "octave equivalency" aspect of the twelve-note method comes to the fore as pitches are played in drastically different registers on the violin. A few trills on the violin precede the work's screechingly abrupt close. [Allmusic.com]
Art by Joseph Beuys
- published: 24 May 2011
- views: 4398
Arnold Schoenberg: Verklärte Nacht op.4b (1899, vers. 1917)
- Order: Reorder
- Duration: 31:26
- Updated: 13 Aug 2011
Arnold Schoenberg (1874-1951): Verklärte Nacht op.4b, versione per orchestra d'archi (1899, vers. 1917) -- Wiener Symphoniker diretta da Bruno Maderna (registrazione dal vivo: Wien Festival 3 giugno 1969)
I. Grave
II. Molto rallentando
III. Pesante
IV. Adagio
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
http://wn.com/Arnold_Schoenberg_Verklärte_Nacht_op4b_1899,_vers_1917
Arnold Schoenberg (1874-1951): Verklärte Nacht op.4b, versione per orchestra d'archi (1899, vers. 1917) -- Wiener Symphoniker diretta da Bruno Maderna (registrazione dal vivo: Wien Festival 3 giugno 1969)
I. Grave
II. Molto rallentando
III. Pesante
IV. Adagio
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
- published: 13 Aug 2011
- views: 24616
Arnold Schoenberg - Five Piano Pieces
- Order: Reorder
- Duration: 12:17
- Updated: 31 May 2011
Five Pieces for piano, Op. 23 (1920-1923)
I. Sehr langsam
II. Sehr rasch
III. Langsam
IV. Schwungvoll. Mässige
V. Walzer
Glenn Gould, piano
Between Schoenberg's Six Piano Pieces, Op. 19 and his Five Piano Pieces, Op. 23 lay the First World War and the ensuing depression. The period was also a compositional void for Schoenberg, whose output nearly ceased. He had reached an artistic crisis and sought a way to reach his true aim: "unity and regularity." That this was to be achieved without the procedures of tonality was of paramount importance, for Schoenberg felt that tonality had run its course. This led to his "discovery" of the "method of composing with 12 tones which are related only with one another." This did not happen overnight. Schoenberg experimented with the serialization of smaller groups of notes before applying the idea to all 12. We can find evidence of Schoenberg's experiments in the Five Pieces for Piano, Op. 23, a pivotal work in the composer's career.
The pieces that make up the Op. 23 set were not composed at the same time. Schoenberg wrote Nos. 1-2 and part of 4 in July 1920; the rest of Op. 23 in February 1923. By the time he began composing the 12-tone fifth movement, "Walzer" (Waltz), Schoenberg had already written works in the new idiom that would be published as part of the Suite for Piano, Op. 25.
The first of the Five Pieces, Op. 23, marked Sehr langsam (Very slow), demonstrates Schoenberg's approach to the principle of developing variation. When the opening melody reappears, the pitches are the same, but they have been moved to different octaves, changing the shape of the phrase, and are presented in a different rhythmic configuration. The retention of the pitches alone is enough to constitute a return to the theme, and through this piece we can gain insight into how Schoenberg uses pitches, not rhythms or melodic shapes, at the core of a composition. This concept lead directly to his formation of the 12-tone method.
Variation procedures continue in the second movement, Sehr rasch (Very fast), although some analysts have uncovered a sonata form structure. In this brief piece, the vertical aspect of the music is a result of the linear melodic movement.
The third piece of the set, Langsam (Slow) -- sometimes referred to as a fugue because of the alternating entrances at the beginning -- is again driven by variation technique. A five-note motive is put through metamorphoses so intense that at times it seems a single pitch could be considered part of any one of several forms of the motive.
Rhythmic freedom characterizes the fourth piece, Schwungvoll (Full of vitality). Here, Schoenberg juxtaposes sections of dense and sparse textures, separated by brief pauses.
Although the first four works of Op. 23 exhibit 12-tone techniques to a limited degree, these apply to smaller collections of pitches, not the entire 12 of the chromatic scale. The fifth and final work of the set (Walzer), however, is based on the repetition of a series or row of all 12 pitches. Everything that happens in this piece, both vertically and horizontally, is derived from the same series of pitches appearing in the same order. This is Schoenberg's most transparent and straightforward usage of these techniques. Schoenberg's next works, particularly the Suite for Piano, Op. 25, and the Quintet for Winds, Op. 26, would witness an expansion of the method and a greater self-assuredness on the part of the composer. [Allmusic.com]
Art by Othon Friesz
http://wn.com/Arnold_Schoenberg_Five_Piano_Pieces
Five Pieces for piano, Op. 23 (1920-1923)
I. Sehr langsam
II. Sehr rasch
III. Langsam
IV. Schwungvoll. Mässige
V. Walzer
Glenn Gould, piano
Between Schoenberg's Six Piano Pieces, Op. 19 and his Five Piano Pieces, Op. 23 lay the First World War and the ensuing depression. The period was also a compositional void for Schoenberg, whose output nearly ceased. He had reached an artistic crisis and sought a way to reach his true aim: "unity and regularity." That this was to be achieved without the procedures of tonality was of paramount importance, for Schoenberg felt that tonality had run its course. This led to his "discovery" of the "method of composing with 12 tones which are related only with one another." This did not happen overnight. Schoenberg experimented with the serialization of smaller groups of notes before applying the idea to all 12. We can find evidence of Schoenberg's experiments in the Five Pieces for Piano, Op. 23, a pivotal work in the composer's career.
The pieces that make up the Op. 23 set were not composed at the same time. Schoenberg wrote Nos. 1-2 and part of 4 in July 1920; the rest of Op. 23 in February 1923. By the time he began composing the 12-tone fifth movement, "Walzer" (Waltz), Schoenberg had already written works in the new idiom that would be published as part of the Suite for Piano, Op. 25.
The first of the Five Pieces, Op. 23, marked Sehr langsam (Very slow), demonstrates Schoenberg's approach to the principle of developing variation. When the opening melody reappears, the pitches are the same, but they have been moved to different octaves, changing the shape of the phrase, and are presented in a different rhythmic configuration. The retention of the pitches alone is enough to constitute a return to the theme, and through this piece we can gain insight into how Schoenberg uses pitches, not rhythms or melodic shapes, at the core of a composition. This concept lead directly to his formation of the 12-tone method.
Variation procedures continue in the second movement, Sehr rasch (Very fast), although some analysts have uncovered a sonata form structure. In this brief piece, the vertical aspect of the music is a result of the linear melodic movement.
The third piece of the set, Langsam (Slow) -- sometimes referred to as a fugue because of the alternating entrances at the beginning -- is again driven by variation technique. A five-note motive is put through metamorphoses so intense that at times it seems a single pitch could be considered part of any one of several forms of the motive.
Rhythmic freedom characterizes the fourth piece, Schwungvoll (Full of vitality). Here, Schoenberg juxtaposes sections of dense and sparse textures, separated by brief pauses.
Although the first four works of Op. 23 exhibit 12-tone techniques to a limited degree, these apply to smaller collections of pitches, not the entire 12 of the chromatic scale. The fifth and final work of the set (Walzer), however, is based on the repetition of a series or row of all 12 pitches. Everything that happens in this piece, both vertically and horizontally, is derived from the same series of pitches appearing in the same order. This is Schoenberg's most transparent and straightforward usage of these techniques. Schoenberg's next works, particularly the Suite for Piano, Op. 25, and the Quintet for Winds, Op. 26, would witness an expansion of the method and a greater self-assuredness on the part of the composer. [Allmusic.com]
Art by Othon Friesz
- published: 31 May 2011
- views: 7490
Arnold Schoenberg - Suite for Piano Op. 25 - Part II
- Order: Reorder
- Duration: 8:07
- Updated: 19 May 2008
Suite para Piano Op.25 (Parte II)
Arnold Schoenberg (1874 - 1951)
Piano: Glenn Gould
http://wn.com/Arnold_Schoenberg_Suite_for_Piano_Op_25_Part_II
Suite para Piano Op.25 (Parte II)
Arnold Schoenberg (1874 - 1951)
Piano: Glenn Gould
- published: 19 May 2008
- views: 64228
Arnold Schoenberg: A Survivor from Warsaw
- Order: Reorder
- Duration: 8:20
- Updated: 07 Feb 2007
Arnold Schoenberg's cantata performed by Bamberger Symphoniker, conducted by Horst Stein, Hermann Prey (narrator. Score published by Bomart Music Publications and Belmont Music Publications.
http://wn.com/Arnold_Schoenberg_A_Survivor_from_Warsaw
Arnold Schoenberg's cantata performed by Bamberger Symphoniker, conducted by Horst Stein, Hermann Prey (narrator. Score published by Bomart Music Publications and Belmont Music Publications.
- published: 07 Feb 2007
- views: 209791
Schoenberg - Three Piano Pieces, No. 1 (with sheet music)
- Order: Reorder
- Duration: 4:11
- Updated: 14 Jan 2009
The first of the Op. 11 set, one of Arnold Schoenberg's earliest experiments in free atonality.
Performed by Glenn Gould.
http://wn.com/Schoenberg_Three_Piano_Pieces,_No_1_with_sheet_music
The first of the Op. 11 set, one of Arnold Schoenberg's earliest experiments in free atonality.
Performed by Glenn Gould.
- published: 14 Jan 2009
- views: 159013
Arnold Schoenberg: Father of Modern Music
- Order: Reorder
- Duration: 9:18
- Updated: 17 Jan 2007
Truman Fisher introduces the works and innovations of composer Arnold Schoenberg, including interviews with Gertrud and Lawrence Schoenberg and Rudolf Kolisch.
http://wn.com/Arnold_Schoenberg_Father_of_Modern_Music
Truman Fisher introduces the works and innovations of composer Arnold Schoenberg, including interviews with Gertrud and Lawrence Schoenberg and Rudolf Kolisch.
- published: 17 Jan 2007
- views: 46820
Schoenberg: "String Quartet No. 3" Op. 30 Mvt.1
- Order: Reorder
- Duration: 8:08
- Updated: 24 Oct 2008
Schoenberg: String Quartet No. 3, Op. 30, Mvt. 1 (1927). Recorded in 1937 by the Kolisch Quartet under Schoenberg's supervision
http://wn.com/Schoenberg_String_Quartet_No_3_Op_30_Mvt1
Schoenberg: String Quartet No. 3, Op. 30, Mvt. 1 (1927). Recorded in 1937 by the Kolisch Quartet under Schoenberg's supervision
- published: 24 Oct 2008
- views: 30146
Schoenberg Verklaerte Nacht (part 1) - Chamber Music Society of Lincoln Center
- Order: Reorder
- Duration: 14:06
- Updated: 17 Sep 2010
Schoenberg Verklaerte Nacht (part 1)
Live from Lincoln Center
Violins: Arnaud Sussmann, Erin Keefe
Violas: David Kim, Teng Li
Cellos: David Finckel, Priscilla Lee
http://wn.com/Schoenberg_Verklaerte_Nacht_part_1_Chamber_Music_Society_of_Lincoln_Center
Schoenberg Verklaerte Nacht (part 1)
Live from Lincoln Center
Violins: Arnaud Sussmann, Erin Keefe
Violas: David Kim, Teng Li
Cellos: David Finckel, Priscilla Lee
- published: 17 Sep 2010
- views: 62362
Arnold Schoenberg - Suite for Piano Op. 25 - Part I
- Order: Reorder
- Duration: 0:56
- Updated: 19 May 2008
Suite para Piano Op.25 (Parte I)
Arnold Schoenberg (1874 - 1951)
Piano: Glenn Gould
http://wn.com/Arnold_Schoenberg_Suite_for_Piano_Op_25_Part_I
Suite para Piano Op.25 (Parte I)
Arnold Schoenberg (1874 - 1951)
Piano: Glenn Gould
- published: 19 May 2008
- views: 121240
Interview with Arnold Schoenberg
- Order: Reorder
- Duration: 7:07
- Updated: 08 Jul 2007
The Austrian composer discusses art, music, etc.
http://wn.com/Interview_with_Arnold_Schoenberg
The Austrian composer discusses art, music, etc.
- published: 08 Jul 2007
- views: 73435
Arnold Schoenberg: Serenade op.24 (1921/1923)
- Order: Reorder
- Duration: 37:59
- Updated: 28 May 2011
Arnold Schoenberg (1874-1951): Serenade per baritono e 7 strumenti , testo di Francesco Petrarca Sonetto 217, op.24 (1921/1923) -- John Carol Case, baritono -- Melos Ensemble of London diretto da Bruno Maderna
I. Marsch
II. Menuett
III. Variationen
IV. Sonett
V. Tanzszene
VI. Lied (ohne worte)
VII. Finale
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
http://wn.com/Arnold_Schoenberg_Serenade_op24_1921_1923
Arnold Schoenberg (1874-1951): Serenade per baritono e 7 strumenti , testo di Francesco Petrarca Sonetto 217, op.24 (1921/1923) -- John Carol Case, baritono -- Melos Ensemble of London diretto da Bruno Maderna
I. Marsch
II. Menuett
III. Variationen
IV. Sonett
V. Tanzszene
VI. Lied (ohne worte)
VII. Finale
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
- published: 28 May 2011
- views: 7342
Arnold Schoenberg: Concerto per violino e orchestra op.36 (1936)
- Order: Reorder
- Duration: 31:38
- Updated: 02 Jun 2011
Arnold Schoenberg (1874-1951): Concerto per violino e orchestra op.36 (1936) -- Louis Krasner, violino -- New York Pilharmonic diretta da Dimitri Mitropoulos --
I. Poco allegro. Vivace
II. Andante grazioso
III. Finale. Allegro
painting by Gabriele Muenter
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
http://wn.com/Arnold_Schoenberg_Concerto_per_violino_e_orchestra_op36_1936
Arnold Schoenberg (1874-1951): Concerto per violino e orchestra op.36 (1936) -- Louis Krasner, violino -- New York Pilharmonic diretta da Dimitri Mitropoulos --
I. Poco allegro. Vivace
II. Andante grazioso
III. Finale. Allegro
painting by Gabriele Muenter
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
- published: 02 Jun 2011
- views: 17274
Arnold Schönberg: Pélleas und Melisande op.5 (1903)
- Order: Reorder
- Duration: 47:42
- Updated: 05 Jan 2012
Arnold Schönberg (1874-1951): Pélleas und Melisande, poema sinfonico op.5 (1903) -- Sinfonie-Orchester des Südwestfunks Baden-Baden diretta da Bruno Maderna (dal vivo: Baden-Baden 5 maggio 1960) --
I. Anfang
II. Heftig
III. Lebhaft
IV. Sehr rasch
V. Ein wening bewegter
VI. Langsam
VII. Ein wening bewegter
VIII. Sehr langsam
IX. Etwas bewegter
X. In gehender Bewegung
XI. Breit
-- cover image by Winifred Sandys
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
http://wn.com/Arnold_Schönberg_Pélleas_und_Melisande_op5_1903
Arnold Schönberg (1874-1951): Pélleas und Melisande, poema sinfonico op.5 (1903) -- Sinfonie-Orchester des Südwestfunks Baden-Baden diretta da Bruno Maderna (dal vivo: Baden-Baden 5 maggio 1960) --
I. Anfang
II. Heftig
III. Lebhaft
IV. Sehr rasch
V. Ein wening bewegter
VI. Langsam
VII. Ein wening bewegter
VIII. Sehr langsam
IX. Etwas bewegter
X. In gehender Bewegung
XI. Breit
-- cover image by Winifred Sandys
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
- published: 05 Jan 2012
- views: 27512
Arnold Schönberg, Pierrot lunaire (Full)
- Order: Reorder
- Duration: 45:36
- Updated: 19 Jan 2012
Arnold Schönberg (1874-1951)
Pierrot lunaire op. 21 (nach Gedichten von Albert Giraud)
Plus Jazz Interludes by Maria Baptist:
1 Mondestrunken
2 Colombine
3 Der Dandy
4 Eine blasse Wäscherin
5 Valse de Chopin
6 Madonna
7 Der kranke Mond
8 Jazz Interlude 1
9 Nacht
10 Gebet an Pierrot
11 Raub
12 Rote Messe
13 Galgenlied
14 Enthauptung
15 Die Kreuze
16 Jazz Interlude 2
17 Heimweh
18 Gemeinheit!
19 Parodie
20 Der Mondfleck
21 Serenade
22 Heimfahrt
23 O alter Duft
Stella Doufexis, speaking voice/mezzosoprano
Maria Baptist, Piano
opus21musikplus Ensamble
Conductor: Konstantia Gourzi
http://wn.com/Arnold_Schönberg,_Pierrot_lunaire_Full
Arnold Schönberg (1874-1951)
Pierrot lunaire op. 21 (nach Gedichten von Albert Giraud)
Plus Jazz Interludes by Maria Baptist:
1 Mondestrunken
2 Colombine
3 Der Dandy
4 Eine blasse Wäscherin
5 Valse de Chopin
6 Madonna
7 Der kranke Mond
8 Jazz Interlude 1
9 Nacht
10 Gebet an Pierrot
11 Raub
12 Rote Messe
13 Galgenlied
14 Enthauptung
15 Die Kreuze
16 Jazz Interlude 2
17 Heimweh
18 Gemeinheit!
19 Parodie
20 Der Mondfleck
21 Serenade
22 Heimfahrt
23 O alter Duft
Stella Doufexis, speaking voice/mezzosoprano
Maria Baptist, Piano
opus21musikplus Ensamble
Conductor: Konstantia Gourzi
- published: 19 Jan 2012
- views: 95803
Arnold Schoenberg, Quintett Op. 26 i. Schwungvoll Part 1, Basel Ensemble
- Order: Reorder
- Duration: 6:18
- Updated: 04 Dec 2009
Heinz Holliger, oboe Klaus Tunemann, Fagott Aurèle Nicolet, Flöte Eduard Brunner, Klarinette Radovan Vlatković, Horn.
At the beginning of the 1920s Arnold Schönberg revolutionized the existing rules of Western music with his Methode der Komposition mit zwölf nur aufeinander bezogenen Tönen. With the twelve-tone method, a visionary plan for a future musical order, he laid the twentieth century's decisive foundation for the emancipation of traditional hierarchical principles of organization.
The Wind Quintet, Op. 26, was begun in one of the composer's most difficult years and completed in one of his happiest. On 14th April 1923, when Schönberg committed the first ideas for the work to paper, he had already made plans for a summer holiday with his family in Traunkirchen, Upper Austria, a spa that had been a favourite of his since 1907. When he arrived there on 1 st June 1923, he had the first movement with him, having completed it the previous evening. On the manuscript he had written: 'I think Goethe would have been quite happy with me.'
That summer in Traunkirchen not only saw an intense period of work on the Wind Quintet and a large number of theoretical and historical writings but was also marked by the serious illness of his wife Mathilde. In September she had to return to Vienna where she was admitted to a sanatorium; Schönberg's work on his Wind Quintet was interrupted. Mathilde Schönberg passed away on 18th October 1923 in the presence of her husband. After the first months of mourning and the reorganization of his life, the composer had lost the thread of the quintet, and he did not start work on it again until the following summer. Since the spring of that year he had been nurturing a dose friendship with Gertrud Kolisch, the sister of his pupil Rudolf Kolisch, and this friendship soon developed into a more intimate relationship. Arnold Schönberg and Gertrud Kolisch married on 28th August 1924, a day after the completion of the Wind Quintet which was dedicated to his grandson 'Bubi' Arnold.
'This method consists primarily of the constant and exclusive use of a set of twelve different tones. This means, of course, that no tone is repeated within the series and that it uses all twelve tones of the chromatic scale, though in a different order [...] The association of tones into harmonies and their succession is regulated [...] by the order of these tones. The basic set functions in the manner of a motive. This explains why such a basic set has to be invented anew for every piece.' (Schönberg: Composition With Twelve Tones, 1941). In the Wind Quintet, Op.26, one of the earliest works to use the new compositional method, Schönberg bares all four movements an a common twelve-tone row. The risk of polyphonic redundancy inherent in such a procedure is avoided by the fact that the row is not formulated serially in an unchanging linear sequence but, even at this early stage of dodecaphonic development, is applied with rotating row Segments. At the same time the basic row of the Wind Quintet, like in most of Schönberg's later twelve-tone works, is conceived in such a manner that it allows for the possibility of a 'inverse hexachord combination', where the tonal qualities of the row appear in its basic form, complementing the two six-note sections of the row in inversion, a fifth lower.
Schönberg's son-in-law Felix Greissle, who arranged the quintet for violin (or flute) and piano in 1926 at the behest of Universal Edition in Vienna (in the hope of securing further dissemination of Schönberg's composition by means of the new instrumental combinations), and who also directed the first performance in Vienna, maintained in 1925 that the use of classical formal modeln, i.e. the return to the sonata principle (first movement in sonata form, scherzo, slow movement, rondo) represented a moment of balance, 'in order to remain comprehensible despite these preconditions [of the twelve-tone method]'. Theodor W. Adorno claimed that it was evident from the 'exploded sonata' how, despite the renunciation of traditional major/minor tonal harmony, it was only the form that had changed and not the music's meaning.
[I respectfully add that this is one of the favorite pieces of the favorite composer of this "channel."]
http://wn.com/Arnold_Schoenberg,_Quintett_Op_26_i_Schwungvoll_Part_1,_Basel_Ensemble
Heinz Holliger, oboe Klaus Tunemann, Fagott Aurèle Nicolet, Flöte Eduard Brunner, Klarinette Radovan Vlatković, Horn.
At the beginning of the 1920s Arnold Schönberg revolutionized the existing rules of Western music with his Methode der Komposition mit zwölf nur aufeinander bezogenen Tönen. With the twelve-tone method, a visionary plan for a future musical order, he laid the twentieth century's decisive foundation for the emancipation of traditional hierarchical principles of organization.
The Wind Quintet, Op. 26, was begun in one of the composer's most difficult years and completed in one of his happiest. On 14th April 1923, when Schönberg committed the first ideas for the work to paper, he had already made plans for a summer holiday with his family in Traunkirchen, Upper Austria, a spa that had been a favourite of his since 1907. When he arrived there on 1 st June 1923, he had the first movement with him, having completed it the previous evening. On the manuscript he had written: 'I think Goethe would have been quite happy with me.'
That summer in Traunkirchen not only saw an intense period of work on the Wind Quintet and a large number of theoretical and historical writings but was also marked by the serious illness of his wife Mathilde. In September she had to return to Vienna where she was admitted to a sanatorium; Schönberg's work on his Wind Quintet was interrupted. Mathilde Schönberg passed away on 18th October 1923 in the presence of her husband. After the first months of mourning and the reorganization of his life, the composer had lost the thread of the quintet, and he did not start work on it again until the following summer. Since the spring of that year he had been nurturing a dose friendship with Gertrud Kolisch, the sister of his pupil Rudolf Kolisch, and this friendship soon developed into a more intimate relationship. Arnold Schönberg and Gertrud Kolisch married on 28th August 1924, a day after the completion of the Wind Quintet which was dedicated to his grandson 'Bubi' Arnold.
'This method consists primarily of the constant and exclusive use of a set of twelve different tones. This means, of course, that no tone is repeated within the series and that it uses all twelve tones of the chromatic scale, though in a different order [...] The association of tones into harmonies and their succession is regulated [...] by the order of these tones. The basic set functions in the manner of a motive. This explains why such a basic set has to be invented anew for every piece.' (Schönberg: Composition With Twelve Tones, 1941). In the Wind Quintet, Op.26, one of the earliest works to use the new compositional method, Schönberg bares all four movements an a common twelve-tone row. The risk of polyphonic redundancy inherent in such a procedure is avoided by the fact that the row is not formulated serially in an unchanging linear sequence but, even at this early stage of dodecaphonic development, is applied with rotating row Segments. At the same time the basic row of the Wind Quintet, like in most of Schönberg's later twelve-tone works, is conceived in such a manner that it allows for the possibility of a 'inverse hexachord combination', where the tonal qualities of the row appear in its basic form, complementing the two six-note sections of the row in inversion, a fifth lower.
Schönberg's son-in-law Felix Greissle, who arranged the quintet for violin (or flute) and piano in 1926 at the behest of Universal Edition in Vienna (in the hope of securing further dissemination of Schönberg's composition by means of the new instrumental combinations), and who also directed the first performance in Vienna, maintained in 1925 that the use of classical formal modeln, i.e. the return to the sonata principle (first movement in sonata form, scherzo, slow movement, rondo) represented a moment of balance, 'in order to remain comprehensible despite these preconditions [of the twelve-tone method]'. Theodor W. Adorno claimed that it was evident from the 'exploded sonata' how, despite the renunciation of traditional major/minor tonal harmony, it was only the form that had changed and not the music's meaning.
[I respectfully add that this is one of the favorite pieces of the favorite composer of this "channel."]
- published: 04 Dec 2009
- views: 6175
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Schoenberg's "Pierrot Lunaire" - Paula Robison & Friends - Complete Live Performance
- Order: Reorder
- Duration: 34:54
- Updated: 15 Oct 2012
"Pierrot Lunaire" by Arnold Schoenberg, Op. 21 (1912)
Poems by Albert Giraud - German translations by Otto Erich Hartleben
In celebration of the 100th anniversary of its first performance
Live from Calderwood Hall, February 2, 2012
The Isabella Stewart Gardner Museum
Boston, Massachusetts
Musicians:
Paula Robison - sprechstimme
Sooyun Kim - flute, piccolo
Carol McGonnell - clarinet, bass clarinet
David Fulmer - violin, viola
Michael Kannen - cello
Steven Beck - piano
Video Credits:
Montage by Paula Robison and Adam Workman
Audio by Tom Stephenson
Produced by Adam Workman, Flutistry Boston
-------------------------------------------------------------------
For more information please visit:
www.paularobison.com
http://wn.com/Schoenberg's_Pierrot_Lunaire_Paula_Robison_Friends_Complete_Live_Performance
"Pierrot Lunaire" by Arnold Schoenberg, Op. 21 (1912)
Poems by Albert Giraud - German translations by Otto Erich Hartleben
In celebration of the 100th anniversary of its first performance
Live from Calderwood Hall, February 2, 2012
The Isabella Stewart Gardner Museum
Boston, Massachusetts
Musicians:
Paula Robison - sprechstimme
Sooyun Kim - flute, piccolo
Carol McGonnell - clarinet, bass clarinet
David Fulmer - violin, viola
Michael Kannen - cello
Steven Beck - piano
Video Credits:
Montage by Paula Robison and Adam Workman
Audio by Tom Stephenson
Produced by Adam Workman, Flutistry Boston
-------------------------------------------------------------------
For more information please visit:
www.paularobison.com
- published: 15 Oct 2012
- views: 331
Arnold Schoenberg: Verklärte Nacht op.4b (1899, vers. 1917)
- Order: Reorder
- Duration: 31:26
- Updated: 13 Aug 2011
Arnold Schoenberg (1874-1951): Verklärte Nacht op.4b, versione per orchestra d'archi (1899, vers. 1917) -- Wiener Symphoniker diretta da Bruno Maderna (registrazione dal vivo: Wien Festival 3 giugno 1969)
I. Grave
II. Molto rallentando
III. Pesante
IV. Adagio
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
http://wn.com/Arnold_Schoenberg_Verklärte_Nacht_op4b_1899,_vers_1917
Arnold Schoenberg (1874-1951): Verklärte Nacht op.4b, versione per orchestra d'archi (1899, vers. 1917) -- Wiener Symphoniker diretta da Bruno Maderna (registrazione dal vivo: Wien Festival 3 giugno 1969)
I. Grave
II. Molto rallentando
III. Pesante
IV. Adagio
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
- published: 13 Aug 2011
- views: 24616
Susanne Kessel, Klavierstück op. 11 Nr. 1 - Arnold Schoenberg
- Order: Reorder
- Duration: 4:03
- Updated: 31 Aug 2009
Susanne Kessel plays "Klavierstück op. 11 Nr. 1" by Arnold Schoenberg / live at Villa Aurora, Los Angeles
http://wn.com/Susanne_Kessel,_Klavierstück_op_11_Nr_1_Arnold_Schoenberg
Susanne Kessel plays "Klavierstück op. 11 Nr. 1" by Arnold Schoenberg / live at Villa Aurora, Los Angeles
- published: 31 Aug 2009
- views: 1139
![My War Years - Arnold Schoenberg [1 of 3]](http://web.archive.org./web/20130404040735im_/http://i.ytimg.com/vi/xMyhx336i9Y/default.jpg "My War Years - Arnold Schoenberg [1 of 3]")
My War Years - Arnold Schoenberg [1 of 3]
- Order: Reorder
- Duration: 29:36
- Updated: 15 May 2011
Arnold Schoenberg and his friends and students (including Alban Berg, Anton Webern, Alexander von Zemlinsky, Alma Mahler, Erwin Stein, Roberto Gerhard, Wassily Kandinsky and Hanns Eisler) tell the story of the composer's life in their own words. This first segment takes us through late 1908. Excerpts from live performances of Schoenberg's works are included, with artists including Pierre Boulez and the Ensemble Intercontemporain, the Schoenberg Quartet, Oliver Knussen and Michael Tilson Thomas. Featured works include Verklärte Nacht, the Gurre-Lieder and the second string quartet.
http://wn.com/My_War_Years_Arnold_Schoenberg_1_of_3_
Arnold Schoenberg and his friends and students (including Alban Berg, Anton Webern, Alexander von Zemlinsky, Alma Mahler, Erwin Stein, Roberto Gerhard, Wassily Kandinsky and Hanns Eisler) tell the story of the composer's life in their own words. This first segment takes us through late 1908. Excerpts from live performances of Schoenberg's works are included, with artists including Pierre Boulez and the Ensemble Intercontemporain, the Schoenberg Quartet, Oliver Knussen and Michael Tilson Thomas. Featured works include Verklärte Nacht, the Gurre-Lieder and the second string quartet.
- published: 15 May 2011
- views: 6533
Arnold Schönberg - Verklärte Nacht
- Order: Reorder
- Duration: 28:59
- Updated: 04 Sep 2012
Arnold Schönberg (1874-1951)
Verklärte Nacht (1899)
Artemis Quartet
Natalia Prischepenko, Heime Müller (violins)
Volker Jacobsen (viola)
Eckart Runge (cello)
Members of the Alban Berg Quartet
Thomas Kakuska (viola)
Valentin Erben (cello)
Virginclassics, 2006
http://wn.com/Arnold_Schönberg_Verklärte_Nacht
Arnold Schönberg (1874-1951)
Verklärte Nacht (1899)
Artemis Quartet
Natalia Prischepenko, Heime Müller (violins)
Volker Jacobsen (viola)
Eckart Runge (cello)
Members of the Alban Berg Quartet
Thomas Kakuska (viola)
Valentin Erben (cello)
Virginclassics, 2006
- published: 04 Sep 2012
- views: 1752
GAIA CloseUps — Laura Oomens, Violinist (Arnold Schönberg: Verklärte Nacht Op. 4)
- Order: Reorder
- Duration: 4:41
- Updated: 20 Feb 2012
GAIA CloseUps — Laura Oomens, Violinist (2011)
The GAIA Monologues — short films featuring some of the artists who attended the GAIA Chamber Music Festival in 2011.
During brief moments between performances, they reveal their thoughts on the Festival, life, music, and much more.
Laura Oomen's interview is accompanied by her live performance at GAIA of Arnold Schönberg's Transfigured Night Op. 4, with Alexander Sitkovetsky (violin), Ilya Hoffman (viola), Natalia Tchitch (viola), Gavriel Lipkind (cello), and Guy Johnston (cello).
© GAIA Chamber Music Festival
www.gaia-festival.com
Film by Acheron Film
http://wn.com/GAIA_CloseUps_—_Laura_Oomens,_Violinist_Arnold_Schönberg_Verklärte_Nacht_Op_4
GAIA CloseUps — Laura Oomens, Violinist (2011)
The GAIA Monologues — short films featuring some of the artists who attended the GAIA Chamber Music Festival in 2011.
