I'm sorry for those who can't see the greatness in Schoenberg's music and his theatre. I saw this opera as a totally unprepared (and unbiased) 17 year old: I fell in love with it.
I don't have perfect pitch (although I have very good relative pitch) and I have very, very little training as a musician, but I have always liked the way Schoenberg's music sounds. Long before I knew anything about the controversy surrounding him, I just knew I liked listening to his stuff. It had intensity and gravitas and I found it moved me. There is a lie going around that ordinary listeners don't like Schoenberg. I am one and I do.
Grundheber was great as Wozzeck - he makes the speaking part of Moses beautiful too... the music is slower than I've heard on other recordings. Thanks for the upload!
Well put. I have been immersing myself in Schoenberg's post-op25 works for the past few months, and I've been finding it some of the most exciting, lively and enjoayable music ever written, I find it more "fun" than his opp 11-24. Not sure if it's because the new method just "clicked," or if was just becoming a more secure composer. But I can listen to that stuff ALL DAY (and often do!).
@pyrosplodeyflames Who said anything about composers ignoring the sonic and physical nature of sound? Schoenberg and his followers never used anything other than the chromatic scale. All three wrote tonal, atonal and 12 tone music, all equally well and all of it comprehensible to anyone who knows the musical tradition they revered and from which they drew their conclusions. Some people simply cannot deal with non-triadic music and demand the creature comfort of the familiar.
Wunderbar interpretation ,gute Stimmen ,interesant inscenization.Ich werde singen diese Oper in 22 August in Ruhrtriennale Festival Schoene Grusse aus Deutschland Martin
danke für dieses schöne moses und aron video. ich habe diese inszenierung bereits 2x im tv gesehen - orf und 3sat. sehr feine inszenierung, herrliche stimmen - sehr fein. ich werde am 16.11.09 auf arte die übertragung von der ruhrtriennale 2009 von willy decker sehen. spannend nickler - decker zu vergleichen.
Wow...14 years ago. I don't know if you still have youtube, but I'm always amazed when I see a comment from over a decade ago. I wonder how you're doing now.
Personally, I find his later output - the serial stuff - far more appealing, well-structured and concise than his late-Romantic tonal and freely atonal output.
Very interesting comments here-- all of them. It seems to me that if there is a problem with serialism, it's that it's just so difficult to work with, and produce sosmething even the composer his happy with. Leonard Bernstein case in point: he tried it and gave up, discarding it all. Alban Berg in my view was the most successful of all in applying the technique, but he wasn't a "pure" serialist. Perhaps any "ism" will have this problem? witness minimalism. Is "In C" really fit to perform?
Yeah, I love the sets and the costumes. Reminds me of Alice Goodman's Chorus of Exiled Jews. 'And when I paid off the taxi I had no money left, and of course, no luggage...' Nice to see another Ancom too!
@revoltz7 Even if Moses und Aaron were the only serial composition ever written it would still be a masterpiece, nobody writes in Flemish polyphonic technique today either, so what? didn't you ever hear that quantity doesn't make quality, being integrated into popular culture what does that mean?... have Beethoven's late quartets been integrated into popular culture? or Gesualdo's madrigals?
I am not a professional musician or academic, but I believe that insofar as Schoenberg is still controversial, the controversy is along the lines of "Schoenberg: dead end or what?" A modern composer can enjoy financial success in inverse proportion to the degree that his/her music sounds like Schoenberg's.
The question about Schoenberg music is an exquisite academic matter. It has NOTHING to do with ordinary listeners, but only with privileged academics, their privileges and their fear to loose their privileges. At a certain time academics begin to refuse romanticism and music as an expression of human feelings, because they perceive that after Wagner and extreme romanticism the evolution of language could make the entire framework of a "privileged" occidental culture to collapse.
Whoah! Are you serious? You absolutely sure you're not confusing this with the Schoenberg 5 Orchestra Pieces? Because if you're serious, that's pretty damn hardcore. Opera, AND it's serialist by the composer that started the darn movement. That must have been a real field day. This production sucks, BTW. Productions like this that make no sense really make me want to vomit. The musicality of the people isn't too bad, though.
I'm sorry for those who can't see the greatness in Schoenberg's music and his theatre. I saw this opera as a totally unprepared (and unbiased) 17 year old: I fell in love with it.
I don't have perfect pitch (although I have very good relative pitch) and I have very, very little training as a musician, but I have always liked the way Schoenberg's music sounds. Long before I knew anything about the controversy surrounding him, I just knew I liked listening to his stuff. It had intensity and gravitas and I found it moved me. There is a lie going around that ordinary listeners don't like Schoenberg. I am one and I do.
Vielen Dank Herr Eckl, sehr lehrreich
Wow, such a haunting opera. Thanks for posting this! Schoenberg was a genious!