During brief moments between performances, they reveal their thoughts on the Festival, life, music, and much more.
Laura Oomen's interview is accompanied by her live performance at GAIA of Arnold Schönberg's Transfigured Night Op. 4, with Alexander Sitkovetsky (violin), Ilya Hoffman (viola), Natalia Tchitch (viola), Gavriel Lipkind (cello), and Guy Johnston (cello).
© GAIA Chamber Music Festival
www.gaia-festival.com
Film by Acheron Film
- published: 20 Feb 2012
- views: 1840
Arnold Schönberg - Verklärte Nacht - Sextett (1)
- Order: Reorder
- Duration: 15:21
- Updated: 09 Jun 2011
@ Musikakademie Basel
http://wn.com/Arnold_Schönberg_Verklärte_Nacht_Sextett_1
@ Musikakademie Basel
- published: 09 Jun 2011
- views: 3006
![My War Years - Arnold Schoenberg [2 of 3]](http://web.archive.org./web/20130404040735im_/http://i.ytimg.com/vi/XZmzeQPKkO4/default.jpg "My War Years - Arnold Schoenberg [2 of 3]")
My War Years - Arnold Schoenberg [2 of 3]
- Order: Reorder
- Duration: 29:56
- Updated: 16 May 2011
Arnold Schoenberg and his friends and students (including Alban Berg, Anton Webern, Alexander von Zemlinsky, Alma Mahler, Erwin Stein, Roberto Gerhard, Wassily Kandinsky and Hanns Eisler) tell the story of the composer's life in their own words. This second segment begins in late 1908 and continues through his early years in Berlin. Excerpts from live performances of Schoenberg's works are included, with artists including Pierre Boulez and the Ensemble Intercontemporain, the Schoenberg Quartet, Arlene Auger, Marianne Pousseur, and Michael Tilson Thomas. Featured works include excerpts from Erwartung and Pierrot Lunaire.
http://wn.com/My_War_Years_Arnold_Schoenberg_2_of_3_
Arnold Schoenberg and his friends and students (including Alban Berg, Anton Webern, Alexander von Zemlinsky, Alma Mahler, Erwin Stein, Roberto Gerhard, Wassily Kandinsky and Hanns Eisler) tell the story of the composer's life in their own words. This second segment begins in late 1908 and continues through his early years in Berlin. Excerpts from live performances of Schoenberg's works are included, with artists including Pierre Boulez and the Ensemble Intercontemporain, the Schoenberg Quartet, Arlene Auger, Marianne Pousseur, and Michael Tilson Thomas. Featured works include excerpts from Erwartung and Pierrot Lunaire.
- published: 16 May 2011
- views: 2700
Ensemble Hypnos - Schoenberg, Verklaerte Nacht- Live in Paris
- Order: Reorder
- Duration: 6:44
- Updated: 23 Nov 2008
Live in Paris, at Ste-Genevieve des Grandes Carrieres Church, 2008.11.16
Ensemble Hypnos (www.myspace.com/ensemblehypnos):
Justina Zajancauskaite, Raphael Jacob: violin
Stéphanie Réthoré, Jérémy Pasquier: viola
Sarah Jacob, Pauline Buet: cello
http://wn.com/Ensemble_Hypnos_Schoenberg,_Verklaerte_Nacht_Live_in_Paris
Live in Paris, at Ste-Genevieve des Grandes Carrieres Church, 2008.11.16
Ensemble Hypnos (www.myspace.com/ensemblehypnos):
Justina Zajancauskaite, Raphael Jacob: violin
Stéphanie Réthoré, Jérémy Pasquier: viola
Sarah Jacob, Pauline Buet: cello
- published: 23 Nov 2008
- views: 3998
Schoenberg: Verklärte Nacht, Op.4 - Boulez.
- Order: Reorder
- Duration: 29:26
- Updated: 12 Nov 2011
Arnold Schoenberg (1874-1951): Verklärte Nacht (Transfigured Night / La Nuit transfigurée), Op.4 (1899)
Pierre Boulez: Membres de L'Ensemble Intercontemporain
Charles-André Linale: violin / violon
Maryvonne Le Dizès-Richard: violin / violon
Jean Sulem: viola / alto
Garth Knox: viola / alto
Philippe Muller: cello / violoncelle
Pieter Strauch: cello / violoncelle
http://wn.com/Schoenberg_Verklärte_Nacht,_Op4_Boulez
Arnold Schoenberg (1874-1951): Verklärte Nacht (Transfigured Night / La Nuit transfigurée), Op.4 (1899)
Pierre Boulez: Membres de L'Ensemble Intercontemporain
Charles-André Linale: violin / violon
Maryvonne Le Dizès-Richard: violin / violon
Jean Sulem: viola / alto
Garth Knox: viola / alto
Philippe Muller: cello / violoncelle
Pieter Strauch: cello / violoncelle
- published: 12 Nov 2011
- views: 71169
Schoenberg "Verklärte Nacht" op.4 New Russian Quartet, Mikhail Bereznitsky, Boris Andrianov
- Order: Reorder
- Duration: 29:54
- Updated: 11 May 2012
Arnold Schoenberg "Verklärte Nacht" op.4
New Russian Quartet:
Julia Igonina, violin
Elena Kharitonova, violin
Alexander Galkovsky, viola
Alexey Steblev, cello
Mikhail Bereznitsky, viola
Boris Andrianov, cello
Live from Small hall of the Moscow Conservatory, 2011
http://wn.com/Schoenberg_Verklärte_Nacht_op4_New_Russian_Quartet,_Mikhail_Bereznitsky,_Boris_Andrianov
Arnold Schoenberg "Verklärte Nacht" op.4
New Russian Quartet:
Julia Igonina, violin
Elena Kharitonova, violin
Alexander Galkovsky, viola
Alexey Steblev, cello
Mikhail Bereznitsky, viola
Boris Andrianov, cello
Live from Small hall of the Moscow Conservatory, 2011
- published: 11 May 2012
- views: 1633
Schönberg Verklärte Nacht (1/5)
- Order: Reorder
- Duration: 9:32
- Updated: 30 Jul 2009
Thx for comments!
Raphael Schluesselberg conducting the "Wiener Kammerorchester" in Radiokulturhaus, Vienna, first part. Arnold Schoenberg's "Transfigured Night" afte the poem of Richard Dehmel:
Zwei Menschen gehn durch kahlen, kalten Hain;
der Mond läuft mit, sie schaun hinein.
Der Mond läuft über hohe Eichen;
kein Wölkchen trübt das Himmelslicht,
in das die schwarzen Zacken reichen.
Die Stimme eines Weibes spricht:
Ich trag ein Kind, und nit von Dir,
ich geh in Sünde neben Dir.
Ich hab mich schwer an mir vergangen.
Ich glaubte nicht mehr an ein Glück
und hatte doch ein schwer Verlangen
nach Lebensinhalt, nach Mutterglück
und Pflicht; da hab ich mich erfrecht,
da ließ ich schaudernd mein Geschlecht
von einem fremden Mann umfangen,
und hab mich noch dafür gesegnet.
Nun hat das Leben sich gerächt:
nun bin ich Dir, o Dir, begegnet.
Sie geht mit ungelenkem Schritt.
Sie schaut empor; der Mond läuft mit.
Ihr dunkler Blick ertrinkt in Licht.
Die Stimme eines Mannes spricht:
Das Kind, das Du empfangen hast,
sei Deiner Seele keine Last,
o sieh, wie klar das Weltall schimmert!
Es ist ein Glanz um alles her;
Du treibst mit mir auf kaltem Meer,
doch eine eigne Wärme flimmert
von Dir in mich, von mir in Dich.
Die wird das fremde Kind verklären,
Du wirst es mir, von mir gebären;
Du hast den Glanz in mich gebracht,
Du hast mich selbst zum Kind gemacht.
Er faßt sie um die starken Hüften.
Ihr Atem küßt sich in den Lüften.
Zwei Menschen gehn durch hohe, helle Nacht.
http://wn.com/Schönberg_Verklärte_Nacht_1_5
Thx for comments!
Raphael Schluesselberg conducting the "Wiener Kammerorchester" in Radiokulturhaus, Vienna, first part. Arnold Schoenberg's "Transfigured Night" afte the poem of Richard Dehmel:
Zwei Menschen gehn durch kahlen, kalten Hain;
der Mond läuft mit, sie schaun hinein.
Der Mond läuft über hohe Eichen;
kein Wölkchen trübt das Himmelslicht,
in das die schwarzen Zacken reichen.
Die Stimme eines Weibes spricht:
Ich trag ein Kind, und nit von Dir,
ich geh in Sünde neben Dir.
Ich hab mich schwer an mir vergangen.
Ich glaubte nicht mehr an ein Glück
und hatte doch ein schwer Verlangen
nach Lebensinhalt, nach Mutterglück
und Pflicht; da hab ich mich erfrecht,
da ließ ich schaudernd mein Geschlecht
von einem fremden Mann umfangen,
und hab mich noch dafür gesegnet.
Nun hat das Leben sich gerächt:
nun bin ich Dir, o Dir, begegnet.
Sie geht mit ungelenkem Schritt.
Sie schaut empor; der Mond läuft mit.
Ihr dunkler Blick ertrinkt in Licht.
Die Stimme eines Mannes spricht:
Das Kind, das Du empfangen hast,
sei Deiner Seele keine Last,
o sieh, wie klar das Weltall schimmert!
Es ist ein Glanz um alles her;
Du treibst mit mir auf kaltem Meer,
doch eine eigne Wärme flimmert
von Dir in mich, von mir in Dich.
Die wird das fremde Kind verklären,
Du wirst es mir, von mir gebären;
Du hast den Glanz in mich gebracht,
Du hast mich selbst zum Kind gemacht.
Er faßt sie um die starken Hüften.
Ihr Atem küßt sich in den Lüften.
Zwei Menschen gehn durch hohe, helle Nacht.
- published: 30 Jul 2009
- views: 28753
![My War Years - Arnold Schoenberg [3 of 3]](http://web.archive.org./web/20130404040735im_/http://i.ytimg.com/vi/V8f-PvOCseg/default.jpg "My War Years - Arnold Schoenberg [3 of 3]")
My War Years - Arnold Schoenberg [3 of 3]
- Order: Reorder
- Duration: 23:14
- Updated: 19 May 2011
Arnold Schoenberg and his friends and students (including Alban Berg, Anton Webern, Alexander von Zemlinsky, Alma Mahler, Erwin Stein, Roberto Gerhard, Wassily Kandinsky. Hanns Eisler, Egon Wellesz and Oskar Kokoschka) tell the story of the composer's life in their own words. This third segment covers Schoenberg's, Berg's and Webern's enlistment to fight in the First World War, and concludes with Schoenberg's disclosure to his students of his new "Method of Composing with Twelve Tones Which are Related Only with One Another." Excerpts from live performances of Schoenberg's works are included, with artists including Pierre Boulez and the Ensemble Intercontemporain with Marianne Pousseur. Featured works include excerpts from Pierrot Lunaire, the first Chamber Symphony, and the Suite for Piano, Op. 25.
http://wn.com/My_War_Years_Arnold_Schoenberg_3_of_3_
Arnold Schoenberg and his friends and students (including Alban Berg, Anton Webern, Alexander von Zemlinsky, Alma Mahler, Erwin Stein, Roberto Gerhard, Wassily Kandinsky. Hanns Eisler, Egon Wellesz and Oskar Kokoschka) tell the story of the composer's life in their own words. This third segment covers Schoenberg's, Berg's and Webern's enlistment to fight in the First World War, and concludes with Schoenberg's disclosure to his students of his new "Method of Composing with Twelve Tones Which are Related Only with One Another." Excerpts from live performances of Schoenberg's works are included, with artists including Pierre Boulez and the Ensemble Intercontemporain with Marianne Pousseur. Featured works include excerpts from Pierrot Lunaire, the first Chamber Symphony, and the Suite for Piano, Op. 25.
- published: 19 May 2011
- views: 2506
Arnold Schoenberg - Verklaerte Nacht - part III
- Order: Reorder
- Duration: 10:01
- Updated: 28 May 2010
Transfigured Night performed at BU by Zoya Tsvetkova (violin I), Oksana Georgieva (violin II), Michelle Brune (viola I), Chen Lin (viola II), Hyun-Ji Kwon (cello I), Yu-Fung Chang (cello II)
Part 3
www.oksanaviolin.com
http://wn.com/Arnold_Schoenberg_Verklaerte_Nacht_part_III
Transfigured Night performed at BU by Zoya Tsvetkova (violin I), Oksana Georgieva (violin II), Michelle Brune (viola I), Chen Lin (viola II), Hyun-Ji Kwon (cello I), Yu-Fung Chang (cello II)
Part 3
www.oksanaviolin.com
- published: 28 May 2010
- views: 1586
Zwölftonwerbung - Twelve tone commercial
- Order: Reorder
- Duration: 3:01
- Updated: 29 Apr 2008
Die Zwölftonmethode - totgeschwiegen und totgeredet, geliebt und verehrt, verhasst und verdammt - ist eine jener Mysterien der Musikgeschichte, die unser Leben wie kein anderes in den Bann ungeahnter tönender Dimensionen zu ziehen vermag. Lassen wir uns erklären, wie unser Alltag durch Anhörung der herausragenden atonalen und dodekaphonen Werke von Arnold Schönberg, Alban Berg und Anton Webern eine höhere Dimension erlangt. Die Metaphysik der Töne - in ein einziges Album gebannt. Nie war diese Musik zwingender als jetzt. Suchtgefahr!
Audio: a production, done in 1977 by Robert Conrad, the founder of WCLV classical radio in Cleveland, Ohio, USA. The script was written by conductor Kenneth Jean and Mathias Bamert is said to have had a role in the production.
Video: ascvideo (Arnold Schönberg Center, Wien)
http://wn.com/Zwölftonwerbung_Twelve_tone_commercial
Die Zwölftonmethode - totgeschwiegen und totgeredet, geliebt und verehrt, verhasst und verdammt - ist eine jener Mysterien der Musikgeschichte, die unser Leben wie kein anderes in den Bann ungeahnter tönender Dimensionen zu ziehen vermag. Lassen wir uns erklären, wie unser Alltag durch Anhörung der herausragenden atonalen und dodekaphonen Werke von Arnold Schönberg, Alban Berg und Anton Webern eine höhere Dimension erlangt. Die Metaphysik der Töne - in ein einziges Album gebannt. Nie war diese Musik zwingender als jetzt. Suchtgefahr!
Audio: a production, done in 1977 by Robert Conrad, the founder of WCLV classical radio in Cleveland, Ohio, USA. The script was written by conductor Kenneth Jean and Mathias Bamert is said to have had a role in the production.
Video: ascvideo (Arnold Schönberg Center, Wien)
- published: 29 Apr 2008
- views: 166676
Arnold Schoenberg Kanons - OPENQUARTET
- Order: Reorder
- Duration: 3:11
- Updated: 19 Aug 2009
OPENQUARTET: Donato D'Antonio - guitar, Anselmo Pelliccioni - cello, Vanni Montanari - flute, Roberto Noferini - violin, LIVE two Kanons di Arnold Schoenberg - Carpi (MO) 24 ottobre 2008 - Auditorium Biblioteca Multimediale - 'Di uarij Istromenti diversamente concertati'
http://wn.com/Arnold_Schoenberg_Kanons_OPENQUARTET
OPENQUARTET: Donato D'Antonio - guitar, Anselmo Pelliccioni - cello, Vanni Montanari - flute, Roberto Noferini - violin, LIVE two Kanons di Arnold Schoenberg - Carpi (MO) 24 ottobre 2008 - Auditorium Biblioteca Multimediale - 'Di uarij Istromenti diversamente concertati'
- published: 19 Aug 2009
- views: 293
![Arnold Schoenberg, Herzgewächse, Op. 20 [Lucy Shelton, Da Capo Chamber Players, Oliver Knussen]](http://web.archive.org./web/20130404040735im_/http://i.ytimg.com/vi/Pz98sU_rPK8/default.jpg "Arnold Schoenberg, Herzgewächse, Op. 20 [Lucy Shelton, Da Capo Chamber Players, Oliver Knussen]")
Arnold Schoenberg, Herzgewächse, Op. 20 [Lucy Shelton, Da Capo Chamber Players, Oliver Knussen]
- Order: Reorder
- Duration: 3:54
- Updated: 24 Apr 2011
"Herzgewächse" was similar to Erwartung in that it is not musically organized by a strict development of an evident theme. It experiments with instrumental color and range, But perhaps most interesting about "Herzgewächse," particularly in connection with Pierrot Lunaire, is the relationship of music to text, a relationship made even more evident by the fact that Schoenberg was beginning the text for what would become the unfinished project Die Jakobsleiter. Schoenberg was beginning to explore more deeply the possibilities of expressing in a mixture of language and music the theological and philosophical. He began to search for a link between music and words that would relinquish a dependency on visual props or the creation of mental pictures. But in "Herzgewächse" and to a lesser extent Pierrot Lunaire, the notion of the poetic still reigned as the dominant connecting link between music and language. "Herzgewächse" was not performed immediately after its composition, but only in 1927-1928, partly due to the unusual ensemble employed and the demands made on the vocalist. In the article "The Relationship to the Text," Schoenberg argued, following Schopenhauer, that music, because of its power and character, must never attempt to illustrate text or depict that which texts represent linguistically. Rather, as in the case of a Schubert song or Schoenberg's own songs, Op. 2 and 3, "the direct contact with the sound of the first words" out to be sufficient to permit the development of a musical statement by the composer without any reference to the literal meaning or "poetical context" of the poetry being set. The sounds of words rather than the mental pictures they generated, or their grammatical or sense content, triggered a so-called "direct comparison." The "real" essence of the poems -- no the illustration of content -- was unlocked by music, and essence unreachable and imperceptible without the aid of music. As Schoenberg concluded, music and text relate to each other -- that is to sy they complement each other -- on an extremely high, spiritual level, evident only in retrospect as a result of the integration of the two media at the hands of the composer. But in the ordinary sense, in terms of "declamation" or "tempo" or "loudness," or in terms of narrative description, music and text had to diverge if, in fact, music was to retain its autonomy and power and if the higher realm of connectedness of music and language was to be achieved. In this tantalizing but somewhat inconsistent theoretical exposition, Schoenberg embraced an idea that language needs to be purified if it is to be, as Kraus suggested, the "mother of ideas" in the arts. If language performs its ethical imperative -- to speak its truths in the broadest sense -- a spiritual unity that can be revealed by art and music will emerge. However, the kind of ordinary language we hear in daily life or read in newspapers as an insufficient model. What the painter and the composer must do is to take off from language and generate works in whose expression and through whose perception a higher realm of human experience is created and revealed. Language as a given text provides a hint of the aesthetic idea. That hint is often hidden from the view of the composer who approaches the text in the ordinary way. It is in this framework that would should listen to the connection between the Maeterlinck poem and the music of "Herzgewächse," particularly where the poet describes moods and the evolution of sentiment (e.g., sinking to rest, listless melancholy). It is neither the metaphoric nor the literal leaning of Maeterlinck's poem that connects to the music or justifies its presence. The text has been transformed and has become an integral telement of the musical discourse.
http://wn.com/Arnold_Schoenberg,_Herzgewächse,_Op_20_Lucy_Shelton,_Da_Capo_Chamber_Players,_Oliver_Knussen_
"Herzgewächse" was similar to Erwartung in that it is not musically organized by a strict development of an evident theme. It experiments with instrumental color and range, But perhaps most interesting about "Herzgewächse," particularly in connection with Pierrot Lunaire, is the relationship of music to text, a relationship made even more evident by the fact that Schoenberg was beginning the text for what would become the unfinished project Die Jakobsleiter. Schoenberg was beginning to explore more deeply the possibilities of expressing in a mixture of language and music the theological and philosophical. He began to search for a link between music and words that would relinquish a dependency on visual props or the creation of mental pictures. But in "Herzgewächse" and to a lesser extent Pierrot Lunaire, the notion of the poetic still reigned as the dominant connecting link between music and language. "Herzgewächse" was not performed immediately after its composition, but only in 1927-1928, partly due to the unusual ensemble employed and the demands made on the vocalist. In the article "The Relationship to the Text," Schoenberg argued, following Schopenhauer, that music, because of its power and character, must never attempt to illustrate text or depict that which texts represent linguistically. Rather, as in the case of a Schubert song or Schoenberg's own songs, Op. 2 and 3, "the direct contact with the sound of the first words" out to be sufficient to permit the development of a musical statement by the composer without any reference to the literal meaning or "poetical context" of the poetry being set. The sounds of words rather than the mental pictures they generated, or their grammatical or sense content, triggered a so-called "direct comparison." The "real" essence of the poems -- no the illustration of content -- was unlocked by music, and essence unreachable and imperceptible without the aid of music. As Schoenberg concluded, music and text relate to each other -- that is to sy they complement each other -- on an extremely high, spiritual level, evident only in retrospect as a result of the integration of the two media at the hands of the composer. But in the ordinary sense, in terms of "declamation" or "tempo" or "loudness," or in terms of narrative description, music and text had to diverge if, in fact, music was to retain its autonomy and power and if the higher realm of connectedness of music and language was to be achieved. In this tantalizing but somewhat inconsistent theoretical exposition, Schoenberg embraced an idea that language needs to be purified if it is to be, as Kraus suggested, the "mother of ideas" in the arts. If language performs its ethical imperative -- to speak its truths in the broadest sense -- a spiritual unity that can be revealed by art and music will emerge. However, the kind of ordinary language we hear in daily life or read in newspapers as an insufficient model. What the painter and the composer must do is to take off from language and generate works in whose expression and through whose perception a higher realm of human experience is created and revealed. Language as a given text provides a hint of the aesthetic idea. That hint is often hidden from the view of the composer who approaches the text in the ordinary way. It is in this framework that would should listen to the connection between the Maeterlinck poem and the music of "Herzgewächse," particularly where the poet describes moods and the evolution of sentiment (e.g., sinking to rest, listless melancholy). It is neither the metaphoric nor the literal leaning of Maeterlinck's poem that connects to the music or justifies its presence. The text has been transformed and has become an integral telement of the musical discourse.
- published: 24 Apr 2011
- views: 4352
Arnold Schoenberg - Verklärte Nacht (3/3)
- Order: Reorder
- Duration: 11:19
- Updated: 29 Jun 2011
Verklärte Nacht, for string sextet, Op. 4 (1899)
Strings of the Los Angeles Philharmonic Orchestra
Zubin Mehta
Although Schoenberg's earliest published works were written for the voice, the composer had by then produced much other music, including a number of pieces incorporating strings. Indeed, Schoenberg had studied, at least informally, both the violin and cello, and thus was well equipped to meet the compositional challenges of his Op. 4, the substantial string sextet Verklärte Nacht (Transfigured Night; 1899). Its great success in Europe opened the gates of fame for the young composer, and even today, it remains one of Schoenberg's most familiar works -- and certainly one of the least "difficult" for listeners.
The poetry of Richard Dehmel was a strong influence on the composer during the final years of the nineteenth century. Three of the songs from Schoenberg's Op. 2, for example, are settings of the poet's verse. Similarly, the underlying programme of Verklärte Nacht -- the first important application of the traditionally orchestral tone poem genre to a chamber work -- is taken from a poem in Dehmel's Weib und Weit. In later years the composer acknowledged that the compulsion he felt to express Dehmel's unique passions in music was one of the key determining factors in his early musical development.
Superficially, the programme is simple and seemingly improbable: during a brisk, moonlit evening walk, a woman confides to her lover that she is pregnant with another man's child. Before meeting her present lover, she felt that the only way to bring meaning into her life was to bring another life into the world. The man replies gently, compassionately, that the strength of their love for one another will transform the unborn babe into his own child. Schoenberg's musical structure is so entirely self-sufficient that one feels the programme to be almost nonessential. In fact, Schoenberg felt that he had so fully captured the deeper, more fundamental human drama of which Dehmel's poem is just one possible encapsulation that he was reluctant to tie his work down by its association with a literary source; consequently, he avoided public comment on the relationship between Dehmel's poem and his own musical "translation."
Verklärte Nacht is cast in a single thirty-minute D minor/D major movement for an ensemble of two violins, two violas, and two cellos. (The work also exists in Schoenberg's own arrangement for string orchestra made in the 1920s and revised in the 1940s.) Schoenberg's dual -- and seemingly divergent -- musical influences, Wagner and Brahms, are present throughout. Still, Schoenberg succeeds in marshalling a highly contrapuntal and chromatic language that is entirely his own for the first time in his career. After the static, quietly throbbing D minor of the opening passage, the work quickly ventures into a world of dense counterpoint, often hinting at the tonal center without making an unequivocal return. In fact, it is not until the warm D major sonority that begins the second half -- corresponding to the man's loving reply -- that a sense of tonal stability is restored, if only temporarily. The work comes to a close with shimmering arpeggio figures and string harmonics as the couple walks off into their new life together. [Allmusic.com]
Art by Rufino Tamayo
http://wn.com/Arnold_Schoenberg_Verklärte_Nacht_3_3
Verklärte Nacht, for string sextet, Op. 4 (1899)
Strings of the Los Angeles Philharmonic Orchestra
Zubin Mehta
Although Schoenberg's earliest published works were written for the voice, the composer had by then produced much other music, including a number of pieces incorporating strings. Indeed, Schoenberg had studied, at least informally, both the violin and cello, and thus was well equipped to meet the compositional challenges of his Op. 4, the substantial string sextet Verklärte Nacht (Transfigured Night; 1899). Its great success in Europe opened the gates of fame for the young composer, and even today, it remains one of Schoenberg's most familiar works -- and certainly one of the least "difficult" for listeners.
The poetry of Richard Dehmel was a strong influence on the composer during the final years of the nineteenth century. Three of the songs from Schoenberg's Op. 2, for example, are settings of the poet's verse. Similarly, the underlying programme of Verklärte Nacht -- the first important application of the traditionally orchestral tone poem genre to a chamber work -- is taken from a poem in Dehmel's Weib und Weit. In later years the composer acknowledged that the compulsion he felt to express Dehmel's unique passions in music was one of the key determining factors in his early musical development.
Superficially, the programme is simple and seemingly improbable: during a brisk, moonlit evening walk, a woman confides to her lover that she is pregnant with another man's child. Before meeting her present lover, she felt that the only way to bring meaning into her life was to bring another life into the world. The man replies gently, compassionately, that the strength of their love for one another will transform the unborn babe into his own child. Schoenberg's musical structure is so entirely self-sufficient that one feels the programme to be almost nonessential. In fact, Schoenberg felt that he had so fully captured the deeper, more fundamental human drama of which Dehmel's poem is just one possible encapsulation that he was reluctant to tie his work down by its association with a literary source; consequently, he avoided public comment on the relationship between Dehmel's poem and his own musical "translation."
Verklärte Nacht is cast in a single thirty-minute D minor/D major movement for an ensemble of two violins, two violas, and two cellos. (The work also exists in Schoenberg's own arrangement for string orchestra made in the 1920s and revised in the 1940s.) Schoenberg's dual -- and seemingly divergent -- musical influences, Wagner and Brahms, are present throughout. Still, Schoenberg succeeds in marshalling a highly contrapuntal and chromatic language that is entirely his own for the first time in his career. After the static, quietly throbbing D minor of the opening passage, the work quickly ventures into a world of dense counterpoint, often hinting at the tonal center without making an unequivocal return. In fact, it is not until the warm D major sonority that begins the second half -- corresponding to the man's loving reply -- that a sense of tonal stability is restored, if only temporarily. The work comes to a close with shimmering arpeggio figures and string harmonics as the couple walks off into their new life together. [Allmusic.com]
Art by Rufino Tamayo
- published: 29 Jun 2011
- views: 921
Quintessence Saxophone Quintet performs the Cantata, 3. Musette " Unter einem Himmel"
- Order: Reorder
- Duration: 5:36
- Updated: 28 Sep 2012
The Quintessence Saxophone Quintet and the Arnold Schoenberg Chor playing the wonderful cantata "Unter einem Himmel" (Under One Heaven), a composition by Ulrich Lettermann for mixed choir and saxophone quintet. The recording was recorded live at the Festival of Sacred Music in Paderborn, Germany in October 2009. A most original and natural-sounding combination of sounds, making one wonder why it hasn't been done before. Rhythmically contesting in the typical QSQ manner, the piece is sung by the Arnold Schoenberg Choir from Vienna, who exceed themselves in intonational and rhythmical accuracy. Just sit back and enjoy the third movement. Comments and enquiries always welcome! We would love to perform this in France. Pourquoi-pas?
http://wn.com/Quintessence_Saxophone_Quintet_performs_the_Cantata,_3_Musette_Unter_einem_Himmel
The Quintessence Saxophone Quintet and the Arnold Schoenberg Chor playing the wonderful cantata "Unter einem Himmel" (Under One Heaven), a composition by Ulrich Lettermann for mixed choir and saxophone quintet. The recording was recorded live at the Festival of Sacred Music in Paderborn, Germany in October 2009. A most original and natural-sounding combination of sounds, making one wonder why it hasn't been done before. Rhythmically contesting in the typical QSQ manner, the piece is sung by the Arnold Schoenberg Choir from Vienna, who exceed themselves in intonational and rhythmical accuracy. Just sit back and enjoy the third movement. Comments and enquiries always welcome! We would love to perform this in France. Pourquoi-pas?
- published: 28 Sep 2012
- views: 630
Arnold Schoenberg - A Survivor from Warsaw. AVI OSTROWSKY - Conductor, BRT Philharmonic Orchestra
- Order: Reorder
- Duration: 7:35
- Updated: 23 Dec 2008
AVI OSTROWSKY - Conductor,
Huub Claessens - Narrator,
Rundfunkchor Berlin,
BRT Philharmonic Orchestra
http://wn.com/Arnold_Schoenberg_A_Survivor_from_Warsaw_AVI_OSTROWSKY_Conductor,_BRT_Philharmonic_Orchestra
AVI OSTROWSKY - Conductor,
Huub Claessens - Narrator,
Rundfunkchor Berlin,
BRT Philharmonic Orchestra
- published: 23 Dec 2008
- views: 21944
Backstage - Arnold Schoenberg Chor
- Order: Reorder
- Duration: 29:01
- Updated: 12 Aug 2012
Backstage bei den Vereinigten Bühnen Wien - Der "Arnold Schoenberg Chor" bei der letzten Aufführung von "Hoffmanns Erzählungen" im Theater an der Wien und bei szenischen Proben für "La donna del lago" auf der Probebühne.
(W24 Backstage - eine Produktion von 0-0-0 WEBWORKS im Auftrag von W24 / Mit freundlicher Unterstützung von Vereinigte Bühnen Wien)
http://wn.com/Backstage_Arnold_Schoenberg_Chor
Backstage bei den Vereinigten Bühnen Wien - Der "Arnold Schoenberg Chor" bei der letzten Aufführung von "Hoffmanns Erzählungen" im Theater an der Wien und bei szenischen Proben für "La donna del lago" auf der Probebühne.
(W24 Backstage - eine Produktion von 0-0-0 WEBWORKS im Auftrag von W24 / Mit freundlicher Unterstützung von Vereinigte Bühnen Wien)
- published: 12 Aug 2012
- views: 1342
Quintessence Saxophone Quintet performs the Cantata, 1. Lento " Unter einem Himmel"
- Order: Reorder
- Duration: 5:34
- Updated: 04 Feb 2011
The Quintessence Saxophone Quintet and the Arnold Schoenberg Chor playing the wonderful cantata "Unter einem Himmel" (Under One Heaven), a composition by Ulrich Lettermann for mixed choir and saxophone quintet. The recording was recorded live at the Festival of Sacred Music in Paderborn, Germany in October 2009. A most original and natural-sounding combination of sounds., making one wonder why it hasn't been done before. Rhythmically contesting in the typical QSQ manner, the piece is sung by the Arnold Schoenberg Choir from Vienna, who exceed themselves in intonational and rhythmical accuracy. THis is the first movement, the others will follow. We sincerely hope you find the time to sit back and listen.
http://wn.com/Quintessence_Saxophone_Quintet_performs_the_Cantata,_1_Lento_Unter_einem_Himmel
The Quintessence Saxophone Quintet and the Arnold Schoenberg Chor playing the wonderful cantata "Unter einem Himmel" (Under One Heaven), a composition by Ulrich Lettermann for mixed choir and saxophone quintet. The recording was recorded live at the Festival of Sacred Music in Paderborn, Germany in October 2009. A most original and natural-sounding combination of sounds., making one wonder why it hasn't been done before. Rhythmically contesting in the typical QSQ manner, the piece is sung by the Arnold Schoenberg Choir from Vienna, who exceed themselves in intonational and rhythmical accuracy. THis is the first movement, the others will follow. We sincerely hope you find the time to sit back and listen.
- published: 04 Feb 2011
- views: 4150
Arnold Schoenberg: Erwartung op. 17 (Excerpts)
- Order: Reorder
- Duration: 8:14
- Updated: 14 Dec 2006
De Nederlandse Opera (live recording). Conductor: Oliver Knussen, stage director: Pierre Audi, concept: Iannis Kounellis (Amsterdam 2005). Score available at www.universaledition.com.
http://wn.com/Arnold_Schoenberg_Erwartung_op_17_Excerpts
De Nederlandse Opera (live recording). Conductor: Oliver Knussen, stage director: Pierre Audi, concept: Iannis Kounellis (Amsterdam 2005). Score available at www.universaledition.com.
- published: 14 Dec 2006
- views: 69294
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Arnold Schoenberg, String Quartet No. 1 in d minor, op. 7
- Order: Reorder
- Duration: 42:26
- Updated: 12 Jul 2011
...I abandoned program music and turned in the direction that was much more my own than all the preceding. It was the First String Quartet, Opus 7, in which I combined all the achievements of my time (including my own) such as: the construction of extremely large forms; greatly emancipated melodies based on a richly moving harmony and new chord progressions; and a contrapuntal technique that solved problems offered by superimposed, individual parts which moved freely in more remote regions of tonality and met frequently in vagrant harmonies.
In accommodation to the faith of the time, this large form was to include all the four characters of the sonata type in one single, uninterrupted movement. Durchführungen (development) should not be missing and there should be a certain degree of thematic unity within the contrasting sections.
The great expansion of this work required careful organization. It might perhaps interest an analyst to learn that I received and took advantage of the tremendous amount of advice suggested to me by a model I had chosen for this task: the first movement of the Eroica Symphony. Alexander von Zemlinsky told me that Brahms had said that every time he faced difficult problems he would consult a significant work of Bach and one of Beethoven, both of which he always used to keep near his standing-desk (Stehpult]. How did they handle a similar problem? Of course the model was not copied mechanically, but its mental essence was applied accordingly. In the same manner I learned, from the Eroica, solutions to my problems: how to avoid monotony and emptiness; how to create variety out of unity; how to create new forms out of basic material; how much can be achieved by slight modifications if not by developing variation out of often rather insignificant little formulations. From this masterpiece I learned also much of the creation of harmonic contrasts and their application.
Brahms' advice was excellent and I wish this story would persuade young composers that they must not forget what our musical forefathers have done for us.
Arnold Schoenberg
http://wn.com/Arnold_Schoenberg,_String_Quartet_No_1_in_d_minor,_op_7
...I abandoned program music and turned in the direction that was much more my own than all the preceding. It was the First String Quartet, Opus 7, in which I combined all the achievements of my time (including my own) such as: the construction of extremely large forms; greatly emancipated melodies based on a richly moving harmony and new chord progressions; and a contrapuntal technique that solved problems offered by superimposed, individual parts which moved freely in more remote regions of tonality and met frequently in vagrant harmonies.
In accommodation to the faith of the time, this large form was to include all the four characters of the sonata type in one single, uninterrupted movement. Durchführungen (development) should not be missing and there should be a certain degree of thematic unity within the contrasting sections.
The great expansion of this work required careful organization. It might perhaps interest an analyst to learn that I received and took advantage of the tremendous amount of advice suggested to me by a model I had chosen for this task: the first movement of the Eroica Symphony. Alexander von Zemlinsky told me that Brahms had said that every time he faced difficult problems he would consult a significant work of Bach and one of Beethoven, both of which he always used to keep near his standing-desk (Stehpult]. How did they handle a similar problem? Of course the model was not copied mechanically, but its mental essence was applied accordingly. In the same manner I learned, from the Eroica, solutions to my problems: how to avoid monotony and emptiness; how to create variety out of unity; how to create new forms out of basic material; how much can be achieved by slight modifications if not by developing variation out of often rather insignificant little formulations. From this masterpiece I learned also much of the creation of harmonic contrasts and their application.
Brahms' advice was excellent and I wish this story would persuade young composers that they must not forget what our musical forefathers have done for us.
Arnold Schoenberg
- published: 12 Jul 2011
- views: 28403
Schoenberg: Verklärte Nacht, Op.4 - Boulez.
- Order: Reorder
- Duration: 29:26
- Updated: 12 Nov 2011
Arnold Schoenberg (1874-1951): Verklärte Nacht (Transfigured Night / La Nuit transfigurée), Op.4 (1899)
Pierre Boulez: Membres de L'Ensemble Intercontemporain
Charles-André Linale: violin / violon
Maryvonne Le Dizès-Richard: violin / violon
Jean Sulem: viola / alto
Garth Knox: viola / alto
Philippe Muller: cello / violoncelle
Pieter Strauch: cello / violoncelle
http://wn.com/Schoenberg_Verklärte_Nacht,_Op4_Boulez
Arnold Schoenberg (1874-1951): Verklärte Nacht (Transfigured Night / La Nuit transfigurée), Op.4 (1899)
Pierre Boulez: Membres de L'Ensemble Intercontemporain
Charles-André Linale: violin / violon
Maryvonne Le Dizès-Richard: violin / violon
Jean Sulem: viola / alto
Garth Knox: viola / alto
Philippe Muller: cello / violoncelle
Pieter Strauch: cello / violoncelle
- published: 12 Nov 2011
- views: 71169
Arnold Schoenberg: Verklärte Nacht op.4b (1899, vers. 1917)
- Order: Reorder
- Duration: 31:26
- Updated: 13 Aug 2011
Arnold Schoenberg (1874-1951): Verklärte Nacht op.4b, versione per orchestra d'archi (1899, vers. 1917) -- Wiener Symphoniker diretta da Bruno Maderna (registrazione dal vivo: Wien Festival 3 giugno 1969)
I. Grave
II. Molto rallentando
III. Pesante
IV. Adagio
----
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http://wn.com/Arnold_Schoenberg_Verklärte_Nacht_op4b_1899,_vers_1917
Arnold Schoenberg (1874-1951): Verklärte Nacht op.4b, versione per orchestra d'archi (1899, vers. 1917) -- Wiener Symphoniker diretta da Bruno Maderna (registrazione dal vivo: Wien Festival 3 giugno 1969)
I. Grave
II. Molto rallentando
III. Pesante
IV. Adagio
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
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- published: 13 Aug 2011
- views: 24616
Arnold Schoenberg: Concerto per violino e orchestra op.36 (1936)
- Order: Reorder
- Duration: 31:38
- Updated: 02 Jun 2011
Arnold Schoenberg (1874-1951): Concerto per violino e orchestra op.36 (1936) -- Louis Krasner, violino -- New York Pilharmonic diretta da Dimitri Mitropoulos --
I. Poco allegro. Vivace
II. Andante grazioso
III. Finale. Allegro
painting by Gabriele Muenter
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
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http://wn.com/Arnold_Schoenberg_Concerto_per_violino_e_orchestra_op36_1936
Arnold Schoenberg (1874-1951): Concerto per violino e orchestra op.36 (1936) -- Louis Krasner, violino -- New York Pilharmonic diretta da Dimitri Mitropoulos --
I. Poco allegro. Vivace
II. Andante grazioso
III. Finale. Allegro
painting by Gabriele Muenter
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
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- published: 02 Jun 2011
- views: 17274
Arnold Schoenberg: Serenade op.24 (1921/1923)
- Order: Reorder
- Duration: 37:59
- Updated: 28 May 2011
Arnold Schoenberg (1874-1951): Serenade per baritono e 7 strumenti , testo di Francesco Petrarca Sonetto 217, op.24 (1921/1923) -- John Carol Case, baritono -- Melos Ensemble of London diretto da Bruno Maderna
I. Marsch
II. Menuett
III. Variationen
IV. Sonett
V. Tanzszene
VI. Lied (ohne worte)
VII. Finale
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
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http://wn.com/Arnold_Schoenberg_Serenade_op24_1921_1923
Arnold Schoenberg (1874-1951): Serenade per baritono e 7 strumenti , testo di Francesco Petrarca Sonetto 217, op.24 (1921/1923) -- John Carol Case, baritono -- Melos Ensemble of London diretto da Bruno Maderna
I. Marsch
II. Menuett
III. Variationen
IV. Sonett
V. Tanzszene
VI. Lied (ohne worte)
VII. Finale
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
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- published: 28 May 2011
- views: 7342
Arnold Schönberg: Pélleas und Melisande op.5 (1903)
- Order: Reorder
- Duration: 47:42
- Updated: 05 Jan 2012
Arnold Schönberg (1874-1951): Pélleas und Melisande, poema sinfonico op.5 (1903) -- Sinfonie-Orchester des Südwestfunks Baden-Baden diretta da Bruno Maderna (dal vivo: Baden-Baden 5 maggio 1960) --
I. Anfang
II. Heftig
III. Lebhaft
IV. Sehr rasch
V. Ein wening bewegter
VI. Langsam
VII. Ein wening bewegter
VIII. Sehr langsam
IX. Etwas bewegter
X. In gehender Bewegung
XI. Breit
-- cover image by Winifred Sandys
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
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http://wn.com/Arnold_Schönberg_Pélleas_und_Melisande_op5_1903
Arnold Schönberg (1874-1951): Pélleas und Melisande, poema sinfonico op.5 (1903) -- Sinfonie-Orchester des Südwestfunks Baden-Baden diretta da Bruno Maderna (dal vivo: Baden-Baden 5 maggio 1960) --
I. Anfang
II. Heftig
III. Lebhaft
IV. Sehr rasch
V. Ein wening bewegter
VI. Langsam
VII. Ein wening bewegter
VIII. Sehr langsam
IX. Etwas bewegter
X. In gehender Bewegung
XI. Breit
-- cover image by Winifred Sandys
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
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- published: 05 Jan 2012
- views: 27512
Arnold Schönberg, Pierrot lunaire (Full)
- Order: Reorder
- Duration: 45:36
- Updated: 19 Jan 2012
Arnold Schönberg (1874-1951)
Pierrot lunaire op. 21 (nach Gedichten von Albert Giraud)
Plus Jazz Interludes by Maria Baptist:
1 Mondestrunken
2 Colombine
3 Der Dandy
4 Eine blasse Wäscherin
5 Valse de Chopin
6 Madonna
7 Der kranke Mond
8 Jazz Interlude 1
9 Nacht
10 Gebet an Pierrot
11 Raub
12 Rote Messe
13 Galgenlied
14 Enthauptung
15 Die Kreuze
16 Jazz Interlude 2
17 Heimweh
18 Gemeinheit!
19 Parodie
20 Der Mondfleck
21 Serenade
22 Heimfahrt
23 O alter Duft
Stella Doufexis, speaking voice/mezzosoprano
Maria Baptist, Piano
opus21musikplus Ensamble
Conductor: Konstantia Gourzi
http://wn.com/Arnold_Schönberg,_Pierrot_lunaire_Full
Arnold Schönberg (1874-1951)
Pierrot lunaire op. 21 (nach Gedichten von Albert Giraud)
Plus Jazz Interludes by Maria Baptist:
1 Mondestrunken
2 Colombine
3 Der Dandy
4 Eine blasse Wäscherin
5 Valse de Chopin
6 Madonna
7 Der kranke Mond
8 Jazz Interlude 1
9 Nacht
10 Gebet an Pierrot
11 Raub
12 Rote Messe
13 Galgenlied
14 Enthauptung
15 Die Kreuze
16 Jazz Interlude 2
17 Heimweh
18 Gemeinheit!
19 Parodie
20 Der Mondfleck
21 Serenade
22 Heimfahrt
23 O alter Duft
Stella Doufexis, speaking voice/mezzosoprano
Maria Baptist, Piano
opus21musikplus Ensamble
Conductor: Konstantia Gourzi
- published: 19 Jan 2012
- views: 95803
Backstage - Arnold Schoenberg Chor
- Order: Reorder
- Duration: 29:01
- Updated: 12 Aug 2012
Backstage bei den Vereinigten Bühnen Wien - Der "Arnold Schoenberg Chor" bei der letzten Aufführung von "Hoffmanns Erzählungen" im Theater an der Wien und bei szenischen Proben für "La donna del lago" auf der Probebühne.
(W24 Backstage - eine Produktion von 0-0-0 WEBWORKS im Auftrag von W24 / Mit freundlicher Unterstützung von Vereinigte Bühnen Wien)
http://wn.com/Backstage_Arnold_Schoenberg_Chor
Backstage bei den Vereinigten Bühnen Wien - Der "Arnold Schoenberg Chor" bei der letzten Aufführung von "Hoffmanns Erzählungen" im Theater an der Wien und bei szenischen Proben für "La donna del lago" auf der Probebühne.
(W24 Backstage - eine Produktion von 0-0-0 WEBWORKS im Auftrag von W24 / Mit freundlicher Unterstützung von Vereinigte Bühnen Wien)
- published: 12 Aug 2012
- views: 1342
Arnold Schoenberg: Variazioni per orchestra op.31 (1926/1928)
- Order: Reorder
- Duration: 22:30
- Updated: 13 Aug 2011
Arnold Schoenberg (1874-1951): Variazioni per orchestra op.31 (1926/1928) -- Sinfonie Orchester des Westdeutschen Rundfunks diretta da Bruno Maderna (dal vivo: Colonia 8 ottobre 1961) --
Introduktion. Mäßig, ruhig
Thema. Molto moderato
Variation I. Moderato
Variation II. Langsam
Variation III. Mäßig
Variation IV. Walzertempo
Variation V. Bewegt
Variation VI. Andante
Variation VII. Langsam
Variation VIII. Sehr rasch
Variation IX. L'istesso tempo, aber etwas langsamer
Finale. Mäßig schnell
-- cover image: painting by Vassily Kandinsky
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
http://wn.com/Arnold_Schoenberg_Variazioni_per_orchestra_op31_1926_1928
Arnold Schoenberg (1874-1951): Variazioni per orchestra op.31 (1926/1928) -- Sinfonie Orchester des Westdeutschen Rundfunks diretta da Bruno Maderna (dal vivo: Colonia 8 ottobre 1961) --
Introduktion. Mäßig, ruhig
Thema. Molto moderato
Variation I. Moderato
Variation II. Langsam
Variation III. Mäßig
Variation IV. Walzertempo
Variation V. Bewegt
Variation VI. Andante
Variation VII. Langsam
Variation VIII. Sehr rasch
Variation IX. L'istesso tempo, aber etwas langsamer
Finale. Mäßig schnell
-- cover image: painting by Vassily Kandinsky
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
- published: 13 Aug 2011
- views: 11096
Arnold Schoenberg: Erwartung op.17 (1909)
- Order: Reorder
- Duration: 31:12
- Updated: 02 Jun 2011
Arnold Schoenberg (1874-1951): Erwartung, monodramma, libretto di Marie Pappenheim op.17 (1909) -- Magda László, soprano -- Orchestra Sinfonica di Torino della RAI diretta da Hermann Scherchen (dal vivo: Torino 6 novembre 1953) --
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
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http://wn.com/Arnold_Schoenberg_Erwartung_op17_1909
Arnold Schoenberg (1874-1951): Erwartung, monodramma, libretto di Marie Pappenheim op.17 (1909) -- Magda László, soprano -- Orchestra Sinfonica di Torino della RAI diretta da Hermann Scherchen (dal vivo: Torino 6 novembre 1953) --
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
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- published: 02 Jun 2011
- views: 19741
Arnold Schoenberg: String Quartet No. 2 Op. 10 (1908)
- Order: Reorder
- Duration: 29:29
- Updated: 20 Oct 2012
Arnold Schoenberg (1874-1951): Quartetto per archi n.2 op.10 (1908) --- Bethany Beardslee, soprano --- The Sequoia String Quartet ----
I. Mässig
II. Sehr rasch
III. Litanei: Langsam
IV. Entrückung, Sehr langsam
--- cover image by Gabriele Münter ---
The music published in this channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study learned music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
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http://wn.com/Arnold_Schoenberg_String_Quartet_No_2_Op_10_1908
Arnold Schoenberg (1874-1951): Quartetto per archi n.2 op.10 (1908) --- Bethany Beardslee, soprano --- The Sequoia String Quartet ----
I. Mässig
II. Sehr rasch
III. Litanei: Langsam
IV. Entrückung, Sehr langsam
--- cover image by Gabriele Münter ---
The music published in this channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study learned music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
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- published: 20 Oct 2012
- views: 1324
Arnold Schoenberg, Das Buch der Hängende Gärten, Op. 15
- Order: Reorder
- Duration: 30:47
- Updated: 22 Aug 2011
Das Buch der Hängenden Gärten (The Book of the Hanging Gardens) is a fifteen-part song cycle composed by Arnold Schoenberg between 1908 and 1909, setting poems of Stefan George. George's poems, also under the same title, track the failed love affair of two adolescent youths in a garden, ending with the woman's departure and the disintegration of the garden. The song cycle is set for solo voice and piano. The Book of the Hanging Gardens breaks away from conventional musical order through its usage of atonality.
The Book of the Hanging Gardens served as the start to the atonal period in Schoenberg's music. Atonal compositions, referred to as "pantonal" by Schoenberg, typically contain features such as a lack of central tonality, pervading harmonic dissonance rather than consonance, and a general absence of traditional melodic progressions. This period of atonality became commonly associated with the expressionist movement, despite the fact that Schoenberg rarely referred to the term "expressionism" in his writings. Whether or not he wanted to be associated with the movement, Schoenberg expresses an unambiguous positivity with his discovery of this new style in a program note for the 1910 first performance of The Book of the Hanging Gardens:
With the [Stefan] George songs I have for the first time succeeded in approaching an ideal of expression and form which has been in my mind for many years. Until now I lacked the strength and confidence to make it a reality. I am being forced in this direction ... not because my invention or technique is inadequate, but [because] I am obeying an inner compulsion, which is stronger than any upbringing. I am obeying the formative process which, being the one natural to me, is stronger than my artistic education.
Schoenberg's libretto transcends the tragic love poems of George and become a deeper reflection of Schoenberg's mood during this period when viewing his personal life. Alan Lessem analyses the Book of the Hanging Gardens in his book Music and Text in the Works of Arnold Schoenberg. However, how to interpret the work remains debated. Lessem maintained that the meaning of the song cycles lay in the words. Lessem treats each interval as a symbol: "cell a provides material for the expression of poignant anticipations of love, cell b of frustrated yearnings" ...the structure of [the] cycle may, viewed as a whole, give the impression of progression through time, but this is only an illusion. The various songs give only related aspects of a total, irredeemable present."
Moods are conveyed though harmony, texture, tempo, and declamation. The 'inner meaning,' if in fact there is to be found, is the music itself, which Lessem already described in great detail. Anne Marie de Zeeuw has examined in detail the "three against four" rhythm of the composition's opening and its manifestation elsewhere in the work.
As argued in Carl Schorske's groundbreaking study of Viennese society, the Book of the Hanging Gardens uses the image of the garden as a metaphor of the destruction of traditional musical form. The garden portrayed in George's poem, which Schoenberg puts to music, represent the highly organized traditional music Schoenberg broke away from. Baroque geometric gardens made popular during the Renaissance were seen as an "extension of architecture over nature." So too did the old order of music represent all that was authority and stable. The destruction of the garden parallels the use of rationality to break away from the old forms of music.
http://wn.com/Arnold_Schoenberg,_Das_Buch_der_Hängende_Gärten,_Op_15
Das Buch der Hängenden Gärten (The Book of the Hanging Gardens) is a fifteen-part song cycle composed by Arnold Schoenberg between 1908 and 1909, setting poems of Stefan George. George's poems, also under the same title, track the failed love affair of two adolescent youths in a garden, ending with the woman's departure and the disintegration of the garden. The song cycle is set for solo voice and piano. The Book of the Hanging Gardens breaks away from conventional musical order through its usage of atonality.
The Book of the Hanging Gardens served as the start to the atonal period in Schoenberg's music. Atonal compositions, referred to as "pantonal" by Schoenberg, typically contain features such as a lack of central tonality, pervading harmonic dissonance rather than consonance, and a general absence of traditional melodic progressions. This period of atonality became commonly associated with the expressionist movement, despite the fact that Schoenberg rarely referred to the term "expressionism" in his writings. Whether or not he wanted to be associated with the movement, Schoenberg expresses an unambiguous positivity with his discovery of this new style in a program note for the 1910 first performance of The Book of the Hanging Gardens:
With the [Stefan] George songs I have for the first time succeeded in approaching an ideal of expression and form which has been in my mind for many years. Until now I lacked the strength and confidence to make it a reality. I am being forced in this direction ... not because my invention or technique is inadequate, but [because] I am obeying an inner compulsion, which is stronger than any upbringing. I am obeying the formative process which, being the one natural to me, is stronger than my artistic education.
Schoenberg's libretto transcends the tragic love poems of George and become a deeper reflection of Schoenberg's mood during this period when viewing his personal life. Alan Lessem analyses the Book of the Hanging Gardens in his book Music and Text in the Works of Arnold Schoenberg. However, how to interpret the work remains debated. Lessem maintained that the meaning of the song cycles lay in the words. Lessem treats each interval as a symbol: "cell a provides material for the expression of poignant anticipations of love, cell b of frustrated yearnings" ...the structure of [the] cycle may, viewed as a whole, give the impression of progression through time, but this is only an illusion. The various songs give only related aspects of a total, irredeemable present."
Moods are conveyed though harmony, texture, tempo, and declamation. The 'inner meaning,' if in fact there is to be found, is the music itself, which Lessem already described in great detail. Anne Marie de Zeeuw has examined in detail the "three against four" rhythm of the composition's opening and its manifestation elsewhere in the work.
As argued in Carl Schorske's groundbreaking study of Viennese society, the Book of the Hanging Gardens uses the image of the garden as a metaphor of the destruction of traditional musical form. The garden portrayed in George's poem, which Schoenberg puts to music, represent the highly organized traditional music Schoenberg broke away from. Baroque geometric gardens made popular during the Renaissance were seen as an "extension of architecture over nature." So too did the old order of music represent all that was authority and stable. The destruction of the garden parallels the use of rationality to break away from the old forms of music.
- published: 22 Aug 2011
- views: 12617
My War Years - Arnold Schoenberg [1 of 3]
- Order: Reorder
- Duration: 29:36
- Updated: 15 May 2011
Arnold Schoenberg and his friends and students (including Alban Berg, Anton Webern, Alexander von Zemlinsky, Alma Mahler, Erwin Stein, Roberto Gerhard, Wassily Kandinsky and Hanns Eisler) tell the story of the composer's life in their own words. This first segment takes us through late 1908. Excerpts from live performances of Schoenberg's works are included, with artists including Pierre Boulez and the Ensemble Intercontemporain, the Schoenberg Quartet, Oliver Knussen and Michael Tilson Thomas. Featured works include Verklärte Nacht, the Gurre-Lieder and the second string quartet.
http://wn.com/My_War_Years_Arnold_Schoenberg_1_of_3_
Arnold Schoenberg and his friends and students (including Alban Berg, Anton Webern, Alexander von Zemlinsky, Alma Mahler, Erwin Stein, Roberto Gerhard, Wassily Kandinsky and Hanns Eisler) tell the story of the composer's life in their own words. This first segment takes us through late 1908. Excerpts from live performances of Schoenberg's works are included, with artists including Pierre Boulez and the Ensemble Intercontemporain, the Schoenberg Quartet, Oliver Knussen and Michael Tilson Thomas. Featured works include Verklärte Nacht, the Gurre-Lieder and the second string quartet.
- published: 15 May 2011
- views: 6533
Arnold Schoenberg - Serenade op24
- Order: Reorder
- Duration: 34:41
- Updated: 10 Sep 2012
(Tableau - Joan Mitchel)
http://wn.com/Arnold_Schoenberg_Serenade_op24
(Tableau - Joan Mitchel)
- published: 10 Sep 2012
- views: 156
Arnold Schoenberg Chamber Symphony No. 1, Op. 9
- Order: Reorder
- Duration: 21:24
- Updated: 12 Jul 2011
Round Top Music Festival; Saturday July 9, 2011
Mary Kerr, flute; Rebecca Henderson, oboe; Andrew Parker, English Horn; Hakan Rosengren, clarinet, Drew Sullivan and Sam Ross, clarinets; Kristin Wolfe Jensen, bassoon; Nathan Koch, contrabassoon; Cindy Simpson and Michelle Baker, horns; Erica Kiesewetter and Nazig Tchakarian, violins; Nancy Buck, viola; Stephen Balderston, cello; Brett Shurtliffe, diuble bass.
Ransom Wilson, conductor
http://wn.com/Arnold_Schoenberg_Chamber_Symphony_No_1,_Op_9
Round Top Music Festival; Saturday July 9, 2011
Mary Kerr, flute; Rebecca Henderson, oboe; Andrew Parker, English Horn; Hakan Rosengren, clarinet, Drew Sullivan and Sam Ross, clarinets; Kristin Wolfe Jensen, bassoon; Nathan Koch, contrabassoon; Cindy Simpson and Michelle Baker, horns; Erica Kiesewetter and Nazig Tchakarian, violins; Nancy Buck, viola; Stephen Balderston, cello; Brett Shurtliffe, diuble bass.
Ransom Wilson, conductor
- published: 12 Jul 2011
- views: 11831
Arnold Schoenberg, Serenade Op. 24, Dimitri Mitroupoulos
- Order: Reorder
- Duration: 32:29
- Updated: 16 Jun 2011
Exhausting the limits of tonal development in the music composed in the early part of his career, Arnold Schoenberg's attention was more and dore drawn to the possibilities of melodic and harmonic ideas without tonal centers. Beginning with his Second String Quartet, Op. 10, Schoenberg's transition to openly atonal composition grew into a firmly developed personal style which was decisively expressed in the Piano Pieces, Op. 11, the George Songs, Op. 15, the Five Orchestral Pieces, Op. 16, and his monodrama "Erwartung," Op. 17.
Since he had carried the development of his atonal styles so far, Schoenberg felt the need to express concretely a principle, by means of which each single tone could find its complete individuality. In the composing of the Serenade," Schoenberg for the first time began to create whole pieces integrated in his style which is not referred to as the "technique of composition with twelve tones." It must be added that Schoenberg did not call this a "system" and objects violently to such a doctrinaire conception of twelve-tone usage. As he finished each movement of the "Serenade," one of his associates has said, "Schoenberg called his pupils together and explained to them his methods of composing these pieces."
Of the seven movements, all but two make use of a twelve-tone row (a series of all the possible chromatic tones chosen at the discretion of the composer to suit all his musical purposes). The Third movement (Variations) uses an eleven-tone series; and the sixty movement (Song Without Words) is composed in free style. In only one of the movements does Schoenberg make use of vocal possibilities -- the Fourth movement, "Sonnet by Petrarca," set for Baritone voice with the other instruments accompanying.
...'At night, all hope for slumber mocking, taunting
My spirit, which alone is Death's to sunder,
Parts from my flesh, and from its bonds encumbering
Flies straight to her who threatening does receive it,
Thus to behold my soul I often wonder,
As it doth speak and weep and love her, slumbering.
Would she awake, if somehow she'd perceive it?'
The Finale (seventh movements) makes a return to the tempo and material of the March, though in different relationships, and thus unifies the spirit of the whole set of pieces.
The Serenade was first performed for a private gathering at the home of Dr. Schwarzmann in Vienna in 1924, with Schoenberg conducting. The actual American premiere, according to Carlos Salzedo, took place in Aeloian Haoo, New York City, on Marh 1, 1925, at a concert of the International Composers Guild. Conducted by Leopold Stokowski, the ensemble of was made up of the first chairs of the the Philadelphia Orchestra, and the work was well received. The Serenade, in common with the other compositions Schoenberg continues to produce, is eminently expressive of his artistic integrity, his imagination and his desire to explore and to bring to understanding the wealth of experience possible in the art of sound that we call music.
This year (1949), in celebration of the seventy-fifth birthday of Arnold Schoenberg, the United States Section of the International Society of Contemporary Music arranged for the first performance of this work in over twenty-four years, under the auspicious direction of Dimitri Mitropoulos. The ISCM has, in the years since its inception in 1923, been enterprising in brining to performance the works of many contemporary composers whose works might otherwise go unheard and unnoticed either because of their difficulty, or because of prejudice against their "modernity."
Since the larger record companies have with little exception always been over-cautions in producing any recordings that might seem out of the ordinary, one can really appreciate the sympathy, confidence, and artistic interest of Counterpoint Records in placing their facilities at the disposal of Mr. Mitropoulos and his distinguished colleagues, to record brilliantly this significant work.
It goes almost without saying that audiences and composers have for a long time been in the debt of Dimitri Mitropoulos. Such courage and imagination in presenting works of immense importance is seldom to be met in the all-too-commercial world of music today.
(Notes by Ben Weber for the original release, 1949)
http://wn.com/Arnold_Schoenberg,_Serenade_Op_24,_Dimitri_Mitroupoulos
Exhausting the limits of tonal development in the music composed in the early part of his career, Arnold Schoenberg's attention was more and dore drawn to the possibilities of melodic and harmonic ideas without tonal centers. Beginning with his Second String Quartet, Op. 10, Schoenberg's transition to openly atonal composition grew into a firmly developed personal style which was decisively expressed in the Piano Pieces, Op. 11, the George Songs, Op. 15, the Five Orchestral Pieces, Op. 16, and his monodrama "Erwartung," Op. 17.
Since he had carried the development of his atonal styles so far, Schoenberg felt the need to express concretely a principle, by means of which each single tone could find its complete individuality. In the composing of the Serenade," Schoenberg for the first time began to create whole pieces integrated in his style which is not referred to as the "technique of composition with twelve tones." It must be added that Schoenberg did not call this a "system" and objects violently to such a doctrinaire conception of twelve-tone usage. As he finished each movement of the "Serenade," one of his associates has said, "Schoenberg called his pupils together and explained to them his methods of composing these pieces."
Of the seven movements, all but two make use of a twelve-tone row (a series of all the possible chromatic tones chosen at the discretion of the composer to suit all his musical purposes). The Third movement (Variations) uses an eleven-tone series; and the sixty movement (Song Without Words) is composed in free style. In only one of the movements does Schoenberg make use of vocal possibilities -- the Fourth movement, "Sonnet by Petrarca," set for Baritone voice with the other instruments accompanying.
...'At night, all hope for slumber mocking, taunting
My spirit, which alone is Death's to sunder,
Parts from my flesh, and from its bonds encumbering
Flies straight to her who threatening does receive it,
Thus to behold my soul I often wonder,
As it doth speak and weep and love her, slumbering.
Would she awake, if somehow she'd perceive it?'
The Finale (seventh movements) makes a return to the tempo and material of the March, though in different relationships, and thus unifies the spirit of the whole set of pieces.