Grundheber was great as Wozzeck - he makes the speaking part of Moses beautiful too... the music is slower than I've heard on other recordings.
Thanks for the upload!
Well put. I have been immersing myself in Schoenberg's post-op25 works for the past few months, and I've been finding it some of the most exciting, lively and enjoayable music ever written, I find it more "fun" than his opp 11-24. Not sure if it's because the new method just "clicked," or if was just becoming a more secure composer. But I can listen to that stuff ALL DAY (and often do!).
unsichtbarer und unvollsterbarer Gott...
the most beatiful libretto of xx century
the most beautiful and when they issue the instruments
@pyrosplodeyflames Who said anything about composers ignoring the sonic and physical nature of sound? Schoenberg and his followers never used anything other than the chromatic scale. All three wrote tonal, atonal and 12 tone music, all equally well and all of it comprehensible to anyone who knows the musical tradition they revered and from which they drew their conclusions. Some people simply cannot deal with non-triadic music and demand the creature comfort of the familiar.
Wunderbar interpretation ,gute Stimmen ,interesant inscenization.Ich werde singen diese Oper in 22 August in Ruhrtriennale Festival
Schoene Grusse aus Deutschland Martin
danke für dieses schöne moses und aron video. ich habe diese inszenierung bereits 2x im tv gesehen - orf und 3sat. sehr feine inszenierung, herrliche stimmen - sehr fein. ich werde am 16.11.09 auf arte die übertragung von der ruhrtriennale 2009 von willy decker sehen. spannend nickler - decker zu vergleichen.
thanks!
Wow...14 years ago. I don't know if you still have youtube, but I'm always amazed when I see a comment from over a decade ago. I wonder how you're doing now.
Wonderful ...
How does it sound bad? It sounds quite amazing!
@Varese52 I've never heard it put better than that. My thoughts exactly.
He messes up the text at 2:50...
Personally, I find his later output - the serial stuff - far more appealing, well-structured and concise than his late-Romantic tonal and freely atonal output.
The music, inevitably, sounds like the soundtrack of a horror movie. What are the suitcases all about? Something to do with the Holocaust?
Very interesting comments here-- all of them. It seems to me that if there is a problem with serialism, it's that it's just so difficult to work with, and produce sosmething even the composer his happy with. Leonard Bernstein case in point: he tried it and gave up, discarding it all.
Alban Berg in my view was the most successful of all in applying the technique, but he wasn't a "pure" serialist. Perhaps any "ism" will have this problem? witness minimalism. Is "In C" really fit to perform?
Moses bekommt jeden seinen Einsatz nur vom Suffleur!!!Wie kann er denn so ganz am Anfang ständig seinen Text vergessen?!
...what controversy surrounds him?
Not entirely sure I'm convinced by this Moses. A bit too much like singing rather than speaking.
Bloody love the staging though.
Yeah, I love the sets and the costumes. Reminds me of Alice Goodman's Chorus of Exiled Jews.
'And when I paid off the taxi I had no money left, and of course, no luggage...'
Nice to see another Ancom too!
@@ameliawright6947 I have finally seen this reply
Boulez is a great composer and conductor
@revoltz7 Even if Moses und Aaron were the only serial composition ever written it would still be a masterpiece, nobody writes in Flemish polyphonic technique today either, so what? didn't you ever hear that quantity doesn't make quality, being integrated into popular culture what does that mean?... have Beethoven's late quartets been integrated into popular culture? or Gesualdo's madrigals?
hey cool the wien staatsoper
I saw gotterdammerung there.. standing tickets too... standing for so long was a hardcore effort befitting of wagner
Tényleg nem egy élvezhető, jó mű. A múltkori MÜPA-s előadás (jó)néhány zenésze szerint sem...
I am not a professional musician or academic, but I believe that insofar as Schoenberg is still controversial, the controversy is along the lines of "Schoenberg: dead end or what?" A modern composer can enjoy financial success in inverse proportion to the degree that his/her music sounds like Schoenberg's.
Prove it.
The question about Schoenberg music is an exquisite academic matter. It has NOTHING to do with ordinary listeners, but only with privileged academics, their privileges and their fear to loose their privileges. At a certain time academics begin to refuse romanticism and music as an expression of human feelings, because they perceive that after Wagner and extreme romanticism the evolution of language could make the entire framework of a "privileged" occidental culture to collapse.
Composers cannot ignore the sonic, physical nature of sound. It's impossible to just ignore this, no matter how much math you apply.
the voice of God comes from a crowd of refugees ?
Whoah! Are you serious? You absolutely sure you're not confusing this with the Schoenberg 5 Orchestra Pieces?
Because if you're serious, that's pretty damn hardcore. Opera, AND it's serialist by the composer that started the darn movement. That must have been a real field day.
This production sucks, BTW. Productions like this that make no sense really make me want to vomit. The musicality of the people isn't too bad, though.