The Serenade was first performed for a private gathering at the home of Dr. Schwarzmann in Vienna in 1924, with Schoenberg conducting. The actual American premiere, according to Carlos Salzedo, took place in Aeloian Haoo, New York City, on Marh 1, 1925, at a concert of the International Composers Guild. Conducted by Leopold Stokowski, the ensemble of was made up of the first chairs of the the Philadelphia Orchestra, and the work was well received. The Serenade, in common with the other compositions Schoenberg continues to produce, is eminently expressive of his artistic integrity, his imagination and his desire to explore and to bring to understanding the wealth of experience possible in the art of sound that we call music.
This year (1949), in celebration of the seventy-fifth birthday of Arnold Schoenberg, the United States Section of the International Society of Contemporary Music arranged for the first performance of this work in over twenty-four years, under the auspicious direction of Dimitri Mitropoulos. The ISCM has, in the years since its inception in 1923, been enterprising in brining to performance the works of many contemporary composers whose works might otherwise go unheard and unnoticed either because of their difficulty, or because of prejudice against their "modernity."
Since the larger record companies have with little exception always been over-cautions in producing any recordings that might seem out of the ordinary, one can really appreciate the sympathy, confidence, and artistic interest of Counterpoint Records in placing their facilities at the disposal of Mr. Mitropoulos and his distinguished colleagues, to record brilliantly this significant work.
It goes almost without saying that audiences and composers have for a long time been in the debt of Dimitri Mitropoulos. Such courage and imagination in presenting works of immense importance is seldom to be met in the all-too-commercial world of music today.
(Notes by Ben Weber for the original release, 1949)
- published: 16 Jun 2011
- views: 3533
Arnold Schoenberg - Pierrot Lunaire op. 21
- Order: Reorder
- Duration: 36:19
- Updated: 20 Jul 2012
Luisa Castellani - Soprano
Andrea Lucchesini - Piano
Giuseppe Sinopoli - Conductor
Elements from the "Dresda Staatskapelle Orchestra"
- Mondestrunken
- Columbine
- Der Dandy
- Eine blasse Wäscherin
- Valse de Chopin
- Madonna
- Der kranke Mond
- Nacht (Passacaglia)
- Gebet an Pierrot
- Raub
- Rote Messe
- Galgenlied
- Enthauptung
- Die Kreuze
- Heimweh
- Gemeinheit!
- Parodie
- Der Mondfleck
- Serenade
- Heimfahrt (Barcarole)
- O alter Duft
http://wn.com/Arnold_Schoenberg_Pierrot_Lunaire_op_21
Luisa Castellani - Soprano
Andrea Lucchesini - Piano
Giuseppe Sinopoli - Conductor
Elements from the "Dresda Staatskapelle Orchestra"
- Mondestrunken
- Columbine
- Der Dandy
- Eine blasse Wäscherin
- Valse de Chopin
- Madonna
- Der kranke Mond
- Nacht (Passacaglia)
- Gebet an Pierrot
- Raub
- Rote Messe
- Galgenlied
- Enthauptung
- Die Kreuze
- Heimweh
- Gemeinheit!
- Parodie
- Der Mondfleck
- Serenade
- Heimfahrt (Barcarole)
- O alter Duft
- published: 20 Jul 2012
- views: 5808
Schoenberg - Verklärte Nacht (Transfigured Night), Op. 4, for string sextet (1899)
- Order: Reorder
- Duration: 28:49
- Updated: 20 May 2012
Verklärte Nacht (Transfigured Night), Op. 4, for string sextet (1899)
A work in one movement for string sextet by Austrian composer Arnold Schoenberg (1874-1951), his first true masterpiece, which is perhaps his most enduring composition. Composed in a highly harmonically advanced post-Romantic idiom, this work demonstrates that the young Schoenberg, aged 25, had already surpassed all his contemporaries in their style; it is little wonder that he would go on to search for new modes of composition and musical expression, pioneering atonal, expressionist and twelve-tone music. Even in this early work, the extensive use of chromaticism, modulation, dissonance and unorthodox harmonies made it very controversial when it premiered in 1902. In particular, Schoenberg used a certain "nonexistent" inverted ninth chord (it was nonexistent because it was uncategorized, and hence forbidden by convention), and this led the Vienna Musical Society to reject the composition.
"Verklärte Nacht" takes as its subject a poem by Richard Dehmel that describes a man and a woman walking through a dark forest at night. She confesses a secret to him: She is pregnant with the child of another man. He reflects on this revelation in silence, and eventually comes to accept and forgive the woman. Schoenberg was inspired by his feelings for Mathilde von Zemlinsky, the daughter of his teacher Alexander von Zemlinsky and his future wife.
This classic performance by the Hollywood String Quartet dates from 1955.
English translation of Dehmel's poem:
Two people are walking through a bare, cold wood;
the moon keeps pace with them and draws their gaze.
The moon moves along above tall oak trees,
there is no wisp of cloud to obscure the radiance
to which the black, jagged tips reach up.
A woman's voice speaks:
"I am carrying a child, and not by you.
I am walking here with you in a state of sin.
I have offended grievously against myself.
I despaired of happiness,
and yet I still felt a grievous longing
for life's fullness, for a mother's joys
"and duties; and so I sinned,
and so I yielded, shuddering, my sex
to the embrace of a stranger,
and even thought myself blessed.
Now life has taken its revenge,
and I have met you, met you."
She walks on, stumbling.
She looks up; the moon keeps pace.
Her dark gaze drowns in light.
A man's voice speaks:
"Do not let the child you have conceived
be a burden on your soul.
Look, how brightly the universe shines!
Splendour falls on everything around,
you are voyaging with me on a cold sea,
but there is the glow of an inner warmth
from you in me, from me in you.
That warmth will transfigure the stranger's child,
and you bear it me, begot by me.
You have transfused me with splendour,
you have made a child of me."
He puts an arm about her strong hips.
Their breath embraces in the air.
Two people walk on through the high, bright night.
Hollywood String Quartet: Felix Slatkin, Paul Shure (violins), Paul Robyn (viola), Eleanor Aller Slatkin (cello)
with Alvin Dinkin (viola) and Kurt Reher (cello)
http://wn.com/Schoenberg_Verklärte_Nacht_Transfigured_Night,_Op_4,_for_string_sextet_1899
Verklärte Nacht (Transfigured Night), Op. 4, for string sextet (1899)
A work in one movement for string sextet by Austrian composer Arnold Schoenberg (1874-1951), his first true masterpiece, which is perhaps his most enduring composition. Composed in a highly harmonically advanced post-Romantic idiom, this work demonstrates that the young Schoenberg, aged 25, had already surpassed all his contemporaries in their style; it is little wonder that he would go on to search for new modes of composition and musical expression, pioneering atonal, expressionist and twelve-tone music. Even in this early work, the extensive use of chromaticism, modulation, dissonance and unorthodox harmonies made it very controversial when it premiered in 1902. In particular, Schoenberg used a certain "nonexistent" inverted ninth chord (it was nonexistent because it was uncategorized, and hence forbidden by convention), and this led the Vienna Musical Society to reject the composition.
"Verklärte Nacht" takes as its subject a poem by Richard Dehmel that describes a man and a woman walking through a dark forest at night. She confesses a secret to him: She is pregnant with the child of another man. He reflects on this revelation in silence, and eventually comes to accept and forgive the woman. Schoenberg was inspired by his feelings for Mathilde von Zemlinsky, the daughter of his teacher Alexander von Zemlinsky and his future wife.
This classic performance by the Hollywood String Quartet dates from 1955.
English translation of Dehmel's poem:
Two people are walking through a bare, cold wood;
the moon keeps pace with them and draws their gaze.
The moon moves along above tall oak trees,
there is no wisp of cloud to obscure the radiance
to which the black, jagged tips reach up.
A woman's voice speaks:
"I am carrying a child, and not by you.
I am walking here with you in a state of sin.
I have offended grievously against myself.
I despaired of happiness,
and yet I still felt a grievous longing
for life's fullness, for a mother's joys
"and duties; and so I sinned,
and so I yielded, shuddering, my sex
to the embrace of a stranger,
and even thought myself blessed.
Now life has taken its revenge,
and I have met you, met you."
She walks on, stumbling.
She looks up; the moon keeps pace.
Her dark gaze drowns in light.
A man's voice speaks:
"Do not let the child you have conceived
be a burden on your soul.
Look, how brightly the universe shines!
Splendour falls on everything around,
you are voyaging with me on a cold sea,
but there is the glow of an inner warmth
from you in me, from me in you.
That warmth will transfigure the stranger's child,
and you bear it me, begot by me.
You have transfused me with splendour,
you have made a child of me."
He puts an arm about her strong hips.
Their breath embraces in the air.
Two people walk on through the high, bright night.
Hollywood String Quartet: Felix Slatkin, Paul Shure (violins), Paul Robyn (viola), Eleanor Aller Slatkin (cello)
with Alvin Dinkin (viola) and Kurt Reher (cello)
- published: 20 May 2012
- views: 9092
ARNOLD SCHÖNBERG.- Noche transfigurada Op. 4
- Order: Reorder
- Duration: 27:53
- Updated: 30 Aug 2012
ARNOLD SCHÖNBERG.-
Noche transfigurada Op. 4
Cuarteto Lasalle
Violines: Walter Levin- Henry Meyer
Viola: Peter Kamnitzer
Violonchelo: Lee Fiser
2ª Viola: Con Donald McInnes
2º Violonchelo: Jonathan Pegis
Verklärte Nacht, Op. 4 ("Noche transfigurada", 1899), es un sexteto de cuerdas en un movimiento del compositor austríaco Arnold Schönberg, considerado como su primera obra importante. Fue inspirado por el poema homónimo de Richard Dehmel - además de la gran inspiración que le proporcionó el conocer a la hermana de su profesor (Alexander von Zemlinsky), Mathilde von Zemlinsky, con quien más adelante contraería nupcias.).1 Schönberg compuso este complejo y apasionado sexteto tan solo tres semanas después de conocer a Mathilde.
El Poema
El poderosísimo poema de Dehmel describe a un hombre y una mujer caminando a través de un oscuro bosque a la luz de la luna; la mujer confiesa su secreto más obscuro con su amante: está embarazada de un extraño. Los estados de ánimo y sensaciones que emanan del poema de Dehmel son reflejados en la composición en 5 secciones, comenzando por la tristeza de la confesión de la mujer; un interludio de caráter neutral donde se perciben las sensaciones del hombre al recibir la noticia; y un finale, cuando el hombre le brinda aceptación y perdón a la mujer: O sieh, wie klar das Weltall schimmert! Es ist ein Glanz um Alles her ("¡Mira cuan claro el Universo reluce! Hay un brillo sobre todo").
Dos personas caminan a través de un desnudo bosque frío;
La luna corre sobre ellos, se miran en ella.
La luna corre sobre los altos robles;
ni una nube oscurece la luz del cielo
donde las negras ramas se extienden.
La voz de una mujer habla:
"Llevo un niño, y no es de usted,
camino en pecado junto a usted,
he cometido una gran ofensa contra mí misma.
Yo ya no creía que podría ser feliz,
y sin embargo, tenía el fuerte deseo
de sentir la plenitud, la felicidad de ser madre.
Y por ello, he cometido un descaro,
así que, temblando, entregué mi sexo
a los brazos de un hombre extraño,
y así quedé embarazada por él.
Ahora la vida se ha cobrado su venganza:
Ahora te pertenezco, oh, te he encontrado."
Ella camina con paso torpe.
Ella levanta la vista; la luna corre sobre ellos.
Sus ojos oscuros se ahogan en la luz.
La voz de un hombre dice:
"Ese niño, ese que tu has recibido,
su alma no es un carga.
Sólo hay que ver ¡cuan claro brilla el universo!
Hay un resplandor en todas las cosas
Usted va a la deriva junto a mí en un oceano frío,
pero una calidez especial parpadea
desde usted hacia mí, desde mí hacia usted.
Esa llama tranfigurará al niño,
al que usted le dará vida, como si fuese mio.
Usted me ha traído la luz,
Usted ha hecho un niño de mí."
El posa su mano en sus anchas caderas
mientras sus alientos se entremezclan en el aire.
Dos personas caminan a través de la alta noche brillante.
La música
Schönberg, uno de los líderes del movimiento musical que llevaría al descubrimiento del atonalismo y, asimismo, padre del dodecafonismo, es tal vez más conocido por "Noche Transfigurada" que por otras de sus obras. Esta obra es descendiente directa de un linaje de obras del postromanticismo alemán, donde es notoria una gran influencia de las complejas armonías cromáticas de Wagner y Strauss que llevan a la tonalidad a su límite, y rozan al atonalismo. Schönberg, sin embargo, mantiene un gran lirismo y musicalidad a lo largo de toda la obra, más que en cualquiera de sus obras posteriores.
El único movimiento del sexteto consiste en 5 secciones que corresponden con la estructura del poema en el cual está basado, y los temas de cada sección constituyen una verdadera metamorfosis musical de la narrativa y el discurso del poema. Como tal, esta obra es una de los primeros ejemplos de música programática escritos para un conjunto de cámara.
La partitura original fue concebida para 2 violínes, dos violas y dos violoncellos. En 1917, Schönberg arregló la obra para orquesta de cuerdas (lo cual era bastante común entre los compositores de la época), arreglo que fue posteriormente revisado en 1943. También existe una versión para Trío de Piano escrita por Eduard Steuermann. La versión para orquesta de cuerdas es la más popular de todas, y ha sido frecuentemente interpretada y grabada. Noche Transfigurada ha servido también como base de varios ballets.
Estreno
La obra fue estrenada el 18 de marzo de 1902 en la Sociedad Musical Vienesa (Vienna Musikverein) por el Cuarteto Rosé, junto a los músicos invitados Franz Jelinek y Franz Schmidt. Arnold Rosé y Albert Bachrich tocaron los violines, Anton Ruzitska y Franz Jelinek las violas, y Friedrich Buxbaum y Franz Schmidt los cellos.
http://wn.com/ARNOLD_SCHÖNBERG_Noche_transfigurada_Op_4
ARNOLD SCHÖNBERG.-
Noche transfigurada Op. 4
Cuarteto Lasalle
Violines: Walter Levin- Henry Meyer
Viola: Peter Kamnitzer
Violonchelo: Lee Fiser
2ª Viola: Con Donald McInnes
2º Violonchelo: Jonathan Pegis
Verklärte Nacht, Op. 4 ("Noche transfigurada", 1899), es un sexteto de cuerdas en un movimiento del compositor austríaco Arnold Schönberg, considerado como su primera obra importante. Fue inspirado por el poema homónimo de Richard Dehmel - además de la gran inspiración que le proporcionó el conocer a la hermana de su profesor (Alexander von Zemlinsky), Mathilde von Zemlinsky, con quien más adelante contraería nupcias.).1 Schönberg compuso este complejo y apasionado sexteto tan solo tres semanas después de conocer a Mathilde.
El Poema
El poderosísimo poema de Dehmel describe a un hombre y una mujer caminando a través de un oscuro bosque a la luz de la luna; la mujer confiesa su secreto más obscuro con su amante: está embarazada de un extraño. Los estados de ánimo y sensaciones que emanan del poema de Dehmel son reflejados en la composición en 5 secciones, comenzando por la tristeza de la confesión de la mujer; un interludio de caráter neutral donde se perciben las sensaciones del hombre al recibir la noticia; y un finale, cuando el hombre le brinda aceptación y perdón a la mujer: O sieh, wie klar das Weltall schimmert! Es ist ein Glanz um Alles her ("¡Mira cuan claro el Universo reluce! Hay un brillo sobre todo").
Dos personas caminan a través de un desnudo bosque frío;
La luna corre sobre ellos, se miran en ella.
La luna corre sobre los altos robles;
ni una nube oscurece la luz del cielo
donde las negras ramas se extienden.
La voz de una mujer habla:
"Llevo un niño, y no es de usted,
camino en pecado junto a usted,
he cometido una gran ofensa contra mí misma.
Yo ya no creía que podría ser feliz,
y sin embargo, tenía el fuerte deseo
de sentir la plenitud, la felicidad de ser madre.
Y por ello, he cometido un descaro,
así que, temblando, entregué mi sexo
a los brazos de un hombre extraño,
y así quedé embarazada por él.
Ahora la vida se ha cobrado su venganza:
Ahora te pertenezco, oh, te he encontrado."
Ella camina con paso torpe.
Ella levanta la vista; la luna corre sobre ellos.
Sus ojos oscuros se ahogan en la luz.
La voz de un hombre dice:
"Ese niño, ese que tu has recibido,
su alma no es un carga.
Sólo hay que ver ¡cuan claro brilla el universo!
Hay un resplandor en todas las cosas
Usted va a la deriva junto a mí en un oceano frío,
pero una calidez especial parpadea
desde usted hacia mí, desde mí hacia usted.
Esa llama tranfigurará al niño,
al que usted le dará vida, como si fuese mio.
Usted me ha traído la luz,
Usted ha hecho un niño de mí."
El posa su mano en sus anchas caderas
mientras sus alientos se entremezclan en el aire.
Dos personas caminan a través de la alta noche brillante.
La música
Schönberg, uno de los líderes del movimiento musical que llevaría al descubrimiento del atonalismo y, asimismo, padre del dodecafonismo, es tal vez más conocido por "Noche Transfigurada" que por otras de sus obras. Esta obra es descendiente directa de un linaje de obras del postromanticismo alemán, donde es notoria una gran influencia de las complejas armonías cromáticas de Wagner y Strauss que llevan a la tonalidad a su límite, y rozan al atonalismo. Schönberg, sin embargo, mantiene un gran lirismo y musicalidad a lo largo de toda la obra, más que en cualquiera de sus obras posteriores.
El único movimiento del sexteto consiste en 5 secciones que corresponden con la estructura del poema en el cual está basado, y los temas de cada sección constituyen una verdadera metamorfosis musical de la narrativa y el discurso del poema. Como tal, esta obra es una de los primeros ejemplos de música programática escritos para un conjunto de cámara.
La partitura original fue concebida para 2 violínes, dos violas y dos violoncellos. En 1917, Schönberg arregló la obra para orquesta de cuerdas (lo cual era bastante común entre los compositores de la época), arreglo que fue posteriormente revisado en 1943. También existe una versión para Trío de Piano escrita por Eduard Steuermann. La versión para orquesta de cuerdas es la más popular de todas, y ha sido frecuentemente interpretada y grabada. Noche Transfigurada ha servido también como base de varios ballets.
Estreno
La obra fue estrenada el 18 de marzo de 1902 en la Sociedad Musical Vienesa (Vienna Musikverein) por el Cuarteto Rosé, junto a los músicos invitados Franz Jelinek y Franz Schmidt. Arnold Rosé y Albert Bachrich tocaron los violines, Anton Ruzitska y Franz Jelinek las violas, y Friedrich Buxbaum y Franz Schmidt los cellos.
- published: 30 Aug 2012
- views: 2356
Schoenberg - Verklärte Nacht (Transfigured Night)
- Order: Reorder
- Duration: 29:24
- Updated: 03 Dec 2011
Daniel Barenboim and Chicago Symphony Orchestra
For information and analysis of this work visit http://muswrite.blogspot.com/2011/12/schoenberg-verklarte-nacht-transfigured.html
For information and analysis of other works, visit Musical Musings at : http://muswrite.blogspot.com/
http://wn.com/Schoenberg_Verklärte_Nacht_Transfigured_Night
Daniel Barenboim and Chicago Symphony Orchestra
For information and analysis of this work visit http://muswrite.blogspot.com/2011/12/schoenberg-verklarte-nacht-transfigured.html
For information and analysis of other works, visit Musical Musings at : http://muswrite.blogspot.com/
- published: 03 Dec 2011
- views: 25205
Arnold Schoenberg: Sinfonia da camera n.2 op.38 (1906, 1916, 1939)
- Order: Reorder
- Duration: 21:39
- Updated: 13 Aug 2011
Arnold Schoenberg (1874-1951): Sinfonia da camera n.2 op.38 (1906, 1916, 1939) -- Sinfonie Orchester des Saarländischen Rundfunks diretta da Bruno Maderna (dal vivo: Saarbruecken 30 giugno 1969) --
I. Adagio
II. Con fuoco
-- cover image: painting by Alexej von Wasilewsky
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
http://wn.com/Arnold_Schoenberg_Sinfonia_da_camera_n2_op38_1906,_1916,_1939
Arnold Schoenberg (1874-1951): Sinfonia da camera n.2 op.38 (1906, 1916, 1939) -- Sinfonie Orchester des Saarländischen Rundfunks diretta da Bruno Maderna (dal vivo: Saarbruecken 30 giugno 1969) --
I. Adagio
II. Con fuoco
-- cover image: painting by Alexej von Wasilewsky
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
- published: 13 Aug 2011
- views: 5616
Arnold Schoenberg "Verklarte Nacht" (Transfigured Night) Op. 4 for String Orchestra
- Order: Reorder
- Duration: 27:28
- Updated: 06 Nov 2012
Saturday October 20, 2012 at Festival Concert Hall, Round Top, TX
Chamber Orchestra Kremlin
Misha Rachlevsky, conductor
http://www.chamberorchestrakremlin.ru/indexorch.htm
http://wn.com/Arnold_Schoenberg_Verklarte_Nacht_Transfigured_Night_Op_4_for_String_Orchestra
Saturday October 20, 2012 at Festival Concert Hall, Round Top, TX
Chamber Orchestra Kremlin
Misha Rachlevsky, conductor
http://www.chamberorchestrakremlin.ru/indexorch.htm
- published: 06 Nov 2012
- views: 329
Arnold Schönberg: Erwartung (1909)
- Order: Reorder
- Duration: 25:46
- Updated: 05 Jan 2012
Arnold Schönberg (1874-1951): Erwartung, monodramma in un atto su testo di Marie Pappenheim (1909).
Jean-Michèlle Charbonnet, soprano
WDR Sinfonie Orchester Köln
Direttore: Jukka-Pekka Saraste.
***
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
http://wn.com/Arnold_Schönberg_Erwartung_1909
Arnold Schönberg (1874-1951): Erwartung, monodramma in un atto su testo di Marie Pappenheim (1909).
Jean-Michèlle Charbonnet, soprano
WDR Sinfonie Orchester Köln
Direttore: Jukka-Pekka Saraste.
***
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
- published: 05 Jan 2012
- views: 11469
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Interview with Arnold Schoenberg
- Order: Reorder
- Duration: 7:07
- Updated: 08 Jul 2007
The Austrian composer discusses art, music, etc.
http://wn.com/Interview_with_Arnold_Schoenberg
The Austrian composer discusses art, music, etc.
- published: 08 Jul 2007
- views: 73435
Arnold Schoenberg: Father of Modern Music
- Order: Reorder
- Duration: 9:18
- Updated: 17 Jan 2007
Truman Fisher introduces the works and innovations of composer Arnold Schoenberg, including interviews with Gertrud and Lawrence Schoenberg and Rudolf Kolisch.
http://wn.com/Arnold_Schoenberg_Father_of_Modern_Music
Truman Fisher introduces the works and innovations of composer Arnold Schoenberg, including interviews with Gertrud and Lawrence Schoenberg and Rudolf Kolisch.
- published: 17 Jan 2007
- views: 46820
Arnold Schoenberg: Kammersymphonie op. 9
- Order: Reorder
- Duration: 7:27
- Updated: 14 Feb 2007
Chamber Symphony op. 9; Sinfonieorchester des Südwestfunks, conducted by Erich Leinsdorf (recorded 1984). Score available at www.universaledition.com
http://wn.com/Arnold_Schoenberg_Kammersymphonie_op_9
Chamber Symphony op. 9; Sinfonieorchester des Südwestfunks, conducted by Erich Leinsdorf (recorded 1984). Score available at www.universaledition.com
- published: 14 Feb 2007
- views: 271624
Arnold Schoenberg, String Quartet No. 1 in d minor, op. 7
- Order: Reorder
- Duration: 42:26
- Updated: 12 Jul 2011
...I abandoned program music and turned in the direction that was much more my own than all the preceding. It was the First String Quartet, Opus 7, in which I combined all the achievements of my time (including my own) such as: the construction of extremely large forms; greatly emancipated melodies based on a richly moving harmony and new chord progressions; and a contrapuntal technique that solved problems offered by superimposed, individual parts which moved freely in more remote regions of tonality and met frequently in vagrant harmonies.
In accommodation to the faith of the time, this large form was to include all the four characters of the sonata type in one single, uninterrupted movement. Durchführungen (development) should not be missing and there should be a certain degree of thematic unity within the contrasting sections.
The great expansion of this work required careful organization. It might perhaps interest an analyst to learn that I received and took advantage of the tremendous amount of advice suggested to me by a model I had chosen for this task: the first movement of the Eroica Symphony. Alexander von Zemlinsky told me that Brahms had said that every time he faced difficult problems he would consult a significant work of Bach and one of Beethoven, both of which he always used to keep near his standing-desk (Stehpult]. How did they handle a similar problem? Of course the model was not copied mechanically, but its mental essence was applied accordingly. In the same manner I learned, from the Eroica, solutions to my problems: how to avoid monotony and emptiness; how to create variety out of unity; how to create new forms out of basic material; how much can be achieved by slight modifications if not by developing variation out of often rather insignificant little formulations. From this masterpiece I learned also much of the creation of harmonic contrasts and their application.
Brahms' advice was excellent and I wish this story would persuade young composers that they must not forget what our musical forefathers have done for us.
Arnold Schoenberg
http://wn.com/Arnold_Schoenberg,_String_Quartet_No_1_in_d_minor,_op_7
...I abandoned program music and turned in the direction that was much more my own than all the preceding. It was the First String Quartet, Opus 7, in which I combined all the achievements of my time (including my own) such as: the construction of extremely large forms; greatly emancipated melodies based on a richly moving harmony and new chord progressions; and a contrapuntal technique that solved problems offered by superimposed, individual parts which moved freely in more remote regions of tonality and met frequently in vagrant harmonies.
In accommodation to the faith of the time, this large form was to include all the four characters of the sonata type in one single, uninterrupted movement. Durchführungen (development) should not be missing and there should be a certain degree of thematic unity within the contrasting sections.
The great expansion of this work required careful organization. It might perhaps interest an analyst to learn that I received and took advantage of the tremendous amount of advice suggested to me by a model I had chosen for this task: the first movement of the Eroica Symphony. Alexander von Zemlinsky told me that Brahms had said that every time he faced difficult problems he would consult a significant work of Bach and one of Beethoven, both of which he always used to keep near his standing-desk (Stehpult]. How did they handle a similar problem? Of course the model was not copied mechanically, but its mental essence was applied accordingly. In the same manner I learned, from the Eroica, solutions to my problems: how to avoid monotony and emptiness; how to create variety out of unity; how to create new forms out of basic material; how much can be achieved by slight modifications if not by developing variation out of often rather insignificant little formulations. From this masterpiece I learned also much of the creation of harmonic contrasts and their application.
Brahms' advice was excellent and I wish this story would persuade young composers that they must not forget what our musical forefathers have done for us.
Arnold Schoenberg
- published: 12 Jul 2011
- views: 28403
Arnold Schoenberg, Transfigured Night Op. 4 (1899) I
- Order: Reorder
- Duration: 14:54
- Updated: 16 Apr 2011
artwork by Arnold Schoenberg, Verklärte Nacht sections 1-3
http://wn.com/Arnold_Schoenberg,_Transfigured_Night_Op_4_1899_I
artwork by Arnold Schoenberg, Verklärte Nacht sections 1-3
- published: 16 Apr 2011
- views: 12046
Arnold Schönberg : Verklärte Nacht {1/3}
- Order: Reorder
- Duration: 9:45
- Updated: 09 Feb 2010
conducted by Gunther Schuller
http://wn.com/Arnold_Schönberg_Verklärte_Nacht_1_3_
conducted by Gunther Schuller
- published: 09 Feb 2010
- views: 33763
Peripetie - Arnold Schoenberg
- Order: Reorder
- Duration: 2:10
- Updated: 26 Jan 2010
A GCSE music presentation on the expressionist piece 'Peripetie', by Arnold Schoenberg.
http://wn.com/Peripetie_Arnold_Schoenberg
A GCSE music presentation on the expressionist piece 'Peripetie', by Arnold Schoenberg.
- published: 26 Jan 2010
- views: 82044
Arnold Schönberg - 3 Klavier Stücke op. 11, no. 1
- Order: Reorder
- Duration: 3:59
- Updated: 13 Dec 2009
Arnold Schönberg (1874-1951)
3 Klavier Stücke op. 11 (1909)
Maurizio Pollini, piano
The historical and musical significance of Schoenberg's Three Piano Pieces Op. 11 can hardly be overstated. The consensus today that they are landmarks, situated as his "earliest consistently atonal opus" (in the words of George Perle), belies a long history of analyses by resistant theorists who attempted to valiantly shoehorn them, however awkwardly, into the syntax of tonal harmony. Where one theorist heard the opening thematic material of the first piece as outlining the Phrygian mode, another heard it as an E major-minor, with F as a lower neighbor note. Another said, amazingly, "Of atonality there is no trace. One might possibly speak, however, of polytonality, of different tonalities heard simultaneously."
Schoenberg saw music history as moving inevitably forward. The introduction of equal temperament made possible chromaticism, modulation techniques, and the tonal system of the eighteenth century. But Schoenberg saw that, carried to its logical conclusion, tonal music contained within itself the seeds of its own destruction. As Charles Wuorinen has put it, atonality was the end result of "the tendency within tonal music for an ever-increasing number of foreign, ancillary tones to be introduced into the harmonic fabric." (Wuorinen) These pieces were Schoenberg's first conscious steps on the path toward serialism.
Looking back to 1909, Schoenberg had this to say forty years later: "My technique and style have not been developed by a conscious procedure. Reviewing this development today it seems to me that I have moved in many roundabout ways, sometimes advancing slowly, sometimes speedily, sometimes even falling back several steps. The most decisive steps forward occurred in the Two Songs, Op. 14, and in the Three Piano Pieces, Op. 11." (Schoenberg)
Yet despite Schoenberg's insistence that he proceeded by conservative and careful steps rather than one radical leap, what he achieved in Op. 11 was quite startling, and dramatically new. In the words of Eric Salzman, "For the first time, every sound, every interval, every event has a unique and independent value, free of the hierarchies of tonal discourse--and equally free of the meanings formerly invested in them. Thematic development remains, but totally abstracted from its old contexts."
This achievement alone earns these pieces a place as important pivotal works of the twentieth century.
from: http://www.colleges.org/techcenter/music/modules/op11/op11pages/signif1.html
http://wn.com/Arnold_Schönberg_3_Klavier_Stücke_op_11,_no_1
Arnold Schönberg (1874-1951)
3 Klavier Stücke op. 11 (1909)
Maurizio Pollini, piano
The historical and musical significance of Schoenberg's Three Piano Pieces Op. 11 can hardly be overstated. The consensus today that they are landmarks, situated as his "earliest consistently atonal opus" (in the words of George Perle), belies a long history of analyses by resistant theorists who attempted to valiantly shoehorn them, however awkwardly, into the syntax of tonal harmony. Where one theorist heard the opening thematic material of the first piece as outlining the Phrygian mode, another heard it as an E major-minor, with F as a lower neighbor note. Another said, amazingly, "Of atonality there is no trace. One might possibly speak, however, of polytonality, of different tonalities heard simultaneously."
Schoenberg saw music history as moving inevitably forward. The introduction of equal temperament made possible chromaticism, modulation techniques, and the tonal system of the eighteenth century. But Schoenberg saw that, carried to its logical conclusion, tonal music contained within itself the seeds of its own destruction. As Charles Wuorinen has put it, atonality was the end result of "the tendency within tonal music for an ever-increasing number of foreign, ancillary tones to be introduced into the harmonic fabric." (Wuorinen) These pieces were Schoenberg's first conscious steps on the path toward serialism.
Looking back to 1909, Schoenberg had this to say forty years later: "My technique and style have not been developed by a conscious procedure. Reviewing this development today it seems to me that I have moved in many roundabout ways, sometimes advancing slowly, sometimes speedily, sometimes even falling back several steps. The most decisive steps forward occurred in the Two Songs, Op. 14, and in the Three Piano Pieces, Op. 11." (Schoenberg)
Yet despite Schoenberg's insistence that he proceeded by conservative and careful steps rather than one radical leap, what he achieved in Op. 11 was quite startling, and dramatically new. In the words of Eric Salzman, "For the first time, every sound, every interval, every event has a unique and independent value, free of the hierarchies of tonal discourse--and equally free of the meanings formerly invested in them. Thematic development remains, but totally abstracted from its old contexts."
This achievement alone earns these pieces a place as important pivotal works of the twentieth century.
from: http://www.colleges.org/techcenter/music/modules/op11/op11pages/signif1.html
- published: 13 Dec 2009
- views: 37780
Schoenberg: Verklärte Nacht, Op.4 - Boulez.
- Order: Reorder
- Duration: 29:26
- Updated: 12 Nov 2011
Arnold Schoenberg (1874-1951): Verklärte Nacht (Transfigured Night / La Nuit transfigurée), Op.4 (1899)
Pierre Boulez: Membres de L'Ensemble Intercontemporain
Charles-André Linale: violin / violon
Maryvonne Le Dizès-Richard: violin / violon
Jean Sulem: viola / alto
Garth Knox: viola / alto
Philippe Muller: cello / violoncelle
Pieter Strauch: cello / violoncelle
http://wn.com/Schoenberg_Verklärte_Nacht,_Op4_Boulez
Arnold Schoenberg (1874-1951): Verklärte Nacht (Transfigured Night / La Nuit transfigurée), Op.4 (1899)
Pierre Boulez: Membres de L'Ensemble Intercontemporain
Charles-André Linale: violin / violon
Maryvonne Le Dizès-Richard: violin / violon
Jean Sulem: viola / alto
Garth Knox: viola / alto
Philippe Muller: cello / violoncelle
Pieter Strauch: cello / violoncelle
- published: 12 Nov 2011
- views: 71169
Arnold Schoenberg: Piano Concerto op. 42 (Excerpt)
- Order: Reorder
- Duration: 5:43
- Updated: 20 Feb 2007
Mitsuko Uchida, soloist. Rotterdams Philharmonisch Orkest, conducted by Jeffrey Tate. Score available at www.schoenbergmusic.com.
http://wn.com/Arnold_Schoenberg_Piano_Concerto_op_42_Excerpt
Mitsuko Uchida, soloist. Rotterdams Philharmonisch Orkest, conducted by Jeffrey Tate. Score available at www.schoenbergmusic.com.
- published: 20 Feb 2007
- views: 300687
Arnold Schoenberg: Verklärte Nacht op.4b (1899, vers. 1917)
- Order: Reorder
- Duration: 31:26
- Updated: 13 Aug 2011
Arnold Schoenberg (1874-1951): Verklärte Nacht op.4b, versione per orchestra d'archi (1899, vers. 1917) -- Wiener Symphoniker diretta da Bruno Maderna (registrazione dal vivo: Wien Festival 3 giugno 1969)
I. Grave
II. Molto rallentando
III. Pesante
IV. Adagio
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
http://wn.com/Arnold_Schoenberg_Verklärte_Nacht_op4b_1899,_vers_1917
Arnold Schoenberg (1874-1951): Verklärte Nacht op.4b, versione per orchestra d'archi (1899, vers. 1917) -- Wiener Symphoniker diretta da Bruno Maderna (registrazione dal vivo: Wien Festival 3 giugno 1969)
I. Grave
II. Molto rallentando
III. Pesante
IV. Adagio
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
- published: 13 Aug 2011
- views: 24616
Arnold Schoenberg's Twelve-Tone Method (English)
- Order: Reorder
- Duration: 5:23
- Updated: 05 Jan 2007
Introduction to the twelve-tone method of Arnold Schoenberg (1874-1951), Austrian composer.
http://wn.com/Arnold_Schoenberg's_Twelve-Tone_Method_English
Introduction to the twelve-tone method of Arnold Schoenberg (1874-1951), Austrian composer.
- published: 05 Jan 2007
- views: 254992
Arnold Schoenberg - Five Piano Pieces
- Order: Reorder
- Duration: 12:17
- Updated: 31 May 2011
Five Pieces for piano, Op. 23 (1920-1923)
I. Sehr langsam
II. Sehr rasch
III. Langsam
IV. Schwungvoll. Mässige
V. Walzer
Glenn Gould, piano
Between Schoenberg's Six Piano Pieces, Op. 19 and his Five Piano Pieces, Op. 23 lay the First World War and the ensuing depression. The period was also a compositional void for Schoenberg, whose output nearly ceased. He had reached an artistic crisis and sought a way to reach his true aim: "unity and regularity." That this was to be achieved without the procedures of tonality was of paramount importance, for Schoenberg felt that tonality had run its course. This led to his "discovery" of the "method of composing with 12 tones which are related only with one another." This did not happen overnight. Schoenberg experimented with the serialization of smaller groups of notes before applying the idea to all 12. We can find evidence of Schoenberg's experiments in the Five Pieces for Piano, Op. 23, a pivotal work in the composer's career.
The pieces that make up the Op. 23 set were not composed at the same time. Schoenberg wrote Nos. 1-2 and part of 4 in July 1920; the rest of Op. 23 in February 1923. By the time he began composing the 12-tone fifth movement, "Walzer" (Waltz), Schoenberg had already written works in the new idiom that would be published as part of the Suite for Piano, Op. 25.
The first of the Five Pieces, Op. 23, marked Sehr langsam (Very slow), demonstrates Schoenberg's approach to the principle of developing variation. When the opening melody reappears, the pitches are the same, but they have been moved to different octaves, changing the shape of the phrase, and are presented in a different rhythmic configuration. The retention of the pitches alone is enough to constitute a return to the theme, and through this piece we can gain insight into how Schoenberg uses pitches, not rhythms or melodic shapes, at the core of a composition. This concept lead directly to his formation of the 12-tone method.
Variation procedures continue in the second movement, Sehr rasch (Very fast), although some analysts have uncovered a sonata form structure. In this brief piece, the vertical aspect of the music is a result of the linear melodic movement.
The third piece of the set, Langsam (Slow) -- sometimes referred to as a fugue because of the alternating entrances at the beginning -- is again driven by variation technique. A five-note motive is put through metamorphoses so intense that at times it seems a single pitch could be considered part of any one of several forms of the motive.
Rhythmic freedom characterizes the fourth piece, Schwungvoll (Full of vitality). Here, Schoenberg juxtaposes sections of dense and sparse textures, separated by brief pauses.
Although the first four works of Op. 23 exhibit 12-tone techniques to a limited degree, these apply to smaller collections of pitches, not the entire 12 of the chromatic scale. The fifth and final work of the set (Walzer), however, is based on the repetition of a series or row of all 12 pitches. Everything that happens in this piece, both vertically and horizontally, is derived from the same series of pitches appearing in the same order. This is Schoenberg's most transparent and straightforward usage of these techniques. Schoenberg's next works, particularly the Suite for Piano, Op. 25, and the Quintet for Winds, Op. 26, would witness an expansion of the method and a greater self-assuredness on the part of the composer. [Allmusic.com]
Art by Othon Friesz
http://wn.com/Arnold_Schoenberg_Five_Piano_Pieces
Five Pieces for piano, Op. 23 (1920-1923)
I. Sehr langsam
II. Sehr rasch
III. Langsam
IV. Schwungvoll. Mässige
V. Walzer
Glenn Gould, piano
Between Schoenberg's Six Piano Pieces, Op. 19 and his Five Piano Pieces, Op. 23 lay the First World War and the ensuing depression. The period was also a compositional void for Schoenberg, whose output nearly ceased. He had reached an artistic crisis and sought a way to reach his true aim: "unity and regularity." That this was to be achieved without the procedures of tonality was of paramount importance, for Schoenberg felt that tonality had run its course. This led to his "discovery" of the "method of composing with 12 tones which are related only with one another." This did not happen overnight. Schoenberg experimented with the serialization of smaller groups of notes before applying the idea to all 12. We can find evidence of Schoenberg's experiments in the Five Pieces for Piano, Op. 23, a pivotal work in the composer's career.
The pieces that make up the Op. 23 set were not composed at the same time. Schoenberg wrote Nos. 1-2 and part of 4 in July 1920; the rest of Op. 23 in February 1923. By the time he began composing the 12-tone fifth movement, "Walzer" (Waltz), Schoenberg had already written works in the new idiom that would be published as part of the Suite for Piano, Op. 25.
The first of the Five Pieces, Op. 23, marked Sehr langsam (Very slow), demonstrates Schoenberg's approach to the principle of developing variation. When the opening melody reappears, the pitches are the same, but they have been moved to different octaves, changing the shape of the phrase, and are presented in a different rhythmic configuration. The retention of the pitches alone is enough to constitute a return to the theme, and through this piece we can gain insight into how Schoenberg uses pitches, not rhythms or melodic shapes, at the core of a composition. This concept lead directly to his formation of the 12-tone method.
Variation procedures continue in the second movement, Sehr rasch (Very fast), although some analysts have uncovered a sonata form structure. In this brief piece, the vertical aspect of the music is a result of the linear melodic movement.
The third piece of the set, Langsam (Slow) -- sometimes referred to as a fugue because of the alternating entrances at the beginning -- is again driven by variation technique. A five-note motive is put through metamorphoses so intense that at times it seems a single pitch could be considered part of any one of several forms of the motive.
Rhythmic freedom characterizes the fourth piece, Schwungvoll (Full of vitality). Here, Schoenberg juxtaposes sections of dense and sparse textures, separated by brief pauses.
Although the first four works of Op. 23 exhibit 12-tone techniques to a limited degree, these apply to smaller collections of pitches, not the entire 12 of the chromatic scale. The fifth and final work of the set (Walzer), however, is based on the repetition of a series or row of all 12 pitches. Everything that happens in this piece, both vertically and horizontally, is derived from the same series of pitches appearing in the same order. This is Schoenberg's most transparent and straightforward usage of these techniques. Schoenberg's next works, particularly the Suite for Piano, Op. 25, and the Quintet for Winds, Op. 26, would witness an expansion of the method and a greater self-assuredness on the part of the composer. [Allmusic.com]
Art by Othon Friesz
- published: 31 May 2011
- views: 7490
Arnold Schoenberg - Fantasy for Violin and Piano
- Order: Reorder
- Duration: 8:45
- Updated: 24 May 2011
Fantasy for violin & piano, Op. 47 (1949)
I. Grave -- Più mosso -- Meno mosso -- Lento -- Grazioso -- Tempo I -- Più mosso --
II. Scherzando -- Poco tranquillo -- Scherzando -- Meno mosso -- Tempo I
Israel Baker, violin
Glenn Gould, piano
In 1934, Arnold Schoenberg made a general assessment of his music: "I will not show you that my music is beautiful. You know it is not; I know it is not." The Fantasy for Violin and with Piano accompaniment, Op. 47, composed in March 1949, does nothing to overturn this judgment; Schoenberg's last instrumental work (his final years were devoted mainly to vocal works, mostly on religious themes, and an attempt to complete the opera, Moses und Aron), it represents the height of the composer's twelve-tone complexity and the complete subordination of aural concerns to those of rigorous order and derivation.
The title of the Fantasy is appropriate, given the process used in its composition: Schoenberg composed the solo violin melody first alone, and then wrote a separate piano accompaniment to go with it. The composition of the melody apart from the accompaniment was no doubt facilitated by the twelve-note idiom, applied here with the same kind of rigor as in the much earlier Piano Pieces, Op. 33a & b.
The Fantasy was composed for violinist Adolf Koldofsky (1905-51), a native of Los Angeles, and was first performed by him on the International Society for Contemporary Music's concert in commemoration of Schoenberg's seventy-fifth birthday (13 September 1949).
The Fantasy is not large--only 166 measures in length--but is among Schoenberg's densest works. In the first movement, marked Grave at the outset, the pianist fills in row forms around the sustained tones of the violinist, who is often instructed to perform harmonics and pizzicato notes. About midway through the movement a recurring trilled passage in the piano accompanies a quiet, sustained melody in the violin. This gives way to a return of the opening tempo and an ensuing segment featuring strong rhythmic drive derived from repeated notes and rhythmic figures in both the violin and piano. Without pause, the second movement, Scherzando, begins with an angular tune on the violin played in double stops. The generally detached playing of the first section becomes more connected as the violin enters with a repeated rhythmic figure similar to the one in the middle of the first movement. In the last measures, the "octave equivalency" aspect of the twelve-note method comes to the fore as pitches are played in drastically different registers on the violin. A few trills on the violin precede the work's screechingly abrupt close. [Allmusic.com]
Art by Joseph Beuys
http://wn.com/Arnold_Schoenberg_Fantasy_for_Violin_and_Piano
Fantasy for violin & piano, Op. 47 (1949)
I. Grave -- Più mosso -- Meno mosso -- Lento -- Grazioso -- Tempo I -- Più mosso --
II. Scherzando -- Poco tranquillo -- Scherzando -- Meno mosso -- Tempo I
Israel Baker, violin
Glenn Gould, piano
In 1934, Arnold Schoenberg made a general assessment of his music: "I will not show you that my music is beautiful. You know it is not; I know it is not." The Fantasy for Violin and with Piano accompaniment, Op. 47, composed in March 1949, does nothing to overturn this judgment; Schoenberg's last instrumental work (his final years were devoted mainly to vocal works, mostly on religious themes, and an attempt to complete the opera, Moses und Aron), it represents the height of the composer's twelve-tone complexity and the complete subordination of aural concerns to those of rigorous order and derivation.
The title of the Fantasy is appropriate, given the process used in its composition: Schoenberg composed the solo violin melody first alone, and then wrote a separate piano accompaniment to go with it. The composition of the melody apart from the accompaniment was no doubt facilitated by the twelve-note idiom, applied here with the same kind of rigor as in the much earlier Piano Pieces, Op. 33a & b.
The Fantasy was composed for violinist Adolf Koldofsky (1905-51), a native of Los Angeles, and was first performed by him on the International Society for Contemporary Music's concert in commemoration of Schoenberg's seventy-fifth birthday (13 September 1949).
The Fantasy is not large--only 166 measures in length--but is among Schoenberg's densest works. In the first movement, marked Grave at the outset, the pianist fills in row forms around the sustained tones of the violinist, who is often instructed to perform harmonics and pizzicato notes. About midway through the movement a recurring trilled passage in the piano accompanies a quiet, sustained melody in the violin. This gives way to a return of the opening tempo and an ensuing segment featuring strong rhythmic drive derived from repeated notes and rhythmic figures in both the violin and piano. Without pause, the second movement, Scherzando, begins with an angular tune on the violin played in double stops. The generally detached playing of the first section becomes more connected as the violin enters with a repeated rhythmic figure similar to the one in the middle of the first movement. In the last measures, the "octave equivalency" aspect of the twelve-note method comes to the fore as pitches are played in drastically different registers on the violin. A few trills on the violin precede the work's screechingly abrupt close. [Allmusic.com]
Art by Joseph Beuys
- published: 24 May 2011
- views: 4398
Schoenberg - Three Piano Pieces, No. 1 (with sheet music)
- Order: Reorder
- Duration: 4:11
- Updated: 14 Jan 2009
The first of the Op. 11 set, one of Arnold Schoenberg's earliest experiments in free atonality.
Performed by Glenn Gould.
http://wn.com/Schoenberg_Three_Piano_Pieces,_No_1_with_sheet_music
The first of the Op. 11 set, one of Arnold Schoenberg's earliest experiments in free atonality.
Performed by Glenn Gould.
- published: 14 Jan 2009
- views: 159013
Arnold Schoenberg: A Survivor from Warsaw
- Order: Reorder
- Duration: 8:20
- Updated: 07 Feb 2007
Arnold Schoenberg's cantata performed by Bamberger Symphoniker, conducted by Horst Stein, Hermann Prey (narrator. Score published by Bomart Music Publications and Belmont Music Publications.
http://wn.com/Arnold_Schoenberg_A_Survivor_from_Warsaw
Arnold Schoenberg's cantata performed by Bamberger Symphoniker, conducted by Horst Stein, Hermann Prey (narrator. Score published by Bomart Music Publications and Belmont Music Publications.
- published: 07 Feb 2007
- views: 209791
Arnold Schönberg - A Survivor from Warsaw Op. 46
- Order: Reorder
- Duration: 7:24
- Updated: 21 Jul 2010
A Survivor from Warsaw Op. 46 (Ein Überlebender aus Warschau), work for narrator, men's chorus, and orchestra. Author: Arnold Schönberg (1874-1951).
http://wn.com/Arnold_Schönberg_A_Survivor_from_Warsaw_Op_46
A Survivor from Warsaw Op. 46 (Ein Überlebender aus Warschau), work for narrator, men's chorus, and orchestra. Author: Arnold Schönberg (1874-1951).
- published: 21 Jul 2010
- views: 77013
Schoenberg vs Cage: A Segment from Jonathan Cott's interview with John Cage
- Order: Reorder
- Duration: 6:16
- Updated: 13 Nov 2012
"Jonathan Cott, then just 19, interviews John Cage and challenges his worth as a composer in a series of questions regarding his teacher Arnold Schoenberg. (1963)
Visit radiOM.org for original program with the complete interview."
http://archive.org/details/CottInterviewsCage-Segment
http://wn.com/Schoenberg_vs_Cage_A_Segment_from_Jonathan_Cott's_interview_with_John_Cage
"Jonathan Cott, then just 19, interviews John Cage and challenges his worth as a composer in a series of questions regarding his teacher Arnold Schoenberg. (1963)
Visit radiOM.org for original program with the complete interview."
http://archive.org/details/CottInterviewsCage-Segment
- published: 13 Nov 2012
- views: 430
Arnold Schoenberg House
- Order: Reorder
- Duration: 3:14
- Updated: 26 Jan 2007
Arnold Schoenberg's House in Mödling, including an interview with Richard Hoffmann (Schoenberg's pupil and assistant in Los Angeles) and Christian Meyer (director of the Arnold Schoenberg Center in Vienna).
http://wn.com/Arnold_Schoenberg_House
Arnold Schoenberg's House in Mödling, including an interview with Richard Hoffmann (Schoenberg's pupil and assistant in Los Angeles) and Christian Meyer (director of the Arnold Schoenberg Center in Vienna).
- published: 26 Jan 2007
- views: 7578
Schoenberg: "String Quartet No. 3" Op. 30 Mvt.1
- Order: Reorder
- Duration: 8:08
- Updated: 24 Oct 2008
Schoenberg: String Quartet No. 3, Op. 30, Mvt. 1 (1927). Recorded in 1937 by the Kolisch Quartet under Schoenberg's supervision
http://wn.com/Schoenberg_String_Quartet_No_3_Op_30_Mvt1
Schoenberg: String Quartet No. 3, Op. 30, Mvt. 1 (1927). Recorded in 1937 by the Kolisch Quartet under Schoenberg's supervision
- published: 24 Oct 2008
- views: 30146
Arnold Schoenberg - Suite for Piano Op. 25 - Part II
- Order: Reorder
- Duration: 8:07
- Updated: 19 May 2008
Suite para Piano Op.25 (Parte II)
Arnold Schoenberg (1874 - 1951)
Piano: Glenn Gould
http://wn.com/Arnold_Schoenberg_Suite_for_Piano_Op_25_Part_II
Suite para Piano Op.25 (Parte II)
Arnold Schoenberg (1874 - 1951)
Piano: Glenn Gould
- published: 19 May 2008
- views: 64228
Arnold Schoenberg (1874-1951) (English)
- Order: Reorder
- Duration: 3:24
- Updated: 10 Dec 2006
Introduction to the life of Arnold Schoenberg (1874-1951), Austrian composer.
http://wn.com/Arnold_Schoenberg_1874-1951_English
Introduction to the life of Arnold Schoenberg (1874-1951), Austrian composer.
- published: 10 Dec 2006
- views: 25615
Schoenberg Verklaerte Nacht (part 1) - Chamber Music Society of Lincoln Center
- Order: Reorder
- Duration: 14:06
- Updated: 17 Sep 2010
Schoenberg Verklaerte Nacht (part 1)
Live from Lincoln Center
Violins: Arnaud Sussmann, Erin Keefe
Violas: David Kim, Teng Li
Cellos: David Finckel, Priscilla Lee
http://wn.com/Schoenberg_Verklaerte_Nacht_part_1_Chamber_Music_Society_of_Lincoln_Center
Schoenberg Verklaerte Nacht (part 1)
Live from Lincoln Center
Violins: Arnaud Sussmann, Erin Keefe
Violas: David Kim, Teng Li
Cellos: David Finckel, Priscilla Lee
- published: 17 Sep 2010
- views: 62362
34:54
Schoenberg's "Pierrot Lunaire" - Paula Robison & Friends - Complete Live Performance
"Pierrot Lunaire" by Arnold Schoenberg, Op. 21 (1912)
Poems by Albert Giraud - German tran...
published: 15 Oct 2012
Schoenberg's "Pierrot Lunaire" - Paula Robison & Friends - Complete Live Performance
"Pierrot Lunaire" by Arnold Schoenberg, Op. 21 (1912)
Poems by Albert Giraud - German translations by Otto Erich Hartleben
In celebration of the 100th anniversary of its first performance
Live from Calderwood Hall, February 2, 2012
The Isabella Stewart Gardner Museum
Boston, Massachusetts
Musicians:
Paula Robison - sprechstimme
Sooyun Kim - flute, piccolo
Carol McGonnell - clarinet, bass clarinet
David Fulmer - violin, viola
Michael Kannen - cello
Steven Beck - piano
Video Credits:
Montage by Paula Robison and Adam Workman
Audio by Tom Stephenson
Produced by Adam Workman, Flutistry Boston
-------------------------------------------------------------------
For more information please visit:
www.paularobison.com
- published: 15 Oct 2012
- views: 331
31:26
Arnold Schoenberg: Verklärte Nacht op.4b (1899, vers. 1917)
Arnold Schoenberg (1874-1951): Verklärte Nacht op.4b, versione per orchestra d'archi (1899...
published: 13 Aug 2011
Arnold Schoenberg: Verklärte Nacht op.4b (1899, vers. 1917)
Arnold Schoenberg (1874-1951): Verklärte Nacht op.4b, versione per orchestra d'archi (1899, vers. 1917) -- Wiener Symphoniker diretta da Bruno Maderna (registrazione dal vivo: Wien Festival 3 giugno 1969)
I. Grave
II. Molto rallentando
III. Pesante
IV. Adagio
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
- published: 13 Aug 2011
- views: 24616
4:03
Susanne Kessel, Klavierstück op. 11 Nr. 1 - Arnold Schoenberg
Susanne Kessel plays "Klavierstück op. 11 Nr. 1" by Arnold Schoenberg / live at Villa Aur...
published: 31 Aug 2009
Susanne Kessel, Klavierstück op. 11 Nr. 1 - Arnold Schoenberg
Susanne Kessel plays "Klavierstück op. 11 Nr. 1" by Arnold Schoenberg / live at Villa Aurora, Los Angeles
- published: 31 Aug 2009
- views: 1139
29:36
My War Years - Arnold Schoenberg [1 of 3]
Arnold Schoenberg and his friends and students (including Alban Berg, Anton Webern, Alexa...
published: 15 May 2011
My War Years - Arnold Schoenberg [1 of 3]
Arnold Schoenberg and his friends and students (including Alban Berg, Anton Webern, Alexander von Zemlinsky, Alma Mahler, Erwin Stein, Roberto Gerhard, Wassily Kandinsky and Hanns Eisler) tell the story of the composer's life in their own words. This first segment takes us through late 1908. Excerpts from live performances of Schoenberg's works are included, with artists including Pierre Boulez and the Ensemble Intercontemporain, the Schoenberg Quartet, Oliver Knussen and Michael Tilson Thomas. Featured works include Verklärte Nacht, the Gurre-Lieder and the second string quartet.
- published: 15 May 2011
- views: 6533
28:59
Arnold Schönberg - Verklärte Nacht
Arnold Schönberg (1874-1951)
Verklärte Nacht (1899)
Artemis Quartet
Natalia Prischepenk...
published: 04 Sep 2012
Arnold Schönberg - Verklärte Nacht
Arnold Schönberg (1874-1951)
Verklärte Nacht (1899)
Artemis Quartet
Natalia Prischepenko, Heime Müller (violins)
Volker Jacobsen (viola)
Eckart Runge (cello)
Members of the Alban Berg Quartet
Thomas Kakuska (viola)
Valentin Erben (cello)
Virginclassics, 2006
- published: 04 Sep 2012
- views: 1752
4:41
GAIA CloseUps — Laura Oomens, Violinist (Arnold Schönberg: Verklärte Nacht Op. 4)
GAIA CloseUps — Laura Oomens, Violinist (2011)
The GAIA Monologues — short films featurin...
published: 20 Feb 2012
GAIA CloseUps — Laura Oomens, Violinist (Arnold Schönberg: Verklärte Nacht Op. 4)
GAIA CloseUps — Laura Oomens, Violinist (2011)
The GAIA Monologues — short films featuring some of the artists who attended the GAIA Chamber Music Festival in 2011.
During brief moments between performances, they reveal their thoughts on the Festival, life, music, and much more.
Laura Oomen's interview is accompanied by her live performance at GAIA of Arnold Schönberg's Transfigured Night Op. 4, with Alexander Sitkovetsky (violin), Ilya Hoffman (viola), Natalia Tchitch (viola), Gavriel Lipkind (cello), and Guy Johnston (cello).
© GAIA Chamber Music Festival
www.gaia-festival.com
Film by Acheron Film
- published: 20 Feb 2012
- views: 1840
29:56
My War Years - Arnold Schoenberg [2 of 3]
Arnold Schoenberg and his friends and students (including Alban Berg, Anton Webern, Alexa...
published: 16 May 2011
My War Years - Arnold Schoenberg [2 of 3]
Arnold Schoenberg and his friends and students (including Alban Berg, Anton Webern, Alexander von Zemlinsky, Alma Mahler, Erwin Stein, Roberto Gerhard, Wassily Kandinsky and Hanns Eisler) tell the story of the composer's life in their own words. This second segment begins in late 1908 and continues through his early years in Berlin. Excerpts from live performances of Schoenberg's works are included, with artists including Pierre Boulez and the Ensemble Intercontemporain, the Schoenberg Quartet, Arlene Auger, Marianne Pousseur, and Michael Tilson Thomas. Featured works include excerpts from Erwartung and Pierrot Lunaire.
- published: 16 May 2011
- views: 2700
6:44
Ensemble Hypnos - Schoenberg, Verklaerte Nacht- Live in Paris
Live in Paris, at Ste-Genevieve des Grandes Carrieres Church, 2008.11.16
Ensemble Hypnos ...
published: 23 Nov 2008
Ensemble Hypnos - Schoenberg, Verklaerte Nacht- Live in Paris
Live in Paris, at Ste-Genevieve des Grandes Carrieres Church, 2008.11.16
Ensemble Hypnos (www.myspace.com/ensemblehypnos):
Justina Zajancauskaite, Raphael Jacob: violin
Stéphanie Réthoré, Jérémy Pasquier: viola
Sarah Jacob, Pauline Buet: cello
- published: 23 Nov 2008
- views: 3998
29:26
Schoenberg: Verklärte Nacht, Op.4 - Boulez.
Arnold Schoenberg (1874-1951): Verklärte Nacht (Transfigured Night / La Nuit transfigurée)...
published: 12 Nov 2011
Schoenberg: Verklärte Nacht, Op.4 - Boulez.
Arnold Schoenberg (1874-1951): Verklärte Nacht (Transfigured Night / La Nuit transfigurée), Op.4 (1899)
Pierre Boulez: Membres de L'Ensemble Intercontemporain
Charles-André Linale: violin / violon
Maryvonne Le Dizès-Richard: violin / violon
Jean Sulem: viola / alto
Garth Knox: viola / alto
Philippe Muller: cello / violoncelle
Pieter Strauch: cello / violoncelle
- published: 12 Nov 2011
- views: 71169
29:54
Schoenberg "Verklärte Nacht" op.4 New Russian Quartet, Mikhail Bereznitsky, Boris Andrianov
Arnold Schoenberg "Verklärte Nacht" op.4
New Russian Quartet:
Julia Igonina, violin...
published: 11 May 2012
Schoenberg "Verklärte Nacht" op.4 New Russian Quartet, Mikhail Bereznitsky, Boris Andrianov
Arnold Schoenberg "Verklärte Nacht" op.4
New Russian Quartet:
Julia Igonina, violin
Elena Kharitonova, violin
Alexander Galkovsky, viola
Alexey Steblev, cello
Mikhail Bereznitsky, viola
Boris Andrianov, cello
Live from Small hall of the Moscow Conservatory, 2011
- published: 11 May 2012
- views: 1633
9:32
Schönberg Verklärte Nacht (1/5)
Thx for comments!
Raphael Schluesselberg conducting the "Wiener Kammerorchester" in Radio...
published: 30 Jul 2009
Schönberg Verklärte Nacht (1/5)
Thx for comments!
Raphael Schluesselberg conducting the "Wiener Kammerorchester" in Radiokulturhaus, Vienna, first part. Arnold Schoenberg's "Transfigured Night" afte the poem of Richard Dehmel:
Zwei Menschen gehn durch kahlen, kalten Hain;
der Mond läuft mit, sie schaun hinein.
Der Mond läuft über hohe Eichen;
kein Wölkchen trübt das Himmelslicht,
in das die schwarzen Zacken reichen.
Die Stimme eines Weibes spricht:
Ich trag ein Kind, und nit von Dir,
ich geh in Sünde neben Dir.
Ich hab mich schwer an mir vergangen.
Ich glaubte nicht mehr an ein Glück
und hatte doch ein schwer Verlangen
nach Lebensinhalt, nach Mutterglück
und Pflicht; da hab ich mich erfrecht,
da ließ ich schaudernd mein Geschlecht
von einem fremden Mann umfangen,
und hab mich noch dafür gesegnet.
Nun hat das Leben sich gerächt:
nun bin ich Dir, o Dir, begegnet.
Sie geht mit ungelenkem Schritt.
Sie schaut empor; der Mond läuft mit.
Ihr dunkler Blick ertrinkt in Licht.
Die Stimme eines Mannes spricht:
Das Kind, das Du empfangen hast,
sei Deiner Seele keine Last,
o sieh, wie klar das Weltall schimmert!
Es ist ein Glanz um alles her;
Du treibst mit mir auf kaltem Meer,
doch eine eigne Wärme flimmert
von Dir in mich, von mir in Dich.
Die wird das fremde Kind verklären,
Du wirst es mir, von mir gebären;
Du hast den Glanz in mich gebracht,
Du hast mich selbst zum Kind gemacht.
Er faßt sie um die starken Hüften.
Ihr Atem küßt sich in den Lüften.
Zwei Menschen gehn durch hohe, helle Nacht.
- published: 30 Jul 2009
- views: 28753
23:14
My War Years - Arnold Schoenberg [3 of 3]
Arnold Schoenberg and his friends and students (including Alban Berg, Anton Webern, Alexa...
published: 19 May 2011
My War Years - Arnold Schoenberg [3 of 3]
Arnold Schoenberg and his friends and students (including Alban Berg, Anton Webern, Alexander von Zemlinsky, Alma Mahler, Erwin Stein, Roberto Gerhard, Wassily Kandinsky. Hanns Eisler, Egon Wellesz and Oskar Kokoschka) tell the story of the composer's life in their own words. This third segment covers Schoenberg's, Berg's and Webern's enlistment to fight in the First World War, and concludes with Schoenberg's disclosure to his students of his new "Method of Composing with Twelve Tones Which are Related Only with One Another." Excerpts from live performances of Schoenberg's works are included, with artists including Pierre Boulez and the Ensemble Intercontemporain with Marianne Pousseur. Featured works include excerpts from Pierrot Lunaire, the first Chamber Symphony, and the Suite for Piano, Op. 25.
- published: 19 May 2011
- views: 2506
10:01
Arnold Schoenberg - Verklaerte Nacht - part III
Transfigured Night performed at BU by Zoya Tsvetkova (violin I), Oksana Georgieva (violin ...
published: 28 May 2010
Arnold Schoenberg - Verklaerte Nacht - part III
Transfigured Night performed at BU by Zoya Tsvetkova (violin I), Oksana Georgieva (violin II), Michelle Brune (viola I), Chen Lin (viola II), Hyun-Ji Kwon (cello I), Yu-Fung Chang (cello II)
Part 3
www.oksanaviolin.com
- published: 28 May 2010
- views: 1586
Vimeo results:
8:16
Arnold Schoenberg Family
Esa-Pekka Salonen visits the family of Arnold Schoenberg to find out what it was like grow...
published: 10 Sep 2010
author: Philharmonia Orchestra
Arnold Schoenberg Family
Esa-Pekka Salonen visits the family of Arnold Schoenberg to find out what it was like growing up with the father of serialism.
2:25
Pierrot Lunaire - Arnold Schoenberg
Sond'Ar-te Electric Ensemble
conductor: Jean-Sébastien Béreau
voice: Frances M. Lynch
Ar...
published: 09 Feb 2011
author: Sond'Ar-te Electric Ensemble
Pierrot Lunaire - Arnold Schoenberg
Sond'Ar-te Electric Ensemble
conductor: Jean-Sébastien Béreau
voice: Frances M. Lynch
Arnold Schoenberg - Pierrot Lunaire
21 poems by Albert Giraud
9:35
Arnold Schoenberg: Brettl - Lieder
published: 20 Feb 2011
author: Sopranella
Arnold Schoenberg: Brettl - Lieder
6:43
Arnold Schoenberg: Verklaerte Nacht
Russell Ger, Conductor
The Boston Conservatory Orchestra
Guest Concert master, Jorja Fleez...
published: 03 Dec 2012
author: Russell Ger
Arnold Schoenberg: Verklaerte Nacht
Russell Ger, Conductor
The Boston Conservatory Orchestra
Guest Concert master, Jorja Fleezanis
Sanders Theater, Harvard
October 25, 2009
Youtube results:
3:01
Zwölftonwerbung - Twelve tone commercial
Die Zwölftonmethode - totgeschwiegen und totgeredet, geliebt und verehrt, verhasst und ver...
published: 29 Apr 2008
Zwölftonwerbung - Twelve tone commercial
Die Zwölftonmethode - totgeschwiegen und totgeredet, geliebt und verehrt, verhasst und verdammt - ist eine jener Mysterien der Musikgeschichte, die unser Leben wie kein anderes in den Bann ungeahnter tönender Dimensionen zu ziehen vermag. Lassen wir uns erklären, wie unser Alltag durch Anhörung der herausragenden atonalen und dodekaphonen Werke von Arnold Schönberg, Alban Berg und Anton Webern eine höhere Dimension erlangt. Die Metaphysik der Töne - in ein einziges Album gebannt. Nie war diese Musik zwingender als jetzt. Suchtgefahr!
Audio: a production, done in 1977 by Robert Conrad, the founder of WCLV classical radio in Cleveland, Ohio, USA. The script was written by conductor Kenneth Jean and Mathias Bamert is said to have had a role in the production.
Video: ascvideo (Arnold Schönberg Center, Wien)
- published: 29 Apr 2008
- views: 166676
3:11
Arnold Schoenberg Kanons - OPENQUARTET
OPENQUARTET: Donato D'Antonio - guitar, Anselmo Pelliccioni - cello, Vanni Montanari - fl...
published: 19 Aug 2009
Arnold Schoenberg Kanons - OPENQUARTET
OPENQUARTET: Donato D'Antonio - guitar, Anselmo Pelliccioni - cello, Vanni Montanari - flute, Roberto Noferini - violin, LIVE two Kanons di Arnold Schoenberg - Carpi (MO) 24 ottobre 2008 - Auditorium Biblioteca Multimediale - 'Di uarij Istromenti diversamente concertati'
- published: 19 Aug 2009
- views: 293
3:54
Arnold Schoenberg, Herzgewächse, Op. 20 [Lucy Shelton, Da Capo Chamber Players, Oliver Knussen]
"Herzgewächse" was similar to Erwartung in that it is not musically organized by a strict ...
published: 24 Apr 2011
Arnold Schoenberg, Herzgewächse, Op. 20 [Lucy Shelton, Da Capo Chamber Players, Oliver Knussen]
"Herzgewächse" was similar to Erwartung in that it is not musically organized by a strict development of an evident theme. It experiments with instrumental color and range, But perhaps most interesting about "Herzgewächse," particularly in connection with Pierrot Lunaire, is the relationship of music to text, a relationship made even more evident by the fact that Schoenberg was beginning the text for what would become the unfinished project Die Jakobsleiter. Schoenberg was beginning to explore more deeply the possibilities of expressing in a mixture of language and music the theological and philosophical. He began to search for a link between music and words that would relinquish a dependency on visual props or the creation of mental pictures. But in "Herzgewächse" and to a lesser extent Pierrot Lunaire, the notion of the poetic still reigned as the dominant connecting link between music and language. "Herzgewächse" was not performed immediately after its composition, but only in 1927-1928, partly due to the unusual ensemble employed and the demands made on the vocalist. In the article "The Relationship to the Text," Schoenberg argued, following Schopenhauer, that music, because of its power and character, must never attempt to illustrate text or depict that which texts represent linguistically. Rather, as in the case of a Schubert song or Schoenberg's own songs, Op. 2 and 3, "the direct contact with the sound of the first words" out to be sufficient to permit the development of a musical statement by the composer without any reference to the literal meaning or "poetical context" of the poetry being set. The sounds of words rather than the mental pictures they generated, or their grammatical or sense content, triggered a so-called "direct comparison." The "real" essence of the poems -- no the illustration of content -- was unlocked by music, and essence unreachable and imperceptible without the aid of music. As Schoenberg concluded, music and text relate to each other -- that is to sy they complement each other -- on an extremely high, spiritual level, evident only in retrospect as a result of the integration of the two media at the hands of the composer. But in the ordinary sense, in terms of "declamation" or "tempo" or "loudness," or in terms of narrative description, music and text had to diverge if, in fact, music was to retain its autonomy and power and if the higher realm of connectedness of music and language was to be achieved. In this tantalizing but somewhat inconsistent theoretical exposition, Schoenberg embraced an idea that language needs to be purified if it is to be, as Kraus suggested, the "mother of ideas" in the arts. If language performs its ethical imperative -- to speak its truths in the broadest sense -- a spiritual unity that can be revealed by art and music will emerge. However, the kind of ordinary language we hear in daily life or read in newspapers as an insufficient model. What the painter and the composer must do is to take off from language and generate works in whose expression and through whose perception a higher realm of human experience is created and revealed. Language as a given text provides a hint of the aesthetic idea. That hint is often hidden from the view of the composer who approaches the text in the ordinary way. It is in this framework that would should listen to the connection between the Maeterlinck poem and the music of "Herzgewächse," particularly where the poet describes moods and the evolution of sentiment (e.g., sinking to rest, listless melancholy). It is neither the metaphoric nor the literal leaning of Maeterlinck's poem that connects to the music or justifies its presence. The text has been transformed and has become an integral telement of the musical discourse.
- published: 24 Apr 2011
- views: 4352
11:19
Arnold Schoenberg - Verklärte Nacht (3/3)
Verklärte Nacht, for string sextet, Op. 4 (1899)
Strings of the Los Angeles Philharmoni...
published: 29 Jun 2011
Arnold Schoenberg - Verklärte Nacht (3/3)
Verklärte Nacht, for string sextet, Op. 4 (1899)
Strings of the Los Angeles Philharmonic Orchestra
Zubin Mehta
Although Schoenberg's earliest published works were written for the voice, the composer had by then produced much other music, including a number of pieces incorporating strings. Indeed, Schoenberg had studied, at least informally, both the violin and cello, and thus was well equipped to meet the compositional challenges of his Op. 4, the substantial string sextet Verklärte Nacht (Transfigured Night; 1899). Its great success in Europe opened the gates of fame for the young composer, and even today, it remains one of Schoenberg's most familiar works -- and certainly one of the least "difficult" for listeners.
The poetry of Richard Dehmel was a strong influence on the composer during the final years of the nineteenth century. Three of the songs from Schoenberg's Op. 2, for example, are settings of the poet's verse. Similarly, the underlying programme of Verklärte Nacht -- the first important application of the traditionally orchestral tone poem genre to a chamber work -- is taken from a poem in Dehmel's Weib und Weit. In later years the composer acknowledged that the compulsion he felt to express Dehmel's unique passions in music was one of the key determining factors in his early musical development.
Superficially, the programme is simple and seemingly improbable: during a brisk, moonlit evening walk, a woman confides to her lover that she is pregnant with another man's child. Before meeting her present lover, she felt that the only way to bring meaning into her life was to bring another life into the world. The man replies gently, compassionately, that the strength of their love for one another will transform the unborn babe into his own child. Schoenberg's musical structure is so entirely self-sufficient that one feels the programme to be almost nonessential. In fact, Schoenberg felt that he had so fully captured the deeper, more fundamental human drama of which Dehmel's poem is just one possible encapsulation that he was reluctant to tie his work down by its association with a literary source; consequently, he avoided public comment on the relationship between Dehmel's poem and his own musical "translation."
Verklärte Nacht is cast in a single thirty-minute D minor/D major movement for an ensemble of two violins, two violas, and two cellos. (The work also exists in Schoenberg's own arrangement for string orchestra made in the 1920s and revised in the 1940s.) Schoenberg's dual -- and seemingly divergent -- musical influences, Wagner and Brahms, are present throughout. Still, Schoenberg succeeds in marshalling a highly contrapuntal and chromatic language that is entirely his own for the first time in his career. After the static, quietly throbbing D minor of the opening passage, the work quickly ventures into a world of dense counterpoint, often hinting at the tonal center without making an unequivocal return. In fact, it is not until the warm D major sonority that begins the second half -- corresponding to the man's loving reply -- that a sense of tonal stability is restored, if only temporarily. The work comes to a close with shimmering arpeggio figures and string harmonics as the couple walks off into their new life together. [Allmusic.com]
Art by Rufino Tamayo
- published: 29 Jun 2011
- views: 921
42:26
Arnold Schoenberg, String Quartet No. 1 in d minor, op. 7
...I abandoned program music and turned in the direction that was much more my own than al...
published: 12 Jul 2011
Arnold Schoenberg, String Quartet No. 1 in d minor, op. 7
...I abandoned program music and turned in the direction that was much more my own than all the preceding. It was the First String Quartet, Opus 7, in which I combined all the achievements of my time (including my own) such as: the construction of extremely large forms; greatly emancipated melodies based on a richly moving harmony and new chord progressions; and a contrapuntal technique that solved problems offered by superimposed, individual parts which moved freely in more remote regions of tonality and met frequently in vagrant harmonies.
In accommodation to the faith of the time, this large form was to include all the four characters of the sonata type in one single, uninterrupted movement. Durchführungen (development) should not be missing and there should be a certain degree of thematic unity within the contrasting sections.
The great expansion of this work required careful organization. It might perhaps interest an analyst to learn that I received and took advantage of the tremendous amount of advice suggested to me by a model I had chosen for this task: the first movement of the Eroica Symphony. Alexander von Zemlinsky told me that Brahms had said that every time he faced difficult problems he would consult a significant work of Bach and one of Beethoven, both of which he always used to keep near his standing-desk (Stehpult]. How did they handle a similar problem? Of course the model was not copied mechanically, but its mental essence was applied accordingly. In the same manner I learned, from the Eroica, solutions to my problems: how to avoid monotony and emptiness; how to create variety out of unity; how to create new forms out of basic material; how much can be achieved by slight modifications if not by developing variation out of often rather insignificant little formulations. From this masterpiece I learned also much of the creation of harmonic contrasts and their application.
Brahms' advice was excellent and I wish this story would persuade young composers that they must not forget what our musical forefathers have done for us.
Arnold Schoenberg
- published: 12 Jul 2011
- views: 28403
29:26
Schoenberg: Verklärte Nacht, Op.4 - Boulez.
Arnold Schoenberg (1874-1951): Verklärte Nacht (Transfigured Night / La Nuit transfigurée)...
published: 12 Nov 2011
Schoenberg: Verklärte Nacht, Op.4 - Boulez.
Arnold Schoenberg (1874-1951): Verklärte Nacht (Transfigured Night / La Nuit transfigurée), Op.4 (1899)
Pierre Boulez: Membres de L'Ensemble Intercontemporain
Charles-André Linale: violin / violon
Maryvonne Le Dizès-Richard: violin / violon
Jean Sulem: viola / alto
Garth Knox: viola / alto
Philippe Muller: cello / violoncelle
Pieter Strauch: cello / violoncelle
- published: 12 Nov 2011
- views: 71169
31:26
Arnold Schoenberg: Verklärte Nacht op.4b (1899, vers. 1917)
Arnold Schoenberg (1874-1951): Verklärte Nacht op.4b, versione per orchestra d'archi (1899...
published: 13 Aug 2011
Arnold Schoenberg: Verklärte Nacht op.4b (1899, vers. 1917)
Arnold Schoenberg (1874-1951): Verklärte Nacht op.4b, versione per orchestra d'archi (1899, vers. 1917) -- Wiener Symphoniker diretta da Bruno Maderna (registrazione dal vivo: Wien Festival 3 giugno 1969)
I. Grave
II. Molto rallentando
III. Pesante
IV. Adagio
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
- published: 13 Aug 2011
- views: 24616
31:38
Arnold Schoenberg: Concerto per violino e orchestra op.36 (1936)
Arnold Schoenberg (1874-1951): Concerto per violino e orchestra op.36 (1936) -- Louis Kras...
published: 02 Jun 2011
Arnold Schoenberg: Concerto per violino e orchestra op.36 (1936)
Arnold Schoenberg (1874-1951): Concerto per violino e orchestra op.36 (1936) -- Louis Krasner, violino -- New York Pilharmonic diretta da Dimitri Mitropoulos --
I. Poco allegro. Vivace
II. Andante grazioso
III. Finale. Allegro
painting by Gabriele Muenter
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
- published: 02 Jun 2011
- views: 17274
37:59
Arnold Schoenberg: Serenade op.24 (1921/1923)
Arnold Schoenberg (1874-1951): Serenade per baritono e 7 strumenti , testo di Francesco Pe...
published: 28 May 2011
Arnold Schoenberg: Serenade op.24 (1921/1923)
Arnold Schoenberg (1874-1951): Serenade per baritono e 7 strumenti , testo di Francesco Petrarca Sonetto 217, op.24 (1921/1923) -- John Carol Case, baritono -- Melos Ensemble of London diretto da Bruno Maderna
I. Marsch
II. Menuett
III. Variationen
IV. Sonett
V. Tanzszene
VI. Lied (ohne worte)
VII. Finale
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
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- published: 28 May 2011
- views: 7342
47:42
Arnold Schönberg: Pélleas und Melisande op.5 (1903)
Arnold Schönberg (1874-1951): Pélleas und Melisande, poema sinfonico op.5 (1903) -- Sinfon...
published: 05 Jan 2012
Arnold Schönberg: Pélleas und Melisande op.5 (1903)
Arnold Schönberg (1874-1951): Pélleas und Melisande, poema sinfonico op.5 (1903) -- Sinfonie-Orchester des Südwestfunks Baden-Baden diretta da Bruno Maderna (dal vivo: Baden-Baden 5 maggio 1960) --
I. Anfang
II. Heftig
III. Lebhaft
IV. Sehr rasch
V. Ein wening bewegter
VI. Langsam
VII. Ein wening bewegter
VIII. Sehr langsam
IX. Etwas bewegter
X. In gehender Bewegung
XI. Breit
-- cover image by Winifred Sandys
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
- published: 05 Jan 2012
- views: 27512
45:36
Arnold Schönberg, Pierrot lunaire (Full)
Arnold Schönberg (1874-1951)
Pierrot lunaire op. 21 (nach Gedichten von Albert Giraud)
P...
published: 19 Jan 2012
Arnold Schönberg, Pierrot lunaire (Full)
Arnold Schönberg (1874-1951)
Pierrot lunaire op. 21 (nach Gedichten von Albert Giraud)
Plus Jazz Interludes by Maria Baptist:
1 Mondestrunken
2 Colombine
3 Der Dandy
4 Eine blasse Wäscherin
5 Valse de Chopin
6 Madonna
7 Der kranke Mond
8 Jazz Interlude 1
9 Nacht
10 Gebet an Pierrot
11 Raub
12 Rote Messe
13 Galgenlied
14 Enthauptung
15 Die Kreuze
16 Jazz Interlude 2
17 Heimweh
18 Gemeinheit!
19 Parodie
20 Der Mondfleck
21 Serenade
22 Heimfahrt
23 O alter Duft
Stella Doufexis, speaking voice/mezzosoprano
Maria Baptist, Piano
opus21musikplus Ensamble
Conductor: Konstantia Gourzi
- published: 19 Jan 2012
- views: 95803
29:01
Backstage - Arnold Schoenberg Chor
Backstage bei den Vereinigten Bühnen Wien - Der "Arnold Schoenberg Chor" bei der letzten A...
published: 12 Aug 2012
Backstage - Arnold Schoenberg Chor
Backstage bei den Vereinigten Bühnen Wien - Der "Arnold Schoenberg Chor" bei der letzten Aufführung von "Hoffmanns Erzählungen" im Theater an der Wien und bei szenischen Proben für "La donna del lago" auf der Probebühne.
(W24 Backstage - eine Produktion von 0-0-0 WEBWORKS im Auftrag von W24 / Mit freundlicher Unterstützung von Vereinigte Bühnen Wien)
- published: 12 Aug 2012
- views: 1342
22:30
Arnold Schoenberg: Variazioni per orchestra op.31 (1926/1928)
Arnold Schoenberg (1874-1951): Variazioni per orchestra op.31 (1926/1928) -- Sinfonie Orc...
published: 13 Aug 2011
Arnold Schoenberg: Variazioni per orchestra op.31 (1926/1928)
Arnold Schoenberg (1874-1951): Variazioni per orchestra op.31 (1926/1928) -- Sinfonie Orchester des Westdeutschen Rundfunks diretta da Bruno Maderna (dal vivo: Colonia 8 ottobre 1961) --
Introduktion. Mäßig, ruhig
Thema. Molto moderato
Variation I. Moderato
Variation II. Langsam
Variation III. Mäßig
Variation IV. Walzertempo
Variation V. Bewegt
Variation VI. Andante
Variation VII. Langsam
Variation VIII. Sehr rasch
Variation IX. L'istesso tempo, aber etwas langsamer
Finale. Mäßig schnell
-- cover image: painting by Vassily Kandinsky
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
- published: 13 Aug 2011
- views: 11096
31:12
Arnold Schoenberg: Erwartung op.17 (1909)
Arnold Schoenberg (1874-1951): Erwartung, monodramma, libretto di Marie Pappenheim op.17 (...
published: 02 Jun 2011
Arnold Schoenberg: Erwartung op.17 (1909)
Arnold Schoenberg (1874-1951): Erwartung, monodramma, libretto di Marie Pappenheim op.17 (1909) -- Magda László, soprano -- Orchestra Sinfonica di Torino della RAI diretta da Hermann Scherchen (dal vivo: Torino 6 novembre 1953) --
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
- published: 02 Jun 2011
- views: 19741
29:29
Arnold Schoenberg: String Quartet No. 2 Op. 10 (1908)
Arnold Schoenberg (1874-1951): Quartetto per archi n.2 op.10 (1908) --- Bethany Beardslee,...
published: 20 Oct 2012
Arnold Schoenberg: String Quartet No. 2 Op. 10 (1908)
Arnold Schoenberg (1874-1951): Quartetto per archi n.2 op.10 (1908) --- Bethany Beardslee, soprano --- The Sequoia String Quartet ----
I. Mässig
II. Sehr rasch
III. Litanei: Langsam
IV. Entrückung, Sehr langsam
--- cover image by Gabriele Münter ---
The music published in this channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study learned music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
- published: 20 Oct 2012
- views: 1324
30:47
Arnold Schoenberg, Das Buch der Hängende Gärten, Op. 15
Das Buch der Hängenden Gärten (The Book of the Hanging Gardens) is a fifteen-part song cyc...
published: 22 Aug 2011
Arnold Schoenberg, Das Buch der Hängende Gärten, Op. 15
Das Buch der Hängenden Gärten (The Book of the Hanging Gardens) is a fifteen-part song cycle composed by Arnold Schoenberg between 1908 and 1909, setting poems of Stefan George. George's poems, also under the same title, track the failed love affair of two adolescent youths in a garden, ending with the woman's departure and the disintegration of the garden. The song cycle is set for solo voice and piano. The Book of the Hanging Gardens breaks away from conventional musical order through its usage of atonality.
The Book of the Hanging Gardens served as the start to the atonal period in Schoenberg's music. Atonal compositions, referred to as "pantonal" by Schoenberg, typically contain features such as a lack of central tonality, pervading harmonic dissonance rather than consonance, and a general absence of traditional melodic progressions. This period of atonality became commonly associated with the expressionist movement, despite the fact that Schoenberg rarely referred to the term "expressionism" in his writings. Whether or not he wanted to be associated with the movement, Schoenberg expresses an unambiguous positivity with his discovery of this new style in a program note for the 1910 first performance of The Book of the Hanging Gardens:
With the [Stefan] George songs I have for the first time succeeded in approaching an ideal of expression and form which has been in my mind for many years. Until now I lacked the strength and confidence to make it a reality. I am being forced in this direction ... not because my invention or technique is inadequate, but [because] I am obeying an inner compulsion, which is stronger than any upbringing. I am obeying the formative process which, being the one natural to me, is stronger than my artistic education.
Schoenberg's libretto transcends the tragic love poems of George and become a deeper reflection of Schoenberg's mood during this period when viewing his personal life. Alan Lessem analyses the Book of the Hanging Gardens in his book Music and Text in the Works of Arnold Schoenberg. However, how to interpret the work remains debated. Lessem maintained that the meaning of the song cycles lay in the words. Lessem treats each interval as a symbol: "cell a provides material for the expression of poignant anticipations of love, cell b of frustrated yearnings" ...the structure of [the] cycle may, viewed as a whole, give the impression of progression through time, but this is only an illusion. The various songs give only related aspects of a total, irredeemable present."
Moods are conveyed though harmony, texture, tempo, and declamation. The 'inner meaning,' if in fact there is to be found, is the music itself, which Lessem already described in great detail. Anne Marie de Zeeuw has examined in detail the "three against four" rhythm of the composition's opening and its manifestation elsewhere in the work.
As argued in Carl Schorske's groundbreaking study of Viennese society, the Book of the Hanging Gardens uses the image of the garden as a metaphor of the destruction of traditional musical form. The garden portrayed in George's poem, which Schoenberg puts to music, represent the highly organized traditional music Schoenberg broke away from. Baroque geometric gardens made popular during the Renaissance were seen as an "extension of architecture over nature." So too did the old order of music represent all that was authority and stable. The destruction of the garden parallels the use of rationality to break away from the old forms of music.
- published: 22 Aug 2011
- views: 12617
29:36
My War Years - Arnold Schoenberg [1 of 3]
Arnold Schoenberg and his friends and students (including Alban Berg, Anton Webern, Alexa...
published: 15 May 2011
My War Years - Arnold Schoenberg [1 of 3]
Arnold Schoenberg and his friends and students (including Alban Berg, Anton Webern, Alexander von Zemlinsky, Alma Mahler, Erwin Stein, Roberto Gerhard, Wassily Kandinsky and Hanns Eisler) tell the story of the composer's life in their own words. This first segment takes us through late 1908. Excerpts from live performances of Schoenberg's works are included, with artists including Pierre Boulez and the Ensemble Intercontemporain, the Schoenberg Quartet, Oliver Knussen and Michael Tilson Thomas. Featured works include Verklärte Nacht, the Gurre-Lieder and the second string quartet.
- published: 15 May 2011
- views: 6533
Vimeo results:
8:16
Arnold Schoenberg Family
Esa-Pekka Salonen visits the family of Arnold Schoenberg to find out what it was like grow...
published: 10 Sep 2010
author: Philharmonia Orchestra
Arnold Schoenberg Family
Esa-Pekka Salonen visits the family of Arnold Schoenberg to find out what it was like growing up with the father of serialism.
2:25
Pierrot Lunaire - Arnold Schoenberg
Sond'Ar-te Electric Ensemble
conductor: Jean-Sébastien Béreau
voice: Frances M. Lynch
Ar...
published: 09 Feb 2011
author: Sond'Ar-te Electric Ensemble
Pierrot Lunaire - Arnold Schoenberg
Sond'Ar-te Electric Ensemble
conductor: Jean-Sébastien Béreau
voice: Frances M. Lynch
Arnold Schoenberg - Pierrot Lunaire
21 poems by Albert Giraud
9:35
Arnold Schoenberg: Brettl - Lieder
published: 20 Feb 2011
author: Sopranella
Arnold Schoenberg: Brettl - Lieder
6:43
Arnold Schoenberg: Verklaerte Nacht
Russell Ger, Conductor
The Boston Conservatory Orchestra
Guest Concert master, Jorja Fleez...
published: 03 Dec 2012
author: Russell Ger
Arnold Schoenberg: Verklaerte Nacht
Russell Ger, Conductor
The Boston Conservatory Orchestra
Guest Concert master, Jorja Fleezanis
Sanders Theater, Harvard
October 25, 2009
Youtube results:
21:24
Arnold Schoenberg Chamber Symphony No. 1, Op. 9
Round Top Music Festival; Saturday July 9, 2011
Mary Kerr, flute; Rebecca Henderson, oboe;...
published: 12 Jul 2011
Arnold Schoenberg Chamber Symphony No. 1, Op. 9
Round Top Music Festival; Saturday July 9, 2011
Mary Kerr, flute; Rebecca Henderson, oboe; Andrew Parker, English Horn; Hakan Rosengren, clarinet, Drew Sullivan and Sam Ross, clarinets; Kristin Wolfe Jensen, bassoon; Nathan Koch, contrabassoon; Cindy Simpson and Michelle Baker, horns; Erica Kiesewetter and Nazig Tchakarian, violins; Nancy Buck, viola; Stephen Balderston, cello; Brett Shurtliffe, diuble bass.
Ransom Wilson, conductor
- published: 12 Jul 2011
- views: 11831
32:29
Arnold Schoenberg, Serenade Op. 24, Dimitri Mitroupoulos
Exhausting the limits of tonal development in the music composed in the early part of his ...
published: 16 Jun 2011
Arnold Schoenberg, Serenade Op. 24, Dimitri Mitroupoulos
Exhausting the limits of tonal development in the music composed in the early part of his career, Arnold Schoenberg's attention was more and dore drawn to the possibilities of melodic and harmonic ideas without tonal centers. Beginning with his Second String Quartet, Op. 10, Schoenberg's transition to openly atonal composition grew into a firmly developed personal style which was decisively expressed in the Piano Pieces, Op. 11, the George Songs, Op. 15, the Five Orchestral Pieces, Op. 16, and his monodrama "Erwartung," Op. 17.
Since he had carried the development of his atonal styles so far, Schoenberg felt the need to express concretely a principle, by means of which each single tone could find its complete individuality. In the composing of the Serenade," Schoenberg for the first time began to create whole pieces integrated in his style which is not referred to as the "technique of composition with twelve tones." It must be added that Schoenberg did not call this a "system" and objects violently to such a doctrinaire conception of twelve-tone usage. As he finished each movement of the "Serenade," one of his associates has said, "Schoenberg called his pupils together and explained to them his methods of composing these pieces."
Of the seven movements, all but two make use of a twelve-tone row (a series of all the possible chromatic tones chosen at the discretion of the composer to suit all his musical purposes). The Third movement (Variations) uses an eleven-tone series; and the sixty movement (Song Without Words) is composed in free style. In only one of the movements does Schoenberg make use of vocal possibilities -- the Fourth movement, "Sonnet by Petrarca," set for Baritone voice with the other instruments accompanying.
...'At night, all hope for slumber mocking, taunting
My spirit, which alone is Death's to sunder,
Parts from my flesh, and from its bonds encumbering
Flies straight to her who threatening does receive it,
Thus to behold my soul I often wonder,
As it doth speak and weep and love her, slumbering.
Would she awake, if somehow she'd perceive it?'
The Finale (seventh movements) makes a return to the tempo and material of the March, though in different relationships, and thus unifies the spirit of the whole set of pieces.
The Serenade was first performed for a private gathering at the home of Dr. Schwarzmann in Vienna in 1924, with Schoenberg conducting. The actual American premiere, according to Carlos Salzedo, took place in Aeloian Haoo, New York City, on Marh 1, 1925, at a concert of the International Composers Guild. Conducted by Leopold Stokowski, the ensemble of was made up of the first chairs of the the Philadelphia Orchestra, and the work was well received. The Serenade, in common with the other compositions Schoenberg continues to produce, is eminently expressive of his artistic integrity, his imagination and his desire to explore and to bring to understanding the wealth of experience possible in the art of sound that we call music.
This year (1949), in celebration of the seventy-fifth birthday of Arnold Schoenberg, the United States Section of the International Society of Contemporary Music arranged for the first performance of this work in over twenty-four years, under the auspicious direction of Dimitri Mitropoulos. The ISCM has, in the years since its inception in 1923, been enterprising in brining to performance the works of many contemporary composers whose works might otherwise go unheard and unnoticed either because of their difficulty, or because of prejudice against their "modernity."
Since the larger record companies have with little exception always been over-cautions in producing any recordings that might seem out of the ordinary, one can really appreciate the sympathy, confidence, and artistic interest of Counterpoint Records in placing their facilities at the disposal of Mr. Mitropoulos and his distinguished colleagues, to record brilliantly this significant work.
It goes almost without saying that audiences and composers have for a long time been in the debt of Dimitri Mitropoulos. Such courage and imagination in presenting works of immense importance is seldom to be met in the all-too-commercial world of music today.
(Notes by Ben Weber for the original release, 1949)
- published: 16 Jun 2011
- views: 3533
36:19
Arnold Schoenberg - Pierrot Lunaire op. 21
Luisa Castellani - Soprano
Andrea Lucchesini - Piano
Giuseppe Sinopoli - Conductor
Elemen...
published: 20 Jul 2012
Arnold Schoenberg - Pierrot Lunaire op. 21
Luisa Castellani - Soprano
Andrea Lucchesini - Piano
Giuseppe Sinopoli - Conductor
Elements from the "Dresda Staatskapelle Orchestra"
- Mondestrunken
- Columbine
- Der Dandy
- Eine blasse Wäscherin
- Valse de Chopin
- Madonna
- Der kranke Mond
- Nacht (Passacaglia)
- Gebet an Pierrot
- Raub
- Rote Messe
- Galgenlied
- Enthauptung
- Die Kreuze
- Heimweh
- Gemeinheit!
- Parodie
- Der Mondfleck
- Serenade
- Heimfahrt (Barcarole)
- O alter Duft
- published: 20 Jul 2012
- views: 5808
28:49
Schoenberg - Verklärte Nacht (Transfigured Night), Op. 4, for string sextet (1899)
Verklärte Nacht (Transfigured Night), Op. 4, for string sextet (1899)
A work in one movem...
published: 20 May 2012
Schoenberg - Verklärte Nacht (Transfigured Night), Op. 4, for string sextet (1899)
Verklärte Nacht (Transfigured Night), Op. 4, for string sextet (1899)
A work in one movement for string sextet by Austrian composer Arnold Schoenberg (1874-1951), his first true masterpiece, which is perhaps his most enduring composition. Composed in a highly harmonically advanced post-Romantic idiom, this work demonstrates that the young Schoenberg, aged 25, had already surpassed all his contemporaries in their style; it is little wonder that he would go on to search for new modes of composition and musical expression, pioneering atonal, expressionist and twelve-tone music. Even in this early work, the extensive use of chromaticism, modulation, dissonance and unorthodox harmonies made it very controversial when it premiered in 1902. In particular, Schoenberg used a certain "nonexistent" inverted ninth chord (it was nonexistent because it was uncategorized, and hence forbidden by convention), and this led the Vienna Musical Society to reject the composition.
"Verklärte Nacht" takes as its subject a poem by Richard Dehmel that describes a man and a woman walking through a dark forest at night. She confesses a secret to him: She is pregnant with the child of another man. He reflects on this revelation in silence, and eventually comes to accept and forgive the woman. Schoenberg was inspired by his feelings for Mathilde von Zemlinsky, the daughter of his teacher Alexander von Zemlinsky and his future wife.
This classic performance by the Hollywood String Quartet dates from 1955.
English translation of Dehmel's poem:
Two people are walking through a bare, cold wood;
the moon keeps pace with them and draws their gaze.
The moon moves along above tall oak trees,
there is no wisp of cloud to obscure the radiance
to which the black, jagged tips reach up.
A woman's voice speaks:
"I am carrying a child, and not by you.
I am walking here with you in a state of sin.
I have offended grievously against myself.
I despaired of happiness,
and yet I still felt a grievous longing
for life's fullness, for a mother's joys
"and duties; and so I sinned,
and so I yielded, shuddering, my sex
to the embrace of a stranger,
and even thought myself blessed.
Now life has taken its revenge,
and I have met you, met you."
She walks on, stumbling.
She looks up; the moon keeps pace.
Her dark gaze drowns in light.
A man's voice speaks:
"Do not let the child you have conceived
be a burden on your soul.
Look, how brightly the universe shines!
Splendour falls on everything around,
you are voyaging with me on a cold sea,
but there is the glow of an inner warmth
from you in me, from me in you.
That warmth will transfigure the stranger's child,
and you bear it me, begot by me.
You have transfused me with splendour,
you have made a child of me."
He puts an arm about her strong hips.
Their breath embraces in the air.
Two people walk on through the high, bright night.
Hollywood String Quartet: Felix Slatkin, Paul Shure (violins), Paul Robyn (viola), Eleanor Aller Slatkin (cello)
with Alvin Dinkin (viola) and Kurt Reher (cello)
- published: 20 May 2012
- views: 9092
9:18
Arnold Schoenberg: Father of Modern Music
Truman Fisher introduces the works and innovations of composer Arnold Schoenberg, includin...
published: 17 Jan 2007
Arnold Schoenberg: Father of Modern Music
Truman Fisher introduces the works and innovations of composer Arnold Schoenberg, including interviews with Gertrud and Lawrence Schoenberg and Rudolf Kolisch.
- published: 17 Jan 2007
- views: 46820
7:27
Arnold Schoenberg: Kammersymphonie op. 9
Chamber Symphony op. 9; Sinfonieorchester des Südwestfunks, conducted by Erich Leinsdorf (...
published: 14 Feb 2007
Arnold Schoenberg: Kammersymphonie op. 9
Chamber Symphony op. 9; Sinfonieorchester des Südwestfunks, conducted by Erich Leinsdorf (recorded 1984). Score available at www.universaledition.com
- published: 14 Feb 2007
- views: 271624
42:26
Arnold Schoenberg, String Quartet No. 1 in d minor, op. 7
...I abandoned program music and turned in the direction that was much more my own than al...
published: 12 Jul 2011
Arnold Schoenberg, String Quartet No. 1 in d minor, op. 7
...I abandoned program music and turned in the direction that was much more my own than all the preceding. It was the First String Quartet, Opus 7, in which I combined all the achievements of my time (including my own) such as: the construction of extremely large forms; greatly emancipated melodies based on a richly moving harmony and new chord progressions; and a contrapuntal technique that solved problems offered by superimposed, individual parts which moved freely in more remote regions of tonality and met frequently in vagrant harmonies.
In accommodation to the faith of the time, this large form was to include all the four characters of the sonata type in one single, uninterrupted movement. Durchführungen (development) should not be missing and there should be a certain degree of thematic unity within the contrasting sections.
The great expansion of this work required careful organization. It might perhaps interest an analyst to learn that I received and took advantage of the tremendous amount of advice suggested to me by a model I had chosen for this task: the first movement of the Eroica Symphony. Alexander von Zemlinsky told me that Brahms had said that every time he faced difficult problems he would consult a significant work of Bach and one of Beethoven, both of which he always used to keep near his standing-desk (Stehpult]. How did they handle a similar problem? Of course the model was not copied mechanically, but its mental essence was applied accordingly. In the same manner I learned, from the Eroica, solutions to my problems: how to avoid monotony and emptiness; how to create variety out of unity; how to create new forms out of basic material; how much can be achieved by slight modifications if not by developing variation out of often rather insignificant little formulations. From this masterpiece I learned also much of the creation of harmonic contrasts and their application.
Brahms' advice was excellent and I wish this story would persuade young composers that they must not forget what our musical forefathers have done for us.
Arnold Schoenberg
- published: 12 Jul 2011
- views: 28403
2:10
Peripetie - Arnold Schoenberg
A GCSE music presentation on the expressionist piece 'Peripetie', by Arnold Schoenberg....
published: 26 Jan 2010
Peripetie - Arnold Schoenberg
A GCSE music presentation on the expressionist piece 'Peripetie', by Arnold Schoenberg.
- published: 26 Jan 2010
- views: 82044
3:59
Arnold Schönberg - 3 Klavier Stücke op. 11, no. 1
Arnold Schönberg (1874-1951)
3 Klavier Stücke op. 11 (1909)
Maurizio Pollini, piano
...
published: 13 Dec 2009
Arnold Schönberg - 3 Klavier Stücke op. 11, no. 1
Arnold Schönberg (1874-1951)
3 Klavier Stücke op. 11 (1909)
Maurizio Pollini, piano
The historical and musical significance of Schoenberg's Three Piano Pieces Op. 11 can hardly be overstated. The consensus today that they are landmarks, situated as his "earliest consistently atonal opus" (in the words of George Perle), belies a long history of analyses by resistant theorists who attempted to valiantly shoehorn them, however awkwardly, into the syntax of tonal harmony. Where one theorist heard the opening thematic material of the first piece as outlining the Phrygian mode, another heard it as an E major-minor, with F as a lower neighbor note. Another said, amazingly, "Of atonality there is no trace. One might possibly speak, however, of polytonality, of different tonalities heard simultaneously."
Schoenberg saw music history as moving inevitably forward. The introduction of equal temperament made possible chromaticism, modulation techniques, and the tonal system of the eighteenth century. But Schoenberg saw that, carried to its logical conclusion, tonal music contained within itself the seeds of its own destruction. As Charles Wuorinen has put it, atonality was the end result of "the tendency within tonal music for an ever-increasing number of foreign, ancillary tones to be introduced into the harmonic fabric." (Wuorinen) These pieces were Schoenberg's first conscious steps on the path toward serialism.
Looking back to 1909, Schoenberg had this to say forty years later: "My technique and style have not been developed by a conscious procedure. Reviewing this development today it seems to me that I have moved in many roundabout ways, sometimes advancing slowly, sometimes speedily, sometimes even falling back several steps. The most decisive steps forward occurred in the Two Songs, Op. 14, and in the Three Piano Pieces, Op. 11." (Schoenberg)
Yet despite Schoenberg's insistence that he proceeded by conservative and careful steps rather than one radical leap, what he achieved in Op. 11 was quite startling, and dramatically new. In the words of Eric Salzman, "For the first time, every sound, every interval, every event has a unique and independent value, free of the hierarchies of tonal discourse--and equally free of the meanings formerly invested in them. Thematic development remains, but totally abstracted from its old contexts."
This achievement alone earns these pieces a place as important pivotal works of the twentieth century.
from: http://www.colleges.org/techcenter/music/modules/op11/op11pages/signif1.html
- published: 13 Dec 2009
- views: 37780
29:26
Schoenberg: Verklärte Nacht, Op.4 - Boulez.
Arnold Schoenberg (1874-1951): Verklärte Nacht (Transfigured Night / La Nuit transfigurée)...
published: 12 Nov 2011
Schoenberg: Verklärte Nacht, Op.4 - Boulez.
Arnold Schoenberg (1874-1951): Verklärte Nacht (Transfigured Night / La Nuit transfigurée), Op.4 (1899)
Pierre Boulez: Membres de L'Ensemble Intercontemporain
Charles-André Linale: violin / violon
Maryvonne Le Dizès-Richard: violin / violon
Jean Sulem: viola / alto
Garth Knox: viola / alto
Philippe Muller: cello / violoncelle
Pieter Strauch: cello / violoncelle
- published: 12 Nov 2011
- views: 71169
5:43
Arnold Schoenberg: Piano Concerto op. 42 (Excerpt)
Mitsuko Uchida, soloist. Rotterdams Philharmonisch Orkest, conducted by Jeffrey Tate. Scor...
published: 20 Feb 2007
Arnold Schoenberg: Piano Concerto op. 42 (Excerpt)
Mitsuko Uchida, soloist. Rotterdams Philharmonisch Orkest, conducted by Jeffrey Tate. Score available at www.schoenbergmusic.com.
- published: 20 Feb 2007
- views: 300687
31:26
Arnold Schoenberg: Verklärte Nacht op.4b (1899, vers. 1917)
Arnold Schoenberg (1874-1951): Verklärte Nacht op.4b, versione per orchestra d'archi (1899...
published: 13 Aug 2011
Arnold Schoenberg: Verklärte Nacht op.4b (1899, vers. 1917)
Arnold Schoenberg (1874-1951): Verklärte Nacht op.4b, versione per orchestra d'archi (1899, vers. 1917) -- Wiener Symphoniker diretta da Bruno Maderna (registrazione dal vivo: Wien Festival 3 giugno 1969)
I. Grave
II. Molto rallentando
III. Pesante
IV. Adagio
----
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- published: 13 Aug 2011
- views: 24616
5:23
Arnold Schoenberg's Twelve-Tone Method (English)
Introduction to the twelve-tone method of Arnold Schoenberg (1874-1951), Austrian composer...
published: 05 Jan 2007
Arnold Schoenberg's Twelve-Tone Method (English)
Introduction to the twelve-tone method of Arnold Schoenberg (1874-1951), Austrian composer.
- published: 05 Jan 2007
- views: 254992
12:17
Arnold Schoenberg - Five Piano Pieces
Five Pieces for piano, Op. 23 (1920-1923)
I. Sehr langsam
II. Sehr rasch
III. Langsam...
published: 31 May 2011
Arnold Schoenberg - Five Piano Pieces
Five Pieces for piano, Op. 23 (1920-1923)
I. Sehr langsam
II. Sehr rasch
III. Langsam
IV. Schwungvoll. Mässige
V. Walzer
Glenn Gould, piano
Between Schoenberg's Six Piano Pieces, Op. 19 and his Five Piano Pieces, Op. 23 lay the First World War and the ensuing depression. The period was also a compositional void for Schoenberg, whose output nearly ceased. He had reached an artistic crisis and sought a way to reach his true aim: "unity and regularity." That this was to be achieved without the procedures of tonality was of paramount importance, for Schoenberg felt that tonality had run its course. This led to his "discovery" of the "method of composing with 12 tones which are related only with one another." This did not happen overnight. Schoenberg experimented with the serialization of smaller groups of notes before applying the idea to all 12. We can find evidence of Schoenberg's experiments in the Five Pieces for Piano, Op. 23, a pivotal work in the composer's career.
The pieces that make up the Op. 23 set were not composed at the same time. Schoenberg wrote Nos. 1-2 and part of 4 in July 1920; the rest of Op. 23 in February 1923. By the time he began composing the 12-tone fifth movement, "Walzer" (Waltz), Schoenberg had already written works in the new idiom that would be published as part of the Suite for Piano, Op. 25.
The first of the Five Pieces, Op. 23, marked Sehr langsam (Very slow), demonstrates Schoenberg's approach to the principle of developing variation. When the opening melody reappears, the pitches are the same, but they have been moved to different octaves, changing the shape of the phrase, and are presented in a different rhythmic configuration. The retention of the pitches alone is enough to constitute a return to the theme, and through this piece we can gain insight into how Schoenberg uses pitches, not rhythms or melodic shapes, at the core of a composition. This concept lead directly to his formation of the 12-tone method.
Variation procedures continue in the second movement, Sehr rasch (Very fast), although some analysts have uncovered a sonata form structure. In this brief piece, the vertical aspect of the music is a result of the linear melodic movement.
The third piece of the set, Langsam (Slow) -- sometimes referred to as a fugue because of the alternating entrances at the beginning -- is again driven by variation technique. A five-note motive is put through metamorphoses so intense that at times it seems a single pitch could be considered part of any one of several forms of the motive.
Rhythmic freedom characterizes the fourth piece, Schwungvoll (Full of vitality). Here, Schoenberg juxtaposes sections of dense and sparse textures, separated by brief pauses.
Although the first four works of Op. 23 exhibit 12-tone techniques to a limited degree, these apply to smaller collections of pitches, not the entire 12 of the chromatic scale. The fifth and final work of the set (Walzer), however, is based on the repetition of a series or row of all 12 pitches. Everything that happens in this piece, both vertically and horizontally, is derived from the same series of pitches appearing in the same order. This is Schoenberg's most transparent and straightforward usage of these techniques. Schoenberg's next works, particularly the Suite for Piano, Op. 25, and the Quintet for Winds, Op. 26, would witness an expansion of the method and a greater self-assuredness on the part of the composer. [Allmusic.com]
Art by Othon Friesz
- published: 31 May 2011
- views: 7490
8:45
Arnold Schoenberg - Fantasy for Violin and Piano
Fantasy for violin & piano, Op. 47 (1949)
I. Grave -- Più mosso -- Meno mosso -- Lento --...
published: 24 May 2011
Arnold Schoenberg - Fantasy for Violin and Piano
Fantasy for violin & piano, Op. 47 (1949)
I. Grave -- Più mosso -- Meno mosso -- Lento -- Grazioso -- Tempo I -- Più mosso --
II. Scherzando -- Poco tranquillo -- Scherzando -- Meno mosso -- Tempo I
Israel Baker, violin
Glenn Gould, piano
In 1934, Arnold Schoenberg made a general assessment of his music: "I will not show you that my music is beautiful. You know it is not; I know it is not." The Fantasy for Violin and with Piano accompaniment, Op. 47, composed in March 1949, does nothing to overturn this judgment; Schoenberg's last instrumental work (his final years were devoted mainly to vocal works, mostly on religious themes, and an attempt to complete the opera, Moses und Aron), it represents the height of the composer's twelve-tone complexity and the complete subordination of aural concerns to those of rigorous order and derivation.
The title of the Fantasy is appropriate, given the process used in its composition: Schoenberg composed the solo violin melody first alone, and then wrote a separate piano accompaniment to go with it. The composition of the melody apart from the accompaniment was no doubt facilitated by the twelve-note idiom, applied here with the same kind of rigor as in the much earlier Piano Pieces, Op. 33a & b.
The Fantasy was composed for violinist Adolf Koldofsky (1905-51), a native of Los Angeles, and was first performed by him on the International Society for Contemporary Music's concert in commemoration of Schoenberg's seventy-fifth birthday (13 September 1949).
The Fantasy is not large--only 166 measures in length--but is among Schoenberg's densest works. In the first movement, marked Grave at the outset, the pianist fills in row forms around the sustained tones of the violinist, who is often instructed to perform harmonics and pizzicato notes. About midway through the movement a recurring trilled passage in the piano accompanies a quiet, sustained melody in the violin. This gives way to a return of the opening tempo and an ensuing segment featuring strong rhythmic drive derived from repeated notes and rhythmic figures in both the violin and piano. Without pause, the second movement, Scherzando, begins with an angular tune on the violin played in double stops. The generally detached playing of the first section becomes more connected as the violin enters with a repeated rhythmic figure similar to the one in the middle of the first movement. In the last measures, the "octave equivalency" aspect of the twelve-note method comes to the fore as pitches are played in drastically different registers on the violin. A few trills on the violin precede the work's screechingly abrupt close. [Allmusic.com]
Art by Joseph Beuys
- published: 24 May 2011
- views: 4398
Vimeo results:
8:16
Arnold Schoenberg Family
Esa-Pekka Salonen visits the family of Arnold Schoenberg to find out what it was like grow...
published: 10 Sep 2010
author: Philharmonia Orchestra
Arnold Schoenberg Family
Esa-Pekka Salonen visits the family of Arnold Schoenberg to find out what it was like growing up with the father of serialism.
2:25
Pierrot Lunaire - Arnold Schoenberg
Sond'Ar-te Electric Ensemble
conductor: Jean-Sébastien Béreau
voice: Frances M. Lynch
Ar...
published: 09 Feb 2011
author: Sond'Ar-te Electric Ensemble
Pierrot Lunaire - Arnold Schoenberg
Sond'Ar-te Electric Ensemble
conductor: Jean-Sébastien Béreau
voice: Frances M. Lynch
Arnold Schoenberg - Pierrot Lunaire
21 poems by Albert Giraud
9:35
Arnold Schoenberg: Brettl - Lieder
published: 20 Feb 2011
author: Sopranella
Arnold Schoenberg: Brettl - Lieder
6:43
Arnold Schoenberg: Verklaerte Nacht
Russell Ger, Conductor
The Boston Conservatory Orchestra
Guest Concert master, Jorja Fleez...
published: 03 Dec 2012
author: Russell Ger
Arnold Schoenberg: Verklaerte Nacht
Russell Ger, Conductor
The Boston Conservatory Orchestra
Guest Concert master, Jorja Fleezanis
Sanders Theater, Harvard
October 25, 2009
Youtube results:
4:11
Schoenberg - Three Piano Pieces, No. 1 (with sheet music)
The first of the Op. 11 set, one of Arnold Schoenberg's earliest experiments in free atona...
published: 14 Jan 2009
Schoenberg - Three Piano Pieces, No. 1 (with sheet music)
The first of the Op. 11 set, one of Arnold Schoenberg's earliest experiments in free atonality.
Performed by Glenn Gould.
- published: 14 Jan 2009
- views: 159013
8:20
Arnold Schoenberg: A Survivor from Warsaw
Arnold Schoenberg's cantata performed by Bamberger Symphoniker, conducted by Horst Stein, ...
published: 07 Feb 2007
Arnold Schoenberg: A Survivor from Warsaw
Arnold Schoenberg's cantata performed by Bamberger Symphoniker, conducted by Horst Stein, Hermann Prey (narrator. Score published by Bomart Music Publications and Belmont Music Publications.
- published: 07 Feb 2007
- views: 209791
7:24
Arnold Schönberg - A Survivor from Warsaw Op. 46
A Survivor from Warsaw Op. 46 (Ein Überlebender aus Warschau), work for narrator, men's ch...
published: 21 Jul 2010
Arnold Schönberg - A Survivor from Warsaw Op. 46
A Survivor from Warsaw Op. 46 (Ein Überlebender aus Warschau), work for narrator, men's chorus, and orchestra. Author: Arnold Schönberg (1874-1951).
- published: 21 Jul 2010
- views: 77013
6:16
Schoenberg vs Cage: A Segment from Jonathan Cott's interview with John Cage
"Jonathan Cott, then just 19, interviews John Cage and challenges his worth as a composer ...
published: 13 Nov 2012
Schoenberg vs Cage: A Segment from Jonathan Cott's interview with John Cage
"Jonathan Cott, then just 19, interviews John Cage and challenges his worth as a composer in a series of questions regarding his teacher Arnold Schoenberg. (1963)
Visit radiOM.org for original program with the complete interview."
http://archive.org/details/CottInterviewsCage-Segment
- published: 13 Nov 2012
- views: 430
photo: AP / Jacquelyn Martin
03 Apr 2013
Zeenews Bureau. Washington. Slamming North Korean threat to reopen its nuclear facilities, the US Secretary of State John Kerry on Wednesday said that Pyongyang's move was "dangerous" and "the US would not accept the DPRK (Democratic People's Republic of Korea) as a nuclear state". Kerry also said that the US will "defend and protect ourselves and... the republic of Korea." ... It is dangerous, reckless ... First Published ... ....(size: 2.1Kb)
photo: AP / Ahn Young-joon
01 Apr 2013
SEOUL . South Korea will strike back quickly if the North stages any attack on its territory, the new president in Seoul warned on Monday, as tensions ratcheted higher on the Korean peninsula amid shrill rhetoric from Pyongyang and the U.S. deployment of radar-evading fighter planes ... and South Korean military drills that have included a rare U.S. show of aerial power ... “hostile” military drills being staged in the South ... -- REUTERS ... ....(size: 5.0Kb)
photo: AP / Ugarit News via AP video
03 Apr 2013
Exclusive. Up to 600 people from 14 European countries have taken part in fighting since 2011, finds King's College study. A fighter takes up position during combat in Aleppo, Syria. Photograph. Sipa/Rex. Hundreds of Europeans have travelled to Syria since the start of the civil war to fight against President Bashar al-Assad, the most comprehensive study of European foreign fighters to date has found ... But Iraq went on for years and years ... ....(size: 4.8Kb)
photo: AP / Ahn Young-joon
03 Apr 2013
North Korea is blocking the entry of South Korean workers into a joint industrial zone, in a move seen as further escalating tensions. Workers were being allowed to leave the Kaesong complex but not cross into it from the South, Seoul's Unification Ministry confirmed. The Kaesong zone, which is a money-maker for the North, is seen as a key barometer of inter-Korean relations ... Continue reading the main story “Start Quote ... ....(size: 2.5Kb)
photo: AP / S. S. Hecker
02 Apr 2013
North Korea says it will restart all facilities at its main Yongbyon nuclear complex, which it shut in 2007, including a mothballed reactor....(size: 0.7Kb)
San Francisco Chronicle
02 Apr 2013
Balanchine will be represented by his seminal "Agon" (absent for more than a decade from the War Memorial Opera House) and "Brahms-Schoenberg Quartet." Although the latter, which is set to Arnold Schoenberg's luxuriant orchestration of Brahms' Piano Quartet No ... Tomasson is also enthusiastic about the return of "Brahms-Schoenberg Quartet," which was last danced in his first year here....(size: 4.1Kb)
Sydney Morning Herald
31 Mar 2013
Sydney Symphony Mozart In The City. City Recital Hall, March 28. Austrian composer Franz Schreker was a contemporary of Richard Strauss and Arnold Schoenberg ... Advertisement ....(size: 0.8Kb)
Buffalo News
31 Mar 2013
To those who needed help understanding his book, Gass admitted that in composing the book he was, among other things, following the 12-tone compositional system of Arnold Schoenberg (which made Milton Babbitt’s later music possible) ... 352 in a form 12 words long, just to remind us of the 12-tones in Schoenberg’s system of composition.)....(size: 8.4Kb)
All About Jazz
27 Mar 2013
By EYAL HAREUVENI, Eyal Hareuveni. Contributor since 2004 Eyal Hareuveni is an Israeli journalist who lives in Jerusalem ... These two like-minded musicians draw inspiration from diverse and influential composers, Duke Ellington, Cecil Taylor, Arnold Schoenberg, Béla Bartók and Frederic Rzewski and transcend their influence into a set of lyrical, carefully nuanced spontaneous improvisations ... Profound and beautiful music. Track Listing ... ....(size: 2.5Kb)
The New York Times
27 Mar 2013
The setting was generic Midtown office building, and possibly even less exciting was a yawning space there filled with rows of straight-back chairs ... The Collection. A Fashion App for the iPad. A one-stop destination for Times fashion coverage and the latest from the runways ... Enlarge This Image ... The program, called “Sweet Lost Pierrot,” ended with the dramatically atonal 1912 “Pierrot Lunaire” by Arnold Schoenberg ... ....(size: 7.1Kb)
Wall Street Journal
23 Mar 2013
Enlarge Image. Close. Men, Women and Pianos. By Arthur Loesser (1954) ... And so it goes. Living With Music ... ... Dr ... 3 Thomas Mann's account of fictional composer Adrian Leverkühn—a fantastical Faustian spin on the musical mind of Arnold Schoenberg—is not only great literature but also a thought-provoking meditation on the artist as "other" and on the tension between the primitive spark at the heart of art and the need for disciplined control ... ....(size: 5.6Kb)
The Examiner
22 Mar 2013
The program itself was a comprehensive one, covering the period from the youthful Johannes Brahms of 1860 through the young Anton Webern about to begin his studies with Arnold Schoenberg in 1905 and concluding with the final work of Dmitry Shostakovich, composed shortly before his death in 1975 ... Webern began his studies with Schoenberg at the age of ......(size: 9.8Kb)
The Examiner
21 Mar 2013
Continuing the connotations of the Second Viennese School in that rubric’s name, this new recording features one of Igor Stravinsky’s efforts to get his head around Arnold Schoenberg’s twelve-tone technique, his score for George Balanchine’s “Agon” ballet ... both Schoenberg and Béla Bartók in Frankfurt before the Nazis put an end to such practices....(size: 7.4Kb)
The Guardian
19 Mar 2013
The Southbank's Rest is Noise Festival is a year-long celebration of 20th century music ... Alex Ross's book opens with the first performance of Richard Strauss's Salome on 9 September 1905 ... The Observer, 10 December 1905 ... Arnold Schoenberg is another composer featuring in the festival ... A decade earlier, the paper the paper attempted to explain how Schoenberg's music actually worked....(size: 1.8Kb)
The Examiner
18 Mar 2013
Like his teacher, Arnold Schoenberg, Berg had a great interest in the communicative power of German poetry; and, in many respects, one may approach Opus 1 as a “song without words” (albeit a far cry from anything Felix Mendelssohn had conceived under that rubric) ... account that Schoenberg had achieved in his Opus 4 sextet based on that poem....(size: 9.6Kb)
The New York Times
13 Mar 2013
On Friday, “As It Were ... So to Speak,” an exhibition of 276 works of Judaica, art and decorative objects, opens in New York ... Follow Home on Twitter ... Enlarge This Image. Fred R. Conrad/The New York Times. Enlarge This Image. Fred R ... Fred R ... Two figures who are extremely interesting to me are George Gershwin and Arnold Schoenberg, who were very good friends ... Schoenberg would have been 62 years old if they had been playing together....(size: 6.8Kb)
The News & Observer
20 Mar 2013
Despite having no college degree, Skizzen lands his job by lying about his origins, his credentials, his musical knowhow and even his interests; he chooses Arnold Schoenberg as his specialty, correctly surmising that nobody on the faculty understands the 12-tone scale and that he can therefore learn what he must and glibly fake his way through the rest....(size: 3.9Kb)
The Examiner
12 Mar 2013
Yet that latter scenario is the premise for William H. Gass’ Middle C, his first novel in eighteen years, which was published today by New York publisher Knopf ... Location ... Though it’s not to his taste, Professor Skizzen chooses as his scholarly specialty the atonal music of Arnold Schoenberg (who converted to two different flavors of Christianity before returning to his native Judaism), because it intimidates his department colleagues ... ....(size: 7.4Kb)
Arnold Schoenberg (help·info) (pronounced [ˈaːɐ̯nɔlt ˈʃøːnbɛɐ̯k]; 13 September 1874 – 13 July 1951) was an Austrian composer and painter, associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School. He used the spelling Schönberg until after his move to the United States in 1934 (Steinberg 1995, 463), whereupon he altered it to Schoenberg "in deference to American practice" (Foss 1951, 401), though one writer claims he made the change a year earlier (Ross 2007, 45).
Schoenberg's approach, both in terms of harmony and development, is among the major landmarks of 20th-century musical thought; at least three generations of composers in the European and American traditions have consciously extended his thinking or, in some cases, passionately reacted against it. During the rise of the Nazi Party in Austria, his music was labeled, alongside jazz, as degenerate art[citation needed].
Schoenberg was widely known early in his career for his success in simultaneously extending the traditionally opposed German Romantic styles of Brahms and Wagner. Later, his name would come to personify pioneering innovations in atonality (although Schoenberg himself detested the term "atonality" as inaccurate in describing his intentions) that would become the most polemical feature of 20th-century art music. In the 1920s, Schoenberg developed the twelve-tone technique, a widely influential compositional method of manipulating an ordered series of all twelve notes in the chromatic scale. He also coined the term developing variation, and was the first modern composer to embrace ways of developing motifs without resorting to the dominance of a centralized melodic idea.
Schoenberg was also a painter, an important music theorist, and an influential teacher of composition; his students included Alban Berg, Anton Webern, Hanns Eisler, Egon Wellesz, and later John Cage, Lou Harrison, Earl Kim, Leon Kirchner, and many other prominent musicians. Many of Schoenberg's practices, including the formalization of compositional method, and his habit of openly inviting audiences to think analytically, are echoed in avant-garde musical thought throughout the 20th century. His often polemical views of music history and aesthetics were crucial to many of the 20th century's significant musicologists and critics, including Theodor Adorno, Charles Rosen, and Carl Dahlhaus. His thought also had a considerable influence on the pianists Rudolf Serkin, Artur Schnabel, and Eduard Steuermann, and, later, Glenn Gould.
Schoenberg's archival legacy is collected at the Arnold Schönberg Center in Vienna.
Contents |
Biography[link]
Arnold Schoenberg was born into a lower middle-class Jewish family in the Leopoldstadt district (in earlier times a Jewish ghetto) of Vienna, at "Obere Donaustraße 5". His father Samuel, a native of Bratislava, was a shopkeeper. Although his mother Pauline, a native of Prague, was a piano teacher, Arnold was largely self-taught. He took only counterpoint lessons with the composer Alexander von Zemlinsky, who was to become his first brother-in-law (Beaumont 2000, 87).
In his twenties, Schoenberg earned a living by orchestrating operettas, while composing his own works, such as the string sextet Verklärte Nacht ("Transfigured Night") (1899). He later made an orchestral version of this, which became one of his most popular pieces. Both Richard Strauss and Gustav Mahler recognized Schoenberg's significance as a composer; Strauss when he encountered Schoenberg's Gurre-Lieder, and Mahler after hearing several of Schoenberg's early works.
Strauss turned to a more conservative idiom in his own work after 1909 and at that point dismissed Schoenberg. Mahler adopted him as a protégé and continued to support him even after Schoenberg's style reached a point which Mahler could no longer understand; Mahler worried about who would look after him after his death. Schoenberg, who had initially despised and mocked Mahler's music, was converted by the "thunderbolt" of Mahler's Third Symphony, which he considered a work of genius. Afterward he "spoke of Mahler as a saint" (Stuckenschmidt 1977, 103; Schoenberg 1975, 136).
In 1898 Schoenberg converted to Christianity in the Lutheran church. In 1933 he entered a Jewish community of faith.[citation needed]
In October 1901, he married Mathilde Zemlinsky, the sister of the conductor and composer Alexander Zemlinsky, with whom Schoenberg had been studying since about 1894. Mathilde bore him two children, Gertrud (1902–1947) and Georg (1906–1974). Gertrud would marry Schoenberg's pupil Felix Greissle in 1921 (Neighbour 2001). During the summer of 1908, his wife Mathilde left him for several months for a young Austrian painter, Richard Gerstl. This period marked a distinct change in Schoenberg's work. It was during the absence of his wife that he composed "You lean against a silver-willow" (German: Du lehnest wider eine Silberweide), the thirteenth song in the cycle Das Buch der Hängenden Gärten, Op. 15, based on the collection of the same name by the German mystical poet Stefan George. This was the first composition without any reference at all to a key (Stuckenschmidt 1977, 96). Also in this year, he completed one of his most revolutionary compositions, the String Quartet No. 2, whose first two movements, though chromatic in color, use traditional key signatures, yet whose final two movements, also settings of George, daringly weaken the links with traditional tonality. Both movements end on tonic chords, and the work is not fully non-tonal. Breaking with previous string-quartet practice, it incorporates a soprano vocal line.
During the summer of 1910, Schoenberg wrote his Harmonielehre (Theory of Harmony, Schoenberg 1922), which remains one of the most influential music-theory books. From about 1911, Schoenberg belonged to a circle of artists and intellectuals who included Lene Schneider-Kainer, Franz Werfel, Herwarth Walden and the latter's wife, Else Lasker-Schüler.
Another of his most important works from this atonal or pantonal period is the highly influential Pierrot Lunaire, Op. 21, of 1912, a novel cycle of expressionist songs set to a German translation of poems by the Belgian-French poet Albert Giraud. Utilizing the technique of Sprechstimme, or melodramatically spoken recitation, the work pairs a female vocalist with a small ensemble of five musicians. The ensemble, which is now commonly referred to as the Pierrot ensemble, consists of flute (doubling on piccolo), clarinet (doubling on bass clarinet), violin (doubling on viola), violoncello, speaker, and piano.
Wilhelm Bopp, director of the Vienna Conservatory from 1907, wanted a break from the stale environment personified for him by Robert Fuchs and Hermann Grädener. Having considered many candidates, he offered teaching positions to Schoenberg and Franz Schreker in 1912. At the time Schoenberg lived in Berlin. He was not completely cut off from the Vienna Conservatory, having taught a private theory course a year earlier. He seriously considered the offer, but he declined. Writing afterward to Alban Berg, he cited his "aversion to Vienna" as the main reason for his decision, while contemplating that it might have been the wrong one financially, but having made it he felt content. A couple of months later he wrote to Schreker suggesting that it might have been a bad idea for him as well to accept the teaching position (Hailey 1993, 55–57).
World War I brought a crisis in his development. Military service disrupted his life when at the age of 42 he was in the army. He was never able to work uninterrupted or over a period of time, and as a result he left many unfinished works and undeveloped "beginnings". On one occasion, a superior officer demanded to know if he was "this notorious Schoenberg, then"; Schoenberg replied: "Beg to report, sir, yes. Nobody wanted to be, someone had to be, so I let it be me" (Schoenberg 1975, 104) (according to Norman Lebrecht (2001), this is a reference to Schoenberg's apparent "destiny" as the "Emancipator of Dissonance").
Later, Schoenberg was to develop the most influential version of the dodecaphonic (also known as twelve-tone) method of composition, which in French and English was given the alternative name serialism by René Leibowitz and Humphrey Searle in 1947. This technique was taken up by many of his students, who constituted the so-called Second Viennese School. They included Anton Webern, Alban Berg and Hanns Eisler, all of whom were profoundly influenced by Schoenberg. He published a number of books, ranging from his famous Harmonielehre (Theory of Harmony) to Fundamentals of Musical Composition (Schoenberg 1967), many of which are still in print and used by musicians and developing composers.
Schoenberg viewed his development as a natural progression, and he did not deprecate his earlier works when he ventured into serialism. In 1923 he wrote to the Swiss philanthropist Werner Reinhart: "For the present, it matters more to me if people understand my older works ... They are the natural forerunners of my later works, and only those who understand and comprehend these will be able to gain an understanding of the later works that goes beyond a fashionable bare minimum. I do not attach so much importance to being a musical bogey-man as to being a natural continuer of properly-understood good old tradition!" (Stein 1987, 100; quoted in Strimple 2005, 22)
His first wife died in October 1923, and in August of the next year Schoenberg married Gertrud Kolisch (1898–1967), sister of his pupil, the violinist Rudolf Kolisch (Neighbour 2001; Silverman 2010, 223). She wrote the libretto for Schoenberg's one-act opera Von heute auf morgen under the pseudonym Max Blonda. At her request Schoenberg's (ultimately unfinished) piece, Die Jakobsleiter was prepared for performance by Schoenberg's student Winfried Zillig. After her husband's death in 1951 she founded Belmont Music Publishers devoted to the publication of his works (Shoaf 1992, 64). Arnold used the notes G and E♭ (German: Es, i.e., "S") for "Gertrud Schoenberg", in the Suite, for septet, Op. 29 (1925) (MacDonald 2008, 216).
Following the 1924 death of composer Ferruccio Busoni, who had served as Director of a Master Class in Composition at the Prussian Academy of Arts in Berlin, Schoenberg was appointed to this post the next year, but because of health problems was unable to take up his post until 1926. Among his notable students during this period were the composers Roberto Gerhard, Nikos Skalkottas, and Josef Rufer.
Schoenberg continued in his post until the election of Adolf Hitler and the Nazis in 1933. While vacationing in France, he was warned that returning to Germany would be dangerous. Schoenberg formally reclaimed membership in the Jewish religion at a Paris synagogue, then traveled with his family to the United States (Friedrich 1986, 31). His first teaching position in the United States was at the Malkin Conservatory in Boston. He moved to Los Angeles, where he taught at the University of Southern California and the University of California, Los Angeles, both of which later named a music building on their respective campuses Schoenberg Hall (UCLA Department of Music [2008]; University of Southern California Thornton School of Music [2008]). He settled in Brentwood Park, where he befriended fellow composer (and tennis partner) George Gershwin and began teaching at UCLA. He lived there the rest of his life. Composers Leonard Rosenman and George Tremblay studied with Schoenberg at this time.
During this final period, he composed several notable works, including the difficult Violin Concerto, Op. 36 (1934/36), the Kol Nidre, Op. 39, for chorus and orchestra (1938), the Ode to Napoleon Buonaparte, Op. 41 (1942), the haunting Piano Concerto, Op. 42 (1942), and his memorial to the victims of the Holocaust, A Survivor from Warsaw, Op. 46 (1947). He was unable to complete his opera Moses und Aron (1932/33), which was one of the first works of its genre to be written completely using dodecaphonic composition. In 1941, he became a citizen of the United States. During this period, his notable students included John Cage, Lou Harrison, and H. Owen Reed.
Schoenberg experienced triskaidekaphobia (the fear of the number 13), which possibly began in 1908 with the composition of the thirteenth song of the song cycle Das Buch der Hängenden Gärten Op. 15 (Stuckenschmidt 1977, 96). Moses und Aron was originally spelled Moses und Aaron, but when he realised this contained 13 letters, he changed it. His superstitious nature may have triggered his death. According to friend Katia Mann, he feared he would die during a year that was a multiple of 13 (quoted in Lebrecht 1985, 294). He dreaded his sixty-fifth birthday in 1939 so much that a friend asked the composer and astrologer Dane Rudhyar to prepare Schoenberg's horoscope. Rudhyar did this and told Schoenberg that the year was dangerous, but not fatal.
But in 1950, on his seventy-sixth birthday, an astrologer wrote Schoenberg a note warning him that the year was a critical one: 7 + 6 = 13 (Nuria Schoenberg-Nono, quoted in Lebrecht 1985, 295). This stunned and depressed the composer, for up to that point he had only been wary of multiples of 13 and never considered adding the digits of his age. He died on Friday, 13 July 1951, shortly before midnight. Schoenberg stayed in bed — sick, anxious and depressed all day. In a letter to Schoenberg's sister Ottilie, dated 4 August 1951, his wife Gertrud reported, "About a quarter to twelve I looked at the clock and said to myself: another quarter of an hour and then the worst is over. Then the doctor called me. Arnold's throat rattled twice, his heart gave a powerful beat and that was the end" (Stuckenschmidt 1977, 521). Gertrud Schoenberg reported the next day in a telegram to her sister-in-law Ottilie that Arnold died at 11:45 pm (Stuckenschmidt 1977, 520).
Music[link]
Works and ideas[link]
Schoenberg's significant compositions in the repertory of modern art music extend over a period of more than 50 years. Traditionally they are divided into three periods though this division is arguably arbitrary as the music in each of these periods is considerably varied. The idea that his twelve-tone period "represents a stylistically unified body of works is simply not supported by the musical evidence" (Haimo 1990, 4), and important musical characteristics—especially those related to motivic development—transcend these boundaries completely. The first of these periods, 1894–1907, is identified in the legacy of the high-Romantic composers of the late nineteenth century, as well as with "expressionist" movements in poetry and art. The second, 1908–1922, is typified by the abandonment of key centers, a move often described (though not by Schoenberg) as "free atonality". The third, from 1923 onward, commences with Schoenberg's invention of dodecaphonic, or "twelve-tone" compositional method. Schoenberg's most well-known students Hans Eisler, Alban Berg, and Anton Webern, followed Schoenberg faithfully through each of these intellectual and aesthetic transitions, though not without considerable experimentation and variety of approach.
Beginning with songs and string quartets written around the turn of the century, Schoenberg's concerns as a composer positioned him uniquely among his peers, in that his procedures exhibited characteristics of both Brahms and Wagner, who for most contemporary listeners, were considered polar opposites, representing mutually exclusive directions in the legacy of German music. Schoenberg's Six Songs, Op. 3 (1899–1903), for example, exhibit a conservative clarity of tonal organization typical of Brahms and Mahler, reflecting an interest in balanced phrases and an undisturbed hierarchy of key relationships. However, the songs also explore unusually bold incidental chromaticism, and seem to aspire to a Wagnerian "representational" approach to motivic identity. The synthesis of these approaches reaches an apex in his Verklärte Nacht, Op. 4 (1899), a programmatic work for string sextet that develops several distinctive "leitmotif"-like themes, each one eclipsing and subordinating the last. The only motivic elements that persist throughout the work are those that are perpetually dissolved, varied, and re-combined, in a technique, identified primarily in Brahms's music, that Schoenberg called "developing variation". Schoenberg's procedures in the work are organized in two ways simultaneously; at once suggesting a Wagnerian narrative of motivic ideas, as well as a Brahmsian approach to motivic development and tonal cohesion.
Schoenberg's music from 1908 onward experiments in a variety of ways with the absence of traditional keys or tonal centers. His first explicitly atonal piece was the second string quartet, Op. 10, with soprano. The last movement of this piece has no key signature, marking Schoenberg's formal divorce from diatonic harmonies. Other important works of the era include his song cycle Das Buch der Hängenden Gärten, Op. 15 (1908–1909), his Five Orchestral Pieces, Op. 16 (1909), the disturbing Pierrot Lunaire, Op. 21 (1912), as well as his dramatic Erwartung, Op. 17 (1909). The urgency of musical constructions lacking in tonal centers, or traditional dissonance-consonance relationships, however, can be traced as far back as his Kammersymphonie, Op. 9 (1906), a work remarkable for its tonal development of whole-tone and quartal harmony, and its initiation of dynamic and unusual ensemble relationships, involving dramatic interruption and unpredictable instrumental allegiances; many of these features would typify the timbre-oriented chamber music aesthetic of the coming century.
File:Schoenberg - Variations for Orchestra op. 33 tone row.png
Featuring hexachordal combinatoriality between its primary forms, P1 and I6, Schoenberg's Piano Piece op.33a tone row Play (help·info) contains three perfect fifths, which is the relation between P1 and I6, and a source of contrast between, "accumulations of 5ths," and, "generally more complex simultaneity" (Leeuw 2005, 155–57). For example group A consists of B♭-F-C-B♮ while the, "more blended," group B consists of A-F♯-C♯-D♯.
Play (help·info) contains three perfect fifths, which is the relation between P1 and I6, and a source of contrast between, "accumulations of 5ths," and, "generally more complex simultaneity" (Leeuw 2005, 155–57). For example group A consists of B♭-F-C-B♮ while the, "more blended," group B consists of A-F♯-C♯-D♯.In the early 1920s he worked at evolving a means of order which would enable his musical texture to become simpler and clearer, and this resulted in the "method of composing with twelve tones which are related only with one another" (Schoenberg 1984, 218), in which the twelve pitches of the octave (unrealized compositionally) are regarded as equal, and no one note or tonality is given the emphasis it occupied in classical harmony. He regarded it as the equivalent in music of Albert Einstein's discoveries in physics. Schoenberg announced it characteristically, during a walk with his friend Josef Rufer, when he said, "I have made a discovery which will ensure the supremacy of German music for the next hundred years" (Stuckenschmidt 1977, 277). This period included the Variations for Orchestra, Op. 31 (1928); Piano Pieces, Opp. 33a & b (1931), and the Piano Concerto, Op. 42 (1942). Contrary to his reputation for strictness, Schoenberg's use of the technique varied widely according to the demands of each individual composition. Thus the structure of his unfinished opera Moses und Aron is unlike that of his Fantasy for Violin and Piano, Op. 47 (1949).
Ten features of Schoenberg's mature twelve-tone practice are characteristic, interdependent, and interactive (Haimo 1990, 41):
- Hexachordal inversional combinatoriality
- Aggregates
- Linear set presentation
- Partitioning
- Isomorphic partitioning
- Invariants
- Hexachordal levels
- Harmony, "consistent with and derived from the properties of the referential set"
- Metre, established through "pitch-relational characteristics"
- Multidimensional set presentations
Controversies and polemics[link]
Understanding of Schoenberg's twelve-tone work has been difficult to achieve owing in part to the "truly revolutionary nature" of his new system, misinformation disseminated by some early writers about the system's "rules" and "exceptions" which bear "little relation to the most significant features of Schoenberg's music", the composer's secretiveness, and the widespread unavailability of his sketches and manuscripts until the late 1970s. During his life, he was "subjected to a range of criticism and abuse that is shocking even in hindsight" (Haimo 1990, 2–3).
After some understandable early difficulties, Schoenberg began to win public acceptance, with works such as the tone poem Pelleas und Melisande at a Berlin performance in 1907. At the Vienna première of the Gurre-Lieder on 13 February 1913, he received an ovation that lasted a quarter of an hour and culminated with Schoenberg's being presented with a laurel crown (Rosen 1996, 4; Stuckenschmidt 1977, 184). Much of his work, however, was not well received. His Chamber Symphony No. 1 in E major Op. 9, premièred unremarkably in 1907; when it was played again, however, in a 31 March 1913 concert, which also included works by Alban Berg, Anton Webern and Alexander von Zemlinsky, thunderous applause contended with hisses and laughter during Webern's Six Pieces, Op. 6; though Zemlinsky's Four Maeterlinck Songs calmed the audience somewhat (according to a contemporary newspaper report), after Schoenberg's Op. 9 "one could hear the shrill sound of door keys among the violent clapping, and in the second gallery the first fight of the evening began." Later in the concert, during a performance of the Altenberg Lieder by Berg, fighting broke out after Schoenberg interrupted the performance to threaten removal by the police of any troublemakers (Stuckenschmidt 1977, 185). Mahler's Kindertotenlieder, which were to have concluded the concert, had to be canceled after a police officer was called in (Rosen 1996, 5). After this, Schoenberg's music made a break from tonality.
The deteriorating relation between contemporary composers and the public led him to found the Society for Private Musical Performances (Verein für musikalische Privataufführungen in German) in Vienna in 1918. He sought to provide a forum in which modern musical compositions could be carefully prepared and rehearsed, and properly performed under conditions protected from the dictates of fashion and pressures of commerce. From its inception through 1921, when it ended because of economic reasons, the Society presented 353 performances to paid members, sometimes at the rate of one per week. During the first year and a half, Schoenberg did not allow any of his own works to be performed (Rosen 1975, 65). Instead, audiences at the Society's concerts heard difficult contemporary compositions by Scriabin, Debussy, Mahler, Webern, Berg, Reger, and other leading figures of early 20th-century music (Rosen 1996, 66).
Schoenberg's serial technique of composition with twelve notes became one of the most central and polemical issues among American and European musicians during the mid- to late-twentieth century. Beginning in the 1940s and continuing to the present day, composers such as Pierre Boulez, Karlheinz Stockhausen, Luigi Nono and Milton Babbitt have extended Schoenberg's legacy in increasingly radical directions. The major cities of the United States (e.g., Los Angeles, New York, and Boston) have had historically significant performances of Schoenberg's music, with advocates such as Babbitt in New York and the Franco-American conductor-pianist Jacques-Louis Monod. Schoenberg's students have been influential teachers at major American universities: Leonard Stein at USC, UCLA and CalArts; Richard Hoffmann at Oberlin; Patricia Carpenter at Columbia; and Leon Kirchner and Earl Kim at Harvard). Musicians associated with Schoenberg have had a profound influence upon contemporary music performance practice in the USA (e.g., Louis Krasner, Eugene Lehner and Rudolf Kolisch at the New England Conservatory of Music; Eduard Steuermann and Felix Galimir at the Juilliard School). In Europe, the work of Hans Keller, Luigi Rognoni, and René Leibowitz has had a measurable influence in spreading Schoenberg's musical legacy outside of Germany and Austria.
Schoenberg was not fond of Igor Stravinsky. In 1926 he wrote a poem titled "Der neue Klassizismus" (in which he derogates Neoclassicism and obliquely refers to Stravinsky as "Der kleine Modernsky"), which he used as text for the third of his Drei Satiren, Op. 28 (H. C. Schonberg 1970, 503).
Extramusical interests[link]
Schoenberg was a painter of considerable ability, whose pictures were considered good enough to exhibit alongside those of Franz Marc and Wassily Kandinsky (Stuckenschmidt 1977, 142). He was interested in Hopalong Cassidy films, which Paul Buhle and David Wagner (2002, v–vii) attribute to the films' left-wing screenwriters—a rather odd claim in light of Schoenberg's statement that he was a "bourgeois" turned monarchist (Stuckenschmidt 1977, 551–52).
Writings[link]
- 1922. Harmonielehre, third edition. Vienna: Universal Edition. (Originally published 1911). Translation by Roy E. Carter, based on the third edition, as Theory of Harmony. Berkeley, Los Angeles: University of California Press, 1978. ISBN 0-520-04945-4.
- 1959. Structural Functions of Harmony. Translated by Leonard Stein. London: Williams and Norgate Revised edition, New York, London: W. W. Norton and Company 1969. ISBN 0-393-00478-3.
- 1964a. Arnold Schoenberg Letters, selected and edited by Erwin Stein, translated from the original German by Eithne Wilkins and Ernst Kaiser. London: Faber. Paperback reprint, Berkeley: University of California Press, 1987. ISBN 978-0-520-06009-8.
- 1964b. Preliminary Exercises in Counterpoint. Edited with a foreword by Leonard Stein. New York, St. Martin's Press. Reprinted, Los Angeles: Belmont Music Publishers 2003.
- 1967. Fundamentals of Musical Composition. Edited by Gerald Strang, with an introduction by Leonard Stein. New York: St. Martin's Press. Reprinted 1985, London: Faber and Faber. ISBN 0-571-09276-4
- 1975. Style and Idea: Selected Writings of Arnold Schoenberg. Edited by Leonard Stein, with translations by Leo Black. New York: St. Martins Press; London: Faber & Faber. ISBN 0-520-05294-3. Expanded from the 1950 Philosophical Library (New York) publication edited by Dika Newlin. The volume carries the note "Several of the essays...were originally written in German (translated by Dika Newlin)" in both editions.
- 1979. Die Grundlagen der musikalischen Komposition. Ins Deutsche übertragen von Rudolf Kolisch; hrsg. von Rudolf Stephan. Vienna: Universal Edition (German translation of Fundamentals of Musical Composition).
- 1984. Style and Idea: Selected Writings, translated by Leo Black. Berkeley: California University Press.
Works[link]
See: List of compositions by Arnold Schoenberg
Quotations[link]
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By Schoenberg[link]
- "My music is not lovely" (quoted by Theodor Adorno in his essay "Art and the Arts", 1966, reproduced in Clausen 2008, 387).
- "My music is not modern, it is merely badly played" (Genette 1997, 102).
- "My works are 12-tone compositions, not 12-tone compositions" (Stuckenschmidt 1977, 349).
- "I was never revolutionary. The only revolutionary in our time was Strauss!" (Schoenberg 1975, 137)
- "...if it is art, it is not for all, and if it is for all, it is not art." (Schoenberg 1984, 124)
By others[link]
- Richard Strauss on Schoenberg, written by Schoenberg himself: "Dear Sir, I regret that I am unable to accept your invitation to write something for Richard Strauss's fiftieth birthday. In a letter to Frau Mahler (in connection with Mahler Memorial Fund) Herr Strauss wrote about me as follows: "The only person who can help poor Schoenberg now is a psychiatrist ...". "I think he'd do better to shovel snow instead of scribbling on music-paper...". (Schoenberg, letter to an unknown correspondent, Berlin, 22 April 1914. Schoenberg 1964,[page needed])
- "Non, ce n'est pas de la musique... c'est du laboratoire" ("That isn't music ... it's lab-work" – Maurice Ravel. Mahler 1960,[page needed]).
See also[link]
References[link]
- Adorno, Theodor. 1967. Prisms, translated from the German by Samuel and Shierry Weber London: Spearman; Cambridge, MA: The MIT Press.
- Anon. 2002. "Arnold Schönberg and His God". Vienna: Arnold Schönberg Center.(Accessed 1 December 2008)
- Beaumont, Antony. 2000. Zemlinsky. London: Faber. ISBN 0-571-16983-X Ithaca: Cornell University Press. ISBN 978-0-8014-3803-5.
- Buhle, Pal, and David Wagner. 2002. Radical Hollywood: The Untold Story Behind America's Favorite Movies. New York: The New Press. ISBN 1-56584-819-5
- Clausen, Detlev (2008). Theodor W. Adorno: One Last Genius, translated by Rodney Livingstone. Cambridge: Harvard University Press. ISBN 978-0-674-02618-6.
- Friedrich, Otto. 1986. City of Nets: A Portrait of Hollywood in 1940's [sic]. New York: Harper & Row. ISBN 0-06-015626-0. Reprinted, Berkeley and Los Angeles: University of California Press. ISBN 0-520-20949-4.
- Genette, Gérard. 1997. Immanence and Transcendence, translated by G. M. Goshgarian. Ithaca: Cornell University Press. ISBN 0-8014-8272-0.
- Greissle-Schönberg, Arnold, and Nancy Bogen. [n.d.] Arnold Schönberg’s European Family (e-book). The Lark Ascending, Inc. (Accessed 2 May 2010)
- Foss, Hubert. 1951. "Schoenberg, 1874–1951" Musical Times 92, no. 1 (September): 401–403.
- Hailey, Christopher. 1993. Franz Schreker, 1878–1934: A Cultural Biography. Cambridge and New York: Cambridge University Press. ISBN 978-0-521-39255-6.
- Haimo, Ethan. 1990. Schoenberg's Serial Odyssey: The Evolution of his Twelve-Tone Method, 1914–1928. Oxford [England]: Clarendon Press; New York: Oxford University Press ISBN 0-19-315260-6.
- Lebrecht, Norman. 1985. The Book of Musical Anecdotes. New York: Simon and Schuster; London: Sphere Books. ISBN 0-02-918710-9
- Lebrecht, Norman. 2001. "Why We're Still Afraid of Schoenberg". The Lebrecht Weekly (8 July).
- Leeuw, Ton de. 2005. Music of the Twentieth Century: A Study of Its Elements and Structure, translated from the Dutch by Stephen Taylor. Amsterdam: Amsterdam University Press. ISBN 90-5356-765-8. Translation of Muziek van de twintigste eeuw: een onderzoek naar haar elementen en structuur. Utrecht: Oosthoek, 1964. Third impression, Utrecht: Bohn, Scheltema & Holkema, 1977. ISBN 90-313-0244-9.
- MacDonald, Malcolm. 2008. Schoenberg. The Master Musicians Series. Oxford and New York: Oxford University Press. ISBN 978-0-19-517201-0.
- Mahler, Alma. 1960. Mein Leben, with a foreword by Willy Haas. Frankfurt am Main: S. Fischer.
- Neighbour, O[liver] W. (2001), "Schoenberg [Schönberg], Arnold (Franz Walter)". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
- Rosen, Charles. 1975. Arnold Schoenberg. New York: Viking Press. ISBN 0-670-13316-7 (pbk) ISBN 0-670-01986-0 (cloth). Reprinted 1996, with a new preface. Chicago: University of Chicago Press. ISBN 0-226-72643-6
- Ross, Alex. 2007. And the Rest Is Noise: Listening to the Twentieth Century. New York: Farrar, Straus, and Giroux, ISBN 978-0-374-24939-7
- Schonberg, Harold C. 1970. The Lives of the Great Composers. New York: W. W. Norton. ISBN 0-393-02146-7 (Revised ed., New York: W. W. Norton, 1980. ISBN 0-393-01302-2 Third ed. New York: W.W. Norton, 1997. ISBN 0-393-03857-2)
- Schoenberg, Arnold. 1922. Harmonielehre, third edition. Vienna: Universal Edition. (Originally published 1911). Translation by Roy E. Carter, based on the third edition, as Theory of Harmony. Berkeley, Los Angeles: University of California Press, 1978. ISBN 0-520-04945-4.
- Schoenberg, Arnold. 1959. Structural Functions of Harmony. Translated by Leonard Stein. London: Williams and Norgate Revised edition, New York, London: W. W. Norton and Company 1969. ISBN 0-393-00478-3.
- Schoenberg, Arnold. 1964. Arnold Schoenberg Letters, selected and edited by Erwin Stein, translated from the original German by Eithne Wilkins and Ernst Kaiser. London: Faber. Paperback reprint, Berkeley: University of California Press, 1987. ISBN 978-0-520-06009-8.
- Schoenberg, Arnold. 1967. Fundamentals of Musical Composition. Edited by Gerald Strang, with an introduction by Leonard Stein. New York: St. Martin's Press. Reprinted 1985, London: Faber and Faber. ISBN 0-571-09276-4
- Schoenberg, Arnold. 1975. Style and Idea: Selected Writings of Arnold Schoenberg. Edited by Leonard Stein, with translations by Leo Black. New York: St. Martins Press; London: Faber & Faber. ISBN 0-520-05294-3. Expanded from the 1950 Philosophical Library (New York) publication edited by Dika Newlin. The volume carries the note "Several of the essays...were originally written in German (translated by Dika Newlin)" in both editions.
- Schoenberg, Arnold. 1984. Style and Idea: Selected Writings, translated by Leo Black. Berkeley: California University Press.
- Steinberg, Michael. 1995. The Symphony: A Listener's Guide. New York: Oxford University Press. ISBN 0-19-506177-2 (cloth) ISBN 0-19-512665-3 (pbk)
- Shoaf, R. Wayne. 1992. "Satellite Collections in the Archive of the Arnold Schoenberg Institute". Journal of the Arnold Schoenberg Institute 15, no. 1 (June): 9–110.
- Silverman, Kenneth. 2010. Begin Again: A Biography of John Cage. ISBN 978-1-4000-4437-5.[Full citation needed]
- Strimple, Nick. 2005. Choral Music in the Twentieth Century. Portland, Oregon & Cambridge, UK: Amadeus. ISBN 1-57467-122-7
- Stuckenschmidt, Hans Heinz. 1977. Schoenberg: His Life, World and Work. Translated from the German by Humphrey Searle. New York: Schirmer Books.
- UCLA Department of Music. [2008]. "Facilities and Maintenance". (Accessed 1 December 2008)
- University of Southern California Thornton School of Music. [2008]. "Performance Halls and Studios". (Accessed 1 December 2008)
- Worldspace Radio. 2007. Maestro "Concert Hall Presentation". 13 July 2007; Featured piece.[citation needed]
Further reading[link]
- Auner, Joseph. 1993. A Schoenberg Reader. New Haven: Yale University Press. ISBN 0-300-09540-6.
- Boulez, Pierre. 1991. "Schoenberg is Dead" (1952). In his Stocktakings from an Apprenticeship, collected and presented by Paule Thévenin, translated by Stephen Walsh, with an introduction by Robert Piencikowski, 209–14. Oxford: Clarendon Press; New York: Oxford University Press. ISBN 0-19-311210-8.
- Brand, Julianne, Christopher Hailey, and Donald Harris (editors). 1987. The Berg-Schoenberg Correspondence: Selected Letters. New York, London: W. W. Norton and Company. ISBN 0-393-01919-5.
- Byron, Avior. 2006. "The Test Pressings of Schoenberg Conducting Pierrot lunaire: Sprechstimme Reconsidered". Music Theory Online 12, no. 1 (February). http://www.societymusictheory.org/mto/issues/mto.06.12.1/mto.06.12.1.byron_frames.html
- Everdell, William R.. 1998 The First Moderns: Profiles in the Origins of Twentieth-Century Thought. Chicago: University of Chicago Press.
- Eybl, Martin. 2004. Die Befreiung des Augenblicks: Schönbergs Skandalkonzerte von 1907 und 1908: eine Dokumentation. Wiener Veröffentlichungen zur Musikgeschichte 4. Vienna, Cologne, Weimar: Böhlau. ISBN 3-205-77103-6.
- Gur, Golan. 2009. "Arnold Schoenberg and the Ideology of Progress in Twentieth-Century Musical Thinking". Search: Journal for New Music and Culture 5 (Summer). Online journal (Accessed 17 October 2011).
- Hyde, Martha M. 1982. Schoenberg's Twelve-Tone Harmony: The Suite Op. 29 and the Compositional Sketches. Studies in Musicology, series edited by George Buelow. Ann Arbor: UMI Research Press. ISBN 0-8357-1512-4.
- Kandinsky, Wassily. 2000. "Arnold Schönberg als Maler/Arnold Schönberg as Painter". Journal of the Arnold Schönberg Center, no. 1:131–76.
- Meyer, Esther da Costa. 2003. "Schoenberg's Echo: The Composer as Painter". In Schoenberg, Kandinsky, and the Blue Rider, edited by Fred Wasserman and Esther da Costa Meyer, foreword by Joan Rosenbaum, preface by Christian Meyer. London and New York: Scala. ISBN 1-85759-312-X
- Rollet, Philippe (ed.). 2010. Arnold Schönberg: Visions et regards, with a preface by Frédéric Chambert and Alain Mousseigne. Montreuil-sous-Bois: Liénart. ISBN 978-2-35906-028-7.
- Shawn, Allen. 2002. Arnold Schoenberg's Journey. New York: Farrar Straus and Giroux. ISBN 0-374-10590-1.
- Weiss, Adolph. 1932. "The Lyceum of Schonberg", Modern Music 9, no. 3 (March–April): 99–107.
- Wright, James K. 2007. Schoenberg, Wittgenstein, and the Vienna Circle. Bern: Verlag Peter Lang. ISBN 978-3-03911-287-6.
- Wright, James and Alan Gillmor (eds.). 2009. Schoenberg's Chamber Music, Schoenberg's World. New York: Pendragon Press. ISBN 978-1-57647-130-2.
Recordings by Schoenberg[link]
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This list is incomplete; you can help by expanding it.
External links[link]
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Wikiquote has a collection of quotations related to: Arnold Schoenberg |
- Arnold Schoenberg Center in Vienna
- Biographical Timeline at the Arnold Schoenberg Center
- (French) A biography of Arnold Schoenberg, from IRCAM's website.
- Complete Schoenberg Discography & List of Works
- Music in the Air : 6 Kleine Klavierstucke op.19
- The Lied, Art Song, and Choral Texts Archive Created and maintained by Emily Ezust Texts of the poems set in music by Schoenberg with translations in various languages.
- Writings about Schoenberg
- Contemporary account on Schoenberg by James Huneker from his work Ivory Apes and Peacocks (1917)
- An Interview with Schoenberg's children (2008) by Avior Byron
- "How Arnold Schoenberg Became Lonely: Imagination versus Reality", Sabine Feisst, Berfrois (2011)
- Sheetmusic
- Sound-files
- Excerpts from sound archives of Schoenberg's works.
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| Persondata | |
|---|---|
| Name | Schoenberg, Arnold |
| Alternative names | Schönberg, Arnold |
| Short description | Austrian-American composer |
| Date of birth | 13 September 1874 |
| Place of birth | Leopoldstadt, Vienna, Austria |
| Date of death | 13 July 1951 |
| Place of death | United States |
